Arts & Activities Magazine April 2017 by Arts & Activities

PASSION

How many college graduates do you know that would choose a kiln over a car for their graduation present? We know of at least one.

Meet recent graduate of the Stephen F. Austin State University BFA program and now full time Potter:

Erica Williams THrĂľ - Owner Hemphill, TX

See more of Ericaâ&#x20AC;&#x2122;s work at

throstudio.com

We help people make great things! www.skutt.com

503-774-6000

With 58 colors to choose from, youâ&#x20AC;&#x2122;re sure to have your hands full.

www.amaco.com/velvets

CONTENTS V O L U ME 161 , No . 3

APRIL 2017

ADVENTURES IN PAINTING 15 GETTIN’ JAZZY WITH RIZZI BIRDS Josey M. Brouwer 16 ABSTRACT PAINTING: BE YOUR OWN CAPTAIN OF CREATIVITY

Debbi Bovio

LANDSCAPES Amy Anderson

Sandi Pippin

Suzanne Dionne

24 AIRBRUSHES IN THE ELEMENTARY ART ROOM? LAYERED 26 THE SPIRAL STAIRCASE: AN ADVENTURE IN HARD-EDGE PAINTING

28 THE LAWRENCE TREE: FIRST-GRADERS MEET GEORGIA O’KEEFFE

YEARLONG ART II CURRICULUM SERIES 12 WHERE THE TECHNICAL MEETS THE CREATIVE: PINS-PIRATION PORTRAITS

Debi West

SPECIAL FEATURES AND COLUMNS

8 10 23 30

STEPPING STONES: THERE’S A PAINT PARTY IN THE ART ROOM Heidi O’Hanley ART IS AT THE CORE: DOROTHEA LANGE Amanda Koonlaba YOUNG ARTIST: CAROLINE GENDRON Laurie Wennemar CLAY TIPS FROM THE GAMBLE STUDIO: IMAGE TRANSFER PART II Tracy P. Gamble 38 TRIED & TRUE TIPS FOR ART TEACHERS: START PAINTING Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: FREDERIC EDWIN CHURCH, AURORA BOREALIS Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: PORTRAIT OF A GIRL Alexej von Jawlensky

A&A AT YOUR SERVICE 30 CLAY CORNER 35 WEB CONNECT 36 AD INDEX

DEPARTMENTS 6 EDITOR’S NOTE 32 MEDIA REVIEWS 33 SHOP TALK ON THE COVER

SELF-PORTRAIT Mixed media. By Christina Hargett, student at North Gwinnett High School, Suwanee, Georgia. See “Where the Technical Meets the Creative: PINS-piration Portraits,” page 12.

SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. AD SALES: (888) 651-7567; ads@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.

26 4

Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

NEXT TIME BUY AN L&L KILN. Elements will not droop out in an L&L Kiln.

There are no pins like this in an L&L kiln.

There is a solution to this problem.

Moving elements will not break the firebrick on an L&L Kiln.

The Smooth, Hard Surface of the inside ceramic channel allows the elements to expand and contract freely. No Pins! This prevents catastrophic element failure. Elements do not droop out of easily broken firebrick channels. The Dense Ceramic DynaGlow holders extend element life because elements run cooler due to better heat transfer.

The Inside of an L&L Kiln!

505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800.750.8350 • Fax: 856.294.0070 sales@hotkilns.com • hotkilns.com

L&L Kiln’s patented hard ceramic element holders protect your kiln.

editor’s note

Psst … are you looking for adventure? Hop on

board as we travel around the country to visit with awesome art teachers who love to inspire their students with painting adventures.

Our first stop is Georgia, where Debi West shares the eighth installment in her “Yearlong Art II Curriculum Series.” This time, she focuses on “PINS-piration Portraits” What did I say? Why don't we let Debi explain: “All students are required to keep an ‘art’ Pinterest board and Pin a minimum of 10 inspirational images a week. This gets them into the routine of looking for art that motivates and I often see how they use new techniques and ideas to inform their own works.” She adds that her

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 Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama George Székely Senior Professor of Art Education, University of Kentucky, Lexington

students love the freedom of this lesson and the fact that they can use Pins they have been searching and collecting all year in their self-portraits.” See page 12—and the cover—for examples of her students’ work.

Thomas von Rosen

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

CONTRIBUTING EDITORS Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota

Next, we head up to Michigan where the kiddos

Josey Brouwer’s class are “Gettin’ Jazzy with Rizzi Birds” (page 14). “My first-grade artists love to paint, and when I greet them at the art-room door wearing my paint-spattered lab coat, they know they are in for a fabulous 50 minutes!” she writes. “Rizzi’s brightly colored artwork, filled with simple images of birds, cars and buildings, is perfect for encouraging student discussion about art. And, we love the way she describes this scene: “Excitement filled the room when we met for our next class. It was time to paint! Aprons were slipped on, sleeves rolled up, and students erased their

Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida Don Masse Heidi O’Hanley

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

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada Debi West Lead Visual Art Teacher, North Gwinnett High School, Suwanee, Georgia

pencil lines and finished outlining their birds with black markers while I

ADVERTISING DEPARTMENT

passed out the painting materials. And then ... a big deep breath to calm

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

ourselves and get our brains ready to paint!” Read more on page 14.

You’ve heard the phrase, “Go West, young man” —and that is just what we do to join Amy Anderson in California. Amy has found a novel and exciting way to introduce painting with an airbrush to upper-elementary students. Perhaps you thought airbrushing was only for

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 HOW TO REACH ARTS & ACTIVITIES Subscription Services To subscribe, renew, change an address or buy single copies,

high school. Not so, says Amy, as she goes on to show us the way in “Airbrushes

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

in the Elementary Art Room? Layered Landscapes” (page 24).

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

Other stops on our trip include Texas, Mississippi, Illinois, Alabama, Connecticut, and Florida. So, come on ... jump on board! We are off to have some adventures in painting!

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.

artsandactivities.com

Maryellen Bridge, Editor and Publisher ed@artsandactivities.com Follow us on

PRINTED IN THE U.S.A.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

brush up on your creativity

AMACO lesson plans www.amaco.com/lesson_plans

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.

THERE’S A PAINT PARTY IN THE ART ROOM!

BY HEIDI O'HANLEY

or the past few years, there has been a rise in art studios opening up across the country, and many of those studios specialize in “paint and sip nights.” From what I’ve observed, many of these studios offer open studio time as well as structured canvas paintings. Parents and children flock to these studios for birthday parties, scout-badge achievements, and various other events that gather friends and family in the spirit of enjoying painting and being creative. You can also take part in creating a “paint party” within your own classroom! Here are some steps to keep in mind if you decide to throw a paint party of your own.

CHOOSE YOUR OBJECTIVES. What would you like your students to learn? What standards would you like to meet? Before starting with the subject(s) you wish to paint, figure out why you want to have your students participate in the painting project. Maybe you wish to visit perspective, color theory, painting techniques, or value!

CHOOSE YOUR GRADE LEVEL. What age level do

CHOOSE YOUR THEME. Every painting project is dif-

you think your project would be the most successful? Would you like to try tempura paint on paper? Younger grade levels would benefit from working with washable paints with just as much fun. I like to create the paint project with acrylics, so my classes start their paint party projects in 5th grade. Since acrylic is difficult to wash out of clothes, we take baby steps each year and work out way up to acrylics.

ferent, and there is no right or wrong way to deliver the lesson. The main two questions are: What would catch the students’ interests and what structure do they need to accomplish the objectives? Depending on your class, they may enjoy what is traditionally called a “cookie cutter” project where everyone makes the same subject and follow step by step to complete the project. Popular subject examples are trees, snowmen, flowers, or animals. Other classes may enjoy a choice-based project where the subject is their own, but the objectives are met in different ways.

PRACTICE YOUR LESSON. Always make your example

IF YOU PLAN ON SETTING UP FOOD OR BEVERAGES

before delivering your instruction. Depending on the subject or materials you use, there are steps to follow and layers to add when creating the paintings. Creating the painting is like making a paper collage, only instead of paper layers, you’re dealing with wet paint! Once you have your example made and your steps in order, you will be more confident in the delivery of your project.

at your “paint party,” check for food/drink allergies. It sounds like fun to try to throw a complete paint party with your class, but if you have students with food allergies, you need to be aware for their own safety. Many schools no longer work with food for special events and parties, so this option may not be available. If you are a school that still accepts food for parties, make sure you notify parents and staff what you plan to do.

PREPARE FOR THINGS TO GO RIGHT OR WRONG. If this is your first time throwing “paint party” project, be prepared for things not to go 100% your way. My first time teaching a paint party was a character builder, but each time after, delivering the lesson became easier. You may also come across pleasant surprises if your students think outside of the box while creating their paintings! I noticed that when one student adds a little something extra to a painting, the students around them are inspired to add a little something extra as well, which enhances the projects!

HAVE FUN! The point of a paint party is to have fun!

Paint nights have been popping up around the country because adults and kids are enjoying taking the time to create. It doesn’t matter if it’s a “cookie cutter” project or an open paint time, people are having fun being creative and actively taking the time to make their own art! If you decide to do a paint party project during class time, after school, or an evening event, I hope you have the best time with your students, parents, and staff! n

PREP YOUR MATERIALS. Your materials may vary

depending on the grade level. If you can swing it, use canvas frame or boards. Many art studios include canvas frames with their costs and supply the materials, but if you have a strict budget, work with what you have. With our 8

budget, we’re able to order canvas boards for each student creating the project (about 100 fifth-graders). If you are teaching a high school class, you can incorporate how to create a stretched canvas. If you can’t swing the canvas, use heavyweight paper.

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. a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

In Arts & Activities, art educators share their experience, tips and classroomproven lesson plans. Have this high-quality, relevant, time-saving resource in your mailbox each month ...

SUBSCRIBE ONLINE TODAY! artsandactivities.com/subscribe www.ar tsandactivities.com

84 Y E A R S â&#x20AC;˘

april 2017

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.

DOROTHEA LANGE

BY AMANDA KOONLABA Dorothea Lange photographed Florence Owens Thompson with her children in the late winter of 1936 in Nipomo, California. Lange is quoted by the Library of Congress about the images. She says, “She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food.” Below are ideas for integrating her “Migrant Mother” images with other subjects.

UNDERSTANDING THE CONTEXT If you are not teach-

ing American Histor y, students will need to develop some background knowledge and understand the context surrounding the images. First, ask them what they notice about the photographs. They will likely state that they are old and that the woman looks sad. Ask them to explain why the woman looks sad and what makes them think the images are old. Then, ask them to notice other details. Who else are in the photographs? What are they doing? Why are they doing it? Next, use the quote above to provide some context for the students. Talk with them about what she means by “frozen vegetables.” Help them define “migrant.” Allow the students to talk about how they feel about this image and the quote. Encourage them to talk beyond the simplicities of “sad” or “mad.” If you’ve created a safe space in your classroom, students should feel comfortable sharing openly. However, you can assure them that they can share with you by writing it down or telling you privately at a later time as well. Finally, discuss how the black-and-white photography adds to or detracts from how the images make them feel. Many students will declare that it makes them feel even more devastated for the mother and her children. Ask them to explain why. Have them imagine if the images were in color and ask them how they would feel. The idea is to get the students talking about the images, making inferences, and justifying their statements. There are no right or wrong answers, and even the youngest of students can do this. In addition, discussing the images in this way will ensure that the students are noticing the details of the images as well as the image as a whole. Go to artsandactivities.com and click on this button for resources and links related to this article.

CREATING THEIR OWN IMAGES Have the students

WRITING ABOUT THEIR WORK Students should write

use technology to photograph a partner in black and white. They should determine beforehand what emotion they want to portray in their photographs. They do not have to choose a dismal demeanor just because the image they studied was of that nature. Any emotion will work. Students can go outside of the classroom to the common areas of the school to take these photographs. However, the main thing that should be depicted is the face of the subject. Talk to them about some basic composition before they begin. Teach them about the symmetr y of the human face and the rule of thirds in photography. The students can select one image to print or a series of images to print.

about the subject of the photograph that they took. They can use the student’s expression to derive attributes for a character. They do not have to actually be writing about the student they photographed. This is going to require the students to put themselves into the shoes of another person. So, lots of brainstorming and planning will help. First, have them create a list of words that describe the expression on the subject’s face. Then, have them create another list of scenarios that could cause the subject to feel this way. After they have brainstormed these lists, have them select one scenario to develop into a written work. They can use the list of descriptive words to ensure they use vivid language in their writing. They can elaborate on the scenario in several different ways, which can either be assigned or given as a student choice. The students can incorporate similes and metaphors as a requirement. They can write their work as historical fiction using an actual historical event as the basis. Older students can write a free-verse poem. Younger students can write an acrostic poem. There are many options, but it is important to consider exactly what writing skills should be the focus before the students begin. These photographs and their written works make a very powerful hallway display. It will be evident that the students were developing visual arts, language arts, and even social skills (think: empathy) as they completed this work. 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

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

A paint for every palette...

All Handy Art ÂŽ products are proudly made in the USA

Quality products, reliable service since 1974.

Check out our catalog and vendors page online! www.handyart.com

Download Back Issues of Arts & Activities Magazine for only $3

AVAILABLE AT:

artsandactivities.com www.ar tsandactivities.com

84 Y E A R S â&#x20AC;˘

april 2017

Yearlong Art II Curriculum Series | WHERE THE TECHNICAL MEETS THE CREATIVE

LESSON 8 OF 10

PINS-piration Portraits by Debi West

love to save the best for last! This is another one of those awesome lessons that has every one of my art II students succeeding—and I believe that

should be one of our ultimate goals. So this is the perfect final art II project. This lesson is a culmination of the year’s curriculum and has my students

reflecting on the works they have created, starting from their very first portrait study, back in August. We discuss all they have learned throughout the year, specifically in terms of portraits and portraiture work. WE ALSO DISCUSS the impor tance of

research and how vital it is for ar tists to research via books, Google images, search engines and Pinterest. The use of Pinterest is something that is mandator y in my ar t II course. All students are required to keep an “ar t” Pinterest board and Pin a minimum of 10 inspirational images a week. This gets them into the routine of looking for ar t that motivates and I often see how they use new techniques and ideas to inform their own works. Students go through their Pins Go to artsandactivities.com and click on this button for resources related to this article.

Students love the freedom of this lesson and the fact that they can use Pins they have been searching and collecting all year in their self-portraits.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

LESSON 8 OF 10

ART II CURRICULUM SERIES

PINS-piration Portraits LEARNING OBJECTIVES

from the year and select four to five of their favorites in terms of composition, media, color, texture, themes, etc. In other words, they are selecting the images that gave them strong “aesthetic a-ha” moments. Once these have been selected, students print them out onto a color copy for reference as they begin to plan out their final por trait piece using par ts of these selected Pins. I always remind my students that they’re not allowed to “copy” anyone’s ar t specifically, but rather, they are borrowing ideas and combining these techniques to create their own unique piece. STUDENTS CAN SELECT their own size,

surface area and media, the only real objective is to draw or paint a portrait in their likeness and use the Pins for continued inspiration, in terms of both negative and positive space. Students love the freedom of this lesson and the fact that they can use Pins they have been searching and collecting all year. And the results are always outstanding! You can actually see each student’s personality in the final works! Last year, I had students keep “how to” journals that documented their thoughts during the planning stages—and beyond. These were then exhibited in an end-of-the-year exhibit, where they hung their other portraits and their final works. The exhibit really showed the community how much each artist had grown over the year. It was the perfect assessment tool. But, then again, art often is! Up next … Bicycle Studies! n

High-school Art II students will ... • learn how important it is for artists to become researchers. • learn to use Pinterest boards for inspiration in creating unique portraits. • learn to use Pinterest boards for inspiration in creating unique portraits.

• combine the styles of 4-5 artists or techniques to create their own work. MATERIALS • Pinterest boards, journals • Mixed media

PROCEDURES 1. The teacher will explain to students the importance of keeping a Pinterest board for inspiration and using it to garner ideas throughout the school year. 2. Students will keep a board and pin a minimum of 10 artworks per week (most pin about 10 a day!) 3. Students will find their 4-5 favorite works

they have pinned throughout a semester and use those for inspiration as they create a final portrait using the media, techniques and styles of their three selected works. 4. Students have complete freedom to use any size, any and all media and explore the art process and the tools they have been taught to create a final piece of WOW art.

EXTENSION This lesson is a wonderful way to prepare our students for their AP Art course in that they will be free to make artistic decisions as they work towards stellar concentration portfolios.

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.

A&A Contributing Editor Debi West, Ed.S, NBCT, is Art Dept. Chair at North Gwinnett High School in Suwanee, Ga.

www.ar tsandactivities.com

84 Y E A R S •

april 2017

Gettin’ JazzY by Josey M. Brouwer

Haven

y first-grade artists love to paint, and when I greet them at the art-room door wearing my paint-spattered lab coat, they know they are in for a fabulous 50 minutes!

I PLACED A RIZZI ART REPRODUCTION at each table (Rizzi calendar pages, separated and laminated, are a great art resource for this project) and asked my students to talk about their piece with their table partners. As I circu14

Skyla

OUR STUDY OF AMERICAN POP ARTIST JAMES RIZZI began early in the school year and was a perfect opportunity to practice and review painting techniques that would ensure a well crafted and successful project for each student. Rizzi’s brightly colored artwork, filled with simple images of birds, cars and buildings, is perfect for encouraging student discussion about art. I like to give students time to talk about an artist before we move to creating a project. Exploring and sharing ideas together is an important part of the art-making process, and I am always amazed at the connections and discoveries that are sparked during student art discussions. My first graders like to play a game called “I See, I Think, I Wonder” when we begin looking at artwork. “I see a bird, I think it is a duck, I wonder how many more birds I can find!” helps my students focus on an artist’s work and begin diving deeper into an art piece. They quickly noticed the many symbols Rizzi uses in his art, and came up with some perceptive ideas about why he placed hearts, peace signs, and sun symbols in his art. “It’s to make his art look happy and make people feel good, Mrs. B.!” I couldn’t have said it better myself!

Jaxon, Kaleb and Lawson discuss an artwork by James Rizzi. Nicole

lated around the room, firstgraders were looking for different symbols in their art piece, wondering about the smiling people Rizzi had placed in the building windows, and even making lists of objects they were seeing. After five minutes, we came back together at the easel and drew pictures of the symbols that the students found in Rizzi’s artwork on a large sheet of paper. a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

with

Tessa

Mason

NATIONAL ART STANDARDS

•

CREATE: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. • RESPOND: Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed.

LEARNING OBJECTIVES Primary-level students will ... • talk about the work of artist James Rizzi. • learn watercolor painting techniques and the proper handling of art materials. • create art pieces in the style of Rizzi that include their own symbols.

MATERIALS

• • •

Photos of James Rizzi’s art • Squares of colored 9" x 12" heavyweight tagboard paper (2" x 2") Watercolors, small and • Scissors, white glue large paintbrushes • 15" x 12" black construction paper • Permanent markers

LESSON MOTIVATION There are two primary goals for this project: 1. To encourage first-grade artists to discuss the artwork of James Rizzi. 2. To focus on painting techniques. www.ar tsandactivities.com

84 Y E A R S •

april 2017

We wrapped up our first class by learning how to draw a Rizzi bird on 9" x 12" tagboard. After watching me draw a sample bird, students were given an option to draw their bird by themselves or to follow along with me as I drew and projected the image on the screen. Since this was their first big drawing project of the year, most students chose to draw with me and finish on their own when they felt ready to move on. Many drew two birds—one on each side of their paper— and then chose their best one to trace over with black permanent marker, using an extra wide marker to draw a large heart around their finished bird. EXCITEMENT FILLED THE ROOM when we met for our next class. It was time to paint! Aprons were slipped on, sleeves rolled up, and students erased their pencil lines and finished outlining their birds with black markers while I passed out the painting materials. And then ... a big deep breath to calm ourselves and get our brains ready to paint! Tip: Pass out all the supplies except for the paintbrushes. When the class is calm and focused, the brushes come out and students are ready to paint. I kept the painting demonstration simple for first-graders, talking through the important points as I began painting a sample bird: 1. Always star t with yellow, the color that can change the quickest and get “muddy” if your brush and water is not clean. 2. Rinse, rinse, rinse your brush and blot it on a paper towel before you move to orange, red, and your darker colors. see

RIZZI

on page 34 15

ABSTRACT PAINT D

espite all the hoopla about which country has the highestscoring students, which college majors are most marketable, or which education model is the most effective, art educators have remained consistently dedicated to what they believe is the most fundamental skill needed for successful growth: creative thinking. Albert Einstein’s familiar quote, “Creativity is more important than knowledge,” concisely conveys the importance of the thought process required to invent new concepts and discover hidden secrets that will improve our world. A lesson on abstract art affords students of all ages the opportunity to create art entirely from one’s imagination, thus allowing them to choose the direction of their creative path. Of course, we can argue that certain elements and principles of design should be utilized, but at the core of abstract design is

the inherent sense of ignoring all the rules and letting oneself be free to explore and create beyond the limitations imposed with realism. I have yet to meet a student who does not enjoy the opportunity to work on an abstract painting. Over several years, I have developed two basic lessons for introducing students to abstract painting. As it is with most lessons, I had to kiss a lot of frogs before I found my prince projects. THE FIRST LESSON is relatively simple and will allow students at any age to gain valuable skills in mixing colors, creating textures and devising balanced compositions. Through trial and error, students are largely engaged in the process and techniques required to become a skillful painter. I prefer to implement this “hidden square” lesson first, before moving

Taylor. Clockwise from bottom left: collage, underpainting, final artwork. 16

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

ING

Be your own captain of creativity! by Debbi Bovio

Nicole. From the left: collage, underpainting, final artwork.

on to the second lesson described below. The size of this painting, as well as the paper or canvas used, can be determined by what time and budget will allow. PROVIDE STUDENTS with 2-inch squares cut from magazine

images. The squares should contain unidentifiable segments of colors, shapes and textures. You should have at least twice as many squares as you have students so you can provide everyone with an ample selection to choose from. Students securely glue their chosen square anywhere on their canvas. Be sure the glue is applied thoroughly so the paper will not bubble or curl up on the edges. Mix paint to match the magazine square and begin building a composition from the edges of the square. Experiment with a variety of techniques, such as dry brushing, pointillism or underpainting, to attain desired textures. Do not cover more than an eighth of an inch of the edge of the magazine square with paint. The goal is to make the magazine square undetectable because the painting is matched precisely in color, value and texture. THE SECOND LESSON was inspired by Professor Jim Cog-

swell of the University of Michigan’s Stamps School of Art & Design. In a video filmed in his college art class, Cogswell interacts with students as they create abstract paintings on huge canvases. The students in the video provide nearly as much insight as does the skillful professor, as they make inquiries and comments about their evolving work. What intrigued me the most was how each student followed a unique path as they navigated their way through a sea of creative possibilities. I knew I had to try this with my students! I made some modifications to suit the experience level and materials available in my classroom and ended up with a lesson that has proven to be a winner. I was so excited with the results I sent several images of student work to Prof. Cogswell along with my gratitude, and asked for his permission to share this video with others. In a nutshell, students will create an abstract painting that continued on next page www.ar tsandactivities.com

84 Y E A R S •

april 2017

LEARNING OBJECTIVES High-school students will … • compare and contrast Abstract and Realist art. • explore options to invent imagery. • learn to mix paint to specific colors. • practice new techniques to achieve various textures. • discuss and apply the elements and principles of design. • evaluate and modify their composition to seek balance and unity.

NATIONAL ART STANDARDS

• • • •

CREATE: Generate and conceptualize artistic ideas and work. PRESENT: Develop and refine artistic work for presentation. RESPOND: Perceive and analyze artistic work. CONNECT: Synthesize and relate knowledge and personal experiences to make art.

MATERIALS

• • •

Magazine images Scissors, glue sticks Copier paper

• •

Canvas or bristol board Acrylic paint, paintbrushes, water containers.

Go to artsandactivities.com and click on this button for resources related to this article. 17

Andrea. Clockwise from above: underpainting, collage, final artwork.

will require a preliminary “sketch” comprising colors, textures and images torn or cut from magazine pages and glued to a sheet of paper to create a collage. This collage will serve as the rough draft and visual reference for creating the abstract painting on canvas. FIRST, INSPIRE STUDENTS by showing them Prof. Cogswell’s video (youtu. be/vG9MSAfOK7g). Because my highschool students are at an introductory level, I amended the process described in the video to provide more direction for students who lack painting experience. Students establish a color scheme as they go about the task of tearing out images from magazines. They sort and organize them according to the shapes and textures that inspire them. Usually, a focal point emerges as they hone in on their creative destination. After a period or two of creative decision-making, a bona fide collage emerges. To give the painting an added sense of meaning, students define a broad symbolic theme or mood they wish to invoke, such as “fluid,” “broken” or “summer garden.” The method of defining a theme is a circular process. Students consider various options as their collage evolves, which in turn requires them to think about how art makes them feel. WE USE CANVAS BOARD for our painting, and acrylics allow

students to easily paint over areas they are not pleased with. Students apply a background color to the entire canvas before using a pencil to lightly sketch in any simple lines or shapes that will help them begin building a composition. Underpainting is a process that is usually unknown to students, thus providing instant intrigue. I show them examples of abstract paintings that demonstrate the use of under-color to promote a sense of warmth, coolness, value range, etc. They realize acrylic paint is very forgiving 18

because its opacity allows the artist to cover up any part of their painting they wish to reinvent. In fact, their painting gets better with each new layer of paint that is added. When students discover their mistakes will lend more character to their painting, they relinquish their fear of failure. The painting process usually takes about 8 to 10 hours of class time, during which students will invent, reinvent, explore, discover, fail and succeed many times. At first, the collage will dictate what the painting should look like, but eventually the painting takes on a life of its own and dictates what needs to be done to make it balanced and complete. Some students will vehemently adhere to their collage design and others will focus on selected textures and shapes. In the end, students will undoubtedly experience a sense of confidence that comes from following their inner voice on an exploration from the unknown to the known. They cannot fail. They are the captains of their own creativity. n Debbi Bovio teaches art at Adams High School in Rochester Hills, Michigan. Visit her blog at theskillfulbee.blogspot.com a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

A&A Art Print: Respond and Connect Frederic Edwin Church. Aurora Borealis, 1865.

“I inaugurated the New Studio—it is perfect. Filled with enthusiasm I attacked my first canvas and an Iceberg scene is the result, the best I think I ever painted and the truest." Frederic Edwin Church, 1891

MAIN VISUAL ART CONCEPTS: Color • Value • Movement • Reflection • Allegory • Romanticism • Luminism

•

ASTRONOMY: Scientists began to officially record solar “weather” activity in 1755. The number and intensity of auroras is affected by the number of sunspots occurring on the surface of the sun. In 1859 a huge solar event caused auroras to be seen as far south as Rome and Hawaii. Astronomers say that sunspots (which indicate highly charged particles being pushed out by the sun) occur in cycles of about 11 years. By that calculation, the next opportunity for viewing the best auroras will be in 2024.

•

• •

•

LUMINISM: Artists in the luminist genre—an American landscape painting style of the mid-19th century— tried to eliminate brush strokes and placed emphasis on light coming from multiple directions so that detail in every part of the painting could be very closely observed.

EXPLORATION AND DOCUMENTATION: Dr. Isaac I. Hayes (1832–1881) wanted to discover open seas around the North Pole. It is his schooner, “United States,” depicted in the foreground of Church’s painting. It is also Hayes’ dog sled team in the foreground. The mountain depicted by Church is based on a sketch by Dr. Hayes. This piece is rare in that Church did not observe the scene directly, but based it on Hayes’ descriptions and/or works of art. Nevertheless, in 1860— five years before he completed Aurora Borealis—Church did sketch an aurora he observed in Bar Harbor, Maine. Some of the elements from his earlier sketch, especially the shape of the aurora, are evident in this piece.

ENGLISH LANGUAGE ARTS: News can also be colorful storytelling. On Sept. 9, 1859, in response to the presence of auroras in New Orleans, a reporter for the Daily Picayune wrote, ”Singular as it may appear, a gentleman actually killed three birds with a gun yesterday morning about 1 o’clock, a circumstance which perhaps never had its like before. The birds were killed while the beautiful aurora borealis was at its height, and being a very early species—larks—were, no doubt, deceived by the bright appearance of everything, and came forth innocently, supposing it was day.”

PHILOSOPHY: While Church’s teacher, Thomas Cole (English-born American; 1801–1848), was a proponent of allegorical painting (paintings that include images that symbolize or represent the human condition, spiritual, or moral ideas), Church tended to depict the sheer beauty of nature, which often spoke for itself.

PHYSICS AND CHEMISTRY: Colorful lights are visible in the night sky when electrically charged particles from solar winds enter Earth’s atmosphere and interact with gases between 60 and 180 miles above the earth. In the Arctic Circle (the North Pole), the phenomenon is known as “aurora borealis” or the “northern lights,” while in the Antarctic Circle (South Pole), it is called “aurora australis” or the “southern lights.” Different gasses at different altitudes in the atmosphere cause the colors of auroras. For example, oxygen at high altitudes (180 miles) may produce a red aurora, while at lower altitudes (60 miles) the aurora will appear green.

•

AMERICAN HISTORY: This piece was completed in 1865, the same year the American Civil War ended. While the war was a dark tragedy, with so many lives lost, some believe the painting seems to have a celebratory tone. Is Church’s Aurora Borealis a symbol for what some view as the positive outcome of the Union victory, or does it symbolize the great toll on human life exacted by the Civil War? It has also been suggested that the dark tone could reflect Church’s grief over the deaths of his first two children (diphtheria) in March of 1865, about one month before he completed this painting.

Wherever you see this symbol, it means there are resources related to this article available online. Visit artsandactivities.com and click on this button to explore these topics further. www.ar tsandactivities.com

84 Y E A R S •

april 2017

APRIL 2017 Frederic Edwin Church (American; 1826-1900). Aurora Borealis, 1865. Oil on canvas; 56" x 83.5". Smithsonian American Art Museum, Washington, D.C. Gift of Eleanor Blodgett. Public domain.

In the Studio: Create and Present

photos by james studarus, santa barbara, california.

Annotations and lessons on these pages by Tara Cady Sartorius, Program Director, Alabama Alliance for Arts Education

JAMES STUDARUS CHASES AURORAS! To capture these photographs, he traveled in September 2016 to Northern Canada: Tombstone Territorial Park (above) and Yellowknife (right). Studarus says the two photographs on the right were “taken seconds apart” to form a full panorama of reflections in Great Slave Lake, located in the Northern Territories, Canada.

TWO DIFFERENT TEACHERS working with two different grade levels have created age-appropriate lessons for their students. While the images have some similarities (use of dark papers, smudging of pastels, and depiction of mountains), they also break down some of the basics. Both teachers introduced their lessons with discussions about the science behind auroras, and both showed photographs for inspiration.

GRADES 7–12

GRADES K–6 THE FIFTH-GRADE STUDENTS of

Gretchen Bjornson at St. Francis De Sales School in Newark, Ohio, first practiced their aurora borealis– making techniques, then worked with pastels on dark blue paper. According to Gretchen, “We discussed why cer tain colors appear and why it can primarily be seen in cer tain areas of the world.” The fifth-graders used torn or cut black construction paper to create landscape silhouettes.

Art by high-school students at Perry High School in Perry, New York.

THE HIGH-SCHOOL STUDENTS of Mandy Mignano at Perry High School in Perry, New York, applied more advanced drawing skills to their work. They focused on analogous colors and movement. According to Mignano, “Our goal was to evoke a feeling of wonder from the viewer” from the point of view of “standing in the snow, watching a light show of color.” The high-school students drew their imagined landscapes with white pastel, and some included reflections of their auroras.

Art by fifth-grade students at St. Francis De Sales School in Newark, Ohio.

NATIONAL ART STANDARDS: Grades K–6 CREATE: Combine ideas to generate an innovative idea for art making.

NATIONAL ART STANDARDS: Grades 7–12 RESPOND: Analyze how one’s understanding of the world is affected by

experiencing visual imagery.

How to use the A&A Monthly Art Print: Carefully unbend the staples at the center of the magazine, pull the print up and out of the magazine. Rebend staples to keep magazine intact. Laminate the pulled-out section and use it as a resource in your art room. — Editor

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

hat’s fascinating about art is not just what you can create, it is the inspiration you obtain. In elementary school I was introduced to various artists, mediums and styles through a volunteer program. I began acquiring a passion and dedication to art as I was exposed to these techniques by my teachers and participation in summer classes. They inspired me, and continue to, as I find a style that expresses me as an individual. Inspiration may come easily, but when it’s there you should strive to be your best whether it be through art or a different aspiration.

Caroline Gendron Haines Middle School St. Charles, Illinois Laurie Wennemar, Art Teacher

Pendant. Glass; 1.5" x 1.5". Painted silk hoop; 10" x 10".

“Aurora Borealis.” Mixed media, acrylic and watercolor; 15" x 11".

“Octahedrons.” Modular origami paper; 6" x 2" (each).

ARTIST

“Birdwatching.” Acrylic; 18" x 12". www.ar tsandactivities.com

“Calla Lilies.” Acrylic; 8" x 10".

84 Y E A R S •

april 2017

Canyon. Ocean.

> >

to include in their landscape art projects. Since they will be creating their own torn paper stencils, encourage large silhouette shapes, without too much detail. Some students might like to create a rough sketch or plan before painting. Next, demonstrate for students how to operate the airbrush to begin painting. Show them the different effects possible when moving the airbrush: • quickly vs. slowly • in large sweeping motions vs. small bursts of air • close to the canvas vs. farther from the canvas

by Amy Anderson

ave your upper-elementary students ever painted with an airbrush? Maybe it’s a new tool to you, too! Airbrush painting is a novel and exciting way to experiment with color, layering, and composition. These colorful layered landscapes are a perfect beginner project for experimenting with an airbrush. Each student makes and modifies a torn paper stencil as they paint, creating a 24

vibrant landscape painting that is definitely frame-worthy! BEGIN BY SHOWING STUDENTS pho-

tographs of various landscapes—especially those with distinct levels or layers. Ask them, which areas are darker and saturated? Which areas are muted, blurry, or faded? As a group, brainstorm landform shapes that the students might want

PROCEDURE A good way to start is by airbrushing a portion of the sky at the top of the canvas panel. This is especially helpful with darker sky colors, to avoid too much overspray on the rest of the landscape. Tear a small strip off the construction-paper “stencil” to create the first landform stencil. Position the large piece of paper near the bottom of the canvas panel, torn edge facing the bottom of the canvas, leaving only the part to be painted exposed. Holding the paper stencil firmly with one hand, apply paint with the airbrush and fill in the first layer. Tear another strip off the construction paper, creating a new torn edge stencil. Slide a new paint color onto the

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

LEARNING OBJECTIVES

NATIONAL ART STANDARDS

Upper-elementary students will … • learn basic airbrush painting techniques design their own stencils for a balanced composition. • experiment with color value and layering to create depth.

•

CREATING: Experiment and develop skills in multiple art-making techniques and approaches through practice. • CREATING: Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.

MATERIALS

• • •

8" x 10" canvas panels 9" x 12" construction paper (any color) Airbrush and accoutrements (we used the AirBrainz™ Airbrush Kit) • Airbrush propellant • Quarter-ounce bottles of acrylic paints in various colors

1. Start by airbrushing a portion of the sky at the top of the canvas panel.

2. Tear a small strip off the constructionpaper “stencil” to create the first landform stencil.

Mountains.

airbrush, and paint the next layer. You will probably get a bit of overspray on your previous layer, which just adds more detail and interest to your finished piece! Continue tearing the paper, creating new stencils for the various landscape layers. Airbrush each area, var ying the intensity of color as you go. Four or five layers are about right for this project. Without a stencil, fill in the remaining sky area with one or more colors. Start with a light coat of paint, addwww.ar tsandactivities.com

ing more layers until you achieve the desired color. Let dry completely and put up a display! A final word: As your students experiment with their airbrush techniques, remind them to embrace imperfections in their artwork. The spatters of paint, fingerprints, and overspray are part of each painting’s unique beauty. n Based in Loomis, California, Amy Anderson, M.A.Ed., blogs about early childhood education, art activities, and parenting. Visit: lets-explore.net.

84 Y E A R S •

april 2017

3. Continue tearing the paper, creating new stencils for the various landscape layers. Airbrush each area, varying the intensity of color as you go.

4. Without a stencil, fill in the remaining sky area with one or more colors. Start with a light coat of paint, adding more layers until you achieve the desired color.

The An Adve by Sandi Pippin

LEARNING OBJECTIVES

piral staircases are fascinating. Some are solid and others have openings between each step. There are different kinds—all of them intriguing. I knew my Art II students would feel the same way about them. To begin the lesson, I showed my students a PowerPoint presentation I had prepared, which showed 15 unique spiral staircases. Afterward, using pencil, they had 20 minutes to record in their sketchbooks the staircases they saw. I encouraged them to draw large. They selected three of their best staircases, then retraced them with a black permanent marker. This was so the drawing could be seen on the front side as well as the back of the paper. Once finished with this step, the students applied gesso on their canvas boards and set them aside to dry. Students then cut these out and 26

composed an arrangement, with one side of each staircase touching the edges of their 12" x 16" paper. The images could be used right side up, upside down, flopped, front or back, appear in duplicate, triplicate and/or as mirror images, and so on. They were to create total compositions, with visual movement throughout. If necessary, they could use partial staircases to achieve this movement. Students chose their color schemes from complementary, monochromatic, analogous, triadic or split complementary colors. The students played with their color schemes using colored pencils on their drawings. They were encouraged to balance asymmetrically with color, and to include gradations of color in their compositions if they wished. TIME TO PAINT Each student received

lidded plastic containers of white,

High-school students will … • become familiar with contemporary and historical examples of hard-edge painting. • use spiral staircases as a unit of design for a painting. • use perspective to make drawings. • become familiar with aspects of a great total composition. • be familiar with technique to achieve a hard edge on a painting. • choose a color scheme to best suit the total composition based on the color wheel. • mix tints and shades of colors.

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

•

• • •

Sketchbooks, 12" x 16" drawing paper, 12" x 16" canvas board Pencils, fine-point permanent markers, colored pencils (we used Prismacolor®) Painter’s tape (blue is preferred), scissors Gesso, sponge brushes Matte medium, acrylic paint, paintbrushes

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

nture in Hard-Edge Painting black, matte medium, plus empty containers for mixing their basic colors. Zip-lock baggies were also handed out in which to keep their paint, and rolls of painterâ&#x20AC;&#x2122;s tape. The students liked the portability of their materials, as many of them chose to work on their paintings at home, as well as in the classroom. Go to artsandactivities.com and click on this button for resources related to this article.

The students started by carefully taping the edges of the stairs that bordered the background, then applied the first coat of matte medium. After this was dry, they painted their backgrounds with color. I encouraged them to paint light colors first, followed by darker. The stairs were bordered with tape each time a new color was introduced. Matte medium helped keep the edges straight. While not a requirement, some students opted not to use the

matte medium for the colors applied after their backgrounds were finished. Each composition created its own mood with its own particular color scheme. The students learned much from this project about composition, color and hard-edge painting. n Now retired, Sandi Pippin taught art for 38 years. This project was done with her students at Langham Creek High School in Houston, Texas.

Each composition created its own mood with its own particular color scheme.

www.ar tsandactivities.com

84 Y E A R S â&#x20AC;˘

april 2017

The

Lawrence

Tree First-Graders Meet Georgia O’Keeffe

TO BEGIN THIS LESSON, I showed the children a picture of Georgia O’Keeffe and read to them, Getting to Know the World’s Greatest Artists: Georgia O’Keeffe, by Mike Venezia. This is one of my favorite books about O’Keeffe for students at this age. On a bulletin board, I posted a variety of pictures of her work—many acquired from calendars over the years. Students had the opportunity to examine the artworks. Organic or “free-form” shape was discussed. Students were already familiar with geometric shapes, so we discussed how the two differed. 28

Jordan Sarah

or many years, I have created art lessons that focused on Georgia O’Keeffe’s paintings of flowers and skulls. Looking for something different, I came upon her painting, The Lawrence Tree (1929). It struck me as perfect for introducing my firstgraders to the artist.

by Suzanne Dionne

We also talked about the style of the artist: the colors, shapes, sizes and subjects. I told them how O’Keeffe wanted people to notice small details, so she painted small objects large. Students often remark about loving the bright, bold colors. Next, we observed a picture of the artist’s painting The Lawrence Tree (1929) as I posed several questions: What time is it? How do you know? Why is the painting upside down? Why do you think O’Keeffe titled her painting The Lawrence Tree?

MATERIALS

• • • • •

12" x 12" heavy white paper or oaktag Pencils, erasers Art prints, books, etc. Paper plates Tempera paint (black, blue, brown, white), brushes, applicator sticks

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

IF YOU HAVE INTERNET ACCESS, you

could show students a YouTube video, called “Georgia O’Keeffe, The Lawrence Tree, 1929” (youtu.be/wQq2xOs2BYU). It is only a few minutes long and was filmed at the Wadsworth Atheneum Museum of Art in Hartford, Conn.

Later, we had a discussion about how museums are special places to view ar tworks. I also showed them, on a map, where the museum is located. It is only 40 minutes away from our school. The Lawrence Tree is actually a ponderosa pine. Georgia O’Keeffe painted it during the summer in New Mexico. The tree is viewed from the base of the trunk and the branches reach out across a starry night sky. The “Lawrence” in the painting’s title is author D.H. LawJulissa

Ahmed

rence, who had a ranch near Taos, New Mexico, where O’Keeffe would visit. In her words: “ ...There was a long weathered carpenter’s bench under the tall tree in front of the little old house that Lawrence had lived in there. I often lay on that bench looking up into the tree...past the trunk and up into the branches. It was particularly fine at night with the stars above the tree.” Lawrence wrote, “The big pine tree in front of the house, standing still and unconcerned and alive…the overshadowing tree whose green top one never looks at ...” The painting can be viewed at the Wadsworth Atheneum Museum of Art. O’Keeffe stated that the tree should “stand on its head,” and that is the way it is displayed at the museum. Using the Smart Board and projector, I demonstrated sketching the tree trunk, in pencil. We noted how the base was wider and then became smaller toward the top. We drew the trunk from the bottom right corner diagonally and then added branches. Students were encouraged to make the branches on their own. Lines were drawn ver y softly, so they could be easily erased. It did not take long to do the rough sketch. Some curvy lines were drawn for the outline of the pine needles— like small cloud shapes around the branches. Students were reminded to fill the space so the tree would appear to spread out. DURING THE SECOND ART CLASS, we

NATIONAL ART STANDARDS

LEARNING OBJECTIVES Primary-level students will … • gain knowledge of the elements of design. • examine the artistic work of others. • participate in discussion of various artistic works of others. • become aware of art-related resources outside the classroom. • learn about Georgia O’Keeffe and her artworks. • create a painting in the style of artist, Georgia O’Keeffe. www.ar tsandactivities.com

•

CREATE: Use observation and investigation in preparation for making a work of art. • CREATE: Explore uses of materials and tools to create works of art or design. • CONNECT: Understand that people from different places and times have made art for a variety of reasons.

84 Y E A R S •

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

april 2017

began to paint. Brown tempera was already poured onto large paper plates, which served as palettes (one of our artcurriculum vocabulary terms for first grade). The tree trunk and branches were painted with small-tipped brushes. Blue paint was used for the sky. Black was carefully applied for the pine needles. For the finishing touch, we used white paint and applicator sticks to dot the stars onto the blue sky. Students were pleased with their final artworks. This was an easy painting, even for students whose fine motor skills were developing. n Suzanne Dionne is a visual art teacher at Rotella Interdistrict Magnet School in Waterbury, Connecticut. 29

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

Clay Tips from the Gamble Studio

Tracy Payne Gamble and David L. Gamble share a renovated church studio and home in Plainfield, Indiana. They have 50 years of experience between them, and teach clay workshops throughout the country.

Image Transfer Part II by Tracy Payne Gamble

n the Feb. 2017 “Clay Tips” on Image Transfer, I described two ways to transfer decoration, which was created on newsprint, onto clay: One was to transfer it onto leatherhard clay, and the other was to transfer it onto bisque-fired clay. This time, we will transfer the decoration onto a fresh slab of clay, which will then be used to handbuild a vessel. But first, let’s review how to prepare for the decoration for image transfer. 1

Photos by David L. Gamble.

PREPARING DECORATION FOR TRANSFER

1. On newsprint or tissue paper, use an underglaze applicator with black underglaze for the foreground detail. This is what I like to do, though there are many ways to do this. Let dry. 2. Brush on some color. Let dry. 3. Then brush on the background color over all the design and a bit past the design. I like to use a fan brush and gently put on one coat of the background color. Let dry. 4. Roll your slab of clay.

ANOTHER WAY TO TRANSFER

5. Place newsprint, underglaze side down, on freshly rolled slab. Smooth with rubber rib, no water or sponge needed to transfer image. Smooth gently and slowly over entire image to transfer. 6. Slowly peel newsprint up and off of slab, or leave newsprint on while handbuilding desired vessel to protect the image. 7. Form and complete handbuilt vase or cup or vessel, remove newsprint gently and slow dry vessel completely until bone dry, bisque fire and then glaze piece with a clear glaze and final fire. 5

Photos by Heather Tinnaro.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

Paragon introduces a new touch screen controller

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

The Sentinel is optional on most digital Paragon kilns. The Sentinel can replace the Sentry 12-key controller in minutes on existing Paragon kilns. Continuous voltage and amperage readout

New Paragon kilns equipped with the Sentinel give a continuous amperage and circuit voltage readout during firings. You will know at a glance if the voltage drops and when to replace elements. Easy-to-use touch screen

Easy-to-follow screen descriptions simplify programming. Give a title to each custom program. Use up to 32 segments per program. The novice mode is ingeniously simple, with questions that help you program each step. WiFi updates

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

www.ar tsandactivities.com

84 Y E A R S â&#x20AC;˘

april 2017

Paragon tested the Sentinel Smart Touch controller under grueling conditions for months before releasing it.

are available even from distant lands like Australia. Easy on your budget

For more details on the exciting Sentinel Smart Touch, please visit our website or call 800-876-4328. The controller youâ&#x20AC;&#x2122;ve dreamed of costs a lot less than you dreamed.

2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 www.paragonweb.com info@paragonweb.com

THE ORIGINAL

KiSS-OFF Stain Remover

media reviews

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

Kiss-Off® Stain Remover removes stains on the spot. It is unique because it needs just water to remove tough stains. Its convenient size makes it handy to take along anywhere a stain might find you. Kiss-Off® Removes: •Wet and Dry Oil Paint •Lipstick •Tempera Paint •Pencil Marks •Make-Up •Baby Spots •Wine •Grass Stains •Blood •Coffee •Pet Stains •Grease •Mystery Stains ...and More! Works on: •Fabrics •Carpets •Car Interiors •Rubber Stamps ...and More!

MADE IN THE USA

you ... ore away f e B it Off! w sthrory Kis t

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

WATERCOLOR PAINTING: Expert Answers to the Questions Every Artist Asks, by George James. Barron’s Educational Series, Inc., $16.99. There’s a Chinese expression describing the painter who believes in “the song of the brush.” Watercolor painting has been practiced in the Orient since 300 B. C., but it still has the reputation of being difficult, at least in some circles. “It’s hard to correct mistakes,” people say, or “You have to plan ahead and work from the lightest to the darkest colors.” George James raises important questions in Watercolor Painting, such as “Which abstract artists would be good to study?” and “How do I paint trees and foliage?” With stepby-step instruction, he covers techniques both basic and more advanced. From equipment, workspace, color, and composition in the beginning to the final chapter (how to show off the finished painting), the author is nothing if not thorough. Artists’ tips are sprinkled throughout the book, and a helpful glossary is incorporated into the back matter. The chapter titled “Special Techniques” includes, besides the usual methods, such practices as backruns, poured color, and using dishwashing liquid or ox gall liquid as a wetting agent

The paperback is a stout 224 pages packed into a relatively small format. Despite its dimensions, this reference book is detailed and complete, although the illustrations are small. Barron’s has used a sturdy cover, “Flexibinding,” that should hold up well. The book is not only a good resource for beginners but also would be useful to art educators and artists with some painting experience. Barron’s catalog has six other books in its Art Answers series at the time of this writing. George James is an expert who endeavors to advise, clarify, and help artists understand the intricacies of watercolor painting. As a member of the American Watercolor Society and the National Watercolor Society, he’s certainly qualified to do so.–P.G. CHINESE BRUSH PAINTING: 36 Beautiful Flowers and How to Paint Them, by Joan Lok. Barron’s Educational Series, Inc.; $21.99. The author of this user-friendly paperback imparts key background information on the five distinct styles, Chinese signatures, types of seals, and inscription formats. Ms. Lok is highly qualified to write and illustrate her lovely book. Nearly every page features an array of splendid botanicals. Adults and high school students alike will enjoy the clear directions and easily executed steps. In addition to guidance in choosing papers, brushes, inks and colors, Lok lays out basic brushwork with both the right and left hand. What’s more, she doesn’t stop at leaves, stems, branches, and blossoms. Instructions for painting a bird and an insect are thrown into the mix. A two-page directory of thumbnail images is an attractive preface to the numerous how-to sequences. The book is a good choice for enthusiasts and educators alike.–P.G.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

shop talk

JACK RICHESON & CO. The multifunctional Best Rio Grande Easel, from Jack Richeson & Co., is appropriate for beginning or intermediate artists. It supports canvases up to 48 inches tall, and adjusts quickly on a sturdy quad base to a variety of settings for sitting and standing. The middle canvas tray is perfect for smaller works. Rio Grande is a good choice for painters who share space. The upper frame jackknifes into the lower frame, and the easel folds flat for storage.

SARGENT ART The “Fun with Watercolors” Children’s Art & Activity Kit from Sargent Art includes products that have been specially grouped to meet the needs of the aspiring artist. Included are washable Liquid Watercolors, spray bottles, 12 Pipettes, a 10-well round palette, five all-purpose brushes, white crayons and a 50-sheet sketchbook. Safe and nontoxic, these products conform to ASTM D 4236.

BLICK ART MATERIALS Help keep clothes clean with Blick Children’s Aprons. The colorful polyester cotton/twill aprons are screen printed with the “Kids Pick Blick” logo. For small children, the aprons are 14 inches wide and measure 18 inches from top to bottom. The neck opening is 7 inches and each side tie is 18 inches long.

www.sargentart.com

www.dickblick.com

www.richesonart.com

2/7/2017 Drying/Storage Racks SIZE: 2.25”W x 1”H COLOR: 4C PUBLICATION: Arts & Activities

JACQUARD PRODUCTS Children and adults alike—no matter what their skill level—will have great results with Jacquard’s new “Magic Touch” Silk Painting Class Pack. Magic Touch is cardboard panel with paperbacked silk permanently adhered to the surface. It is a prepared silk surface, which allows artists to experience the joys of silk painting without needing to stretch, prep or handle fabric in any way. It makes silk painting easy and accessible to everyone.

Drying/Storage Racks Over 50 types & sizes Sold through most school distributors

773.777.7100 • sales@awt-gpi.com www.awt-gpi.com

www.jacquardproducts.com www.ar tsandactivities.com

84 Y E A R S •

april 2017

Visit our website and find even more inspiration ... Fu n k y Frog World

student work.

species are a that many 200 on their frogs, is the fact approximately a matt finish least of which g to experts,renaissance available. those wishing since 1980. RECYCLING Accordin zes was also applied. For disappeared endangered. diluted acrylic of undergla aware of completely were well frogs have similar selection using watercolor and/or paint remained species of my students ns could as the n populatio science studies, A third option, ated. As long l texture s From their in amphibia LEARNING OBJECTIVES also demonstr the wonderfu this decline planet’s ecosystem paint, was many layers, nces to the the fact that Lower-elementary students applied in le conseque will… uncompromised. of their frog thin and was lead to irreversib • learn to see the art-making possibilities in everyday the eyes surface remained an of the clay to glaze only • be able to repurpose objects into finished pieces objects and to humans. produced a Powerstudents chose color, which rst viewed by Tammie Some fi • learn and participate in the papermaking process.of artwork. matt Clark class with of the rest WOrK, the • create a sculpture. different kinds and finished of ideas BeFOre sTarTING that profiled many colors and lar fusion visual effect. ion a spectacu frog interesting g the shapes, Point presentat frogs were whimsical large bullam aexaminin collector oftree Gilhooly’s oddfrogs spent time itemsto(hoarder, some say); The resulting place— NATIONAL ART STANDARDS I see oks, frogs, then THeand by David POsT own with the smallest d potential made from one art projectsinintheir by nature BIrD-HOUse their was special the sketchbo ■ folded sheet most mundane objects inspired frogs had (trash, students’ yet another problematic area of drawings textures associatesomeseveral • CREATING: Conceiving and developing new artistic which was scrunched into a tube-like the process. The of newspaper, made say). So, when ideas and work. shape show. universe. some clay.a friend told me about PRESENTING: birdhouse and art • the I then Interpreting our from frogs. Students ideas attached on folded and sharing artistic work. for the posts to the cartons with hot in half. This double thickness she saw in a craft the frog forms their hands glue. Stumagazine, at helped add I knew I could pond, created dent volunteers helped by holding e to create before getting birdhouse before a develop a strength to the posts.e Arts and Technology, the posts in the glue until project for their sculptures pinch techniqu and an out my students. nt Head–Fin it set. Each student was then given We used a Beginning Canada, at the Ontario, hollowing fold, students To kick his or her milk carton, things off, I asked students to rinse Irv Osterer is Departme clay, tightly wrapped masking e MATERIALS which they held upside down—to in Ottawa, tape around white stonewar their milk their posts, pulling and scrunching the kiln. from lunch shown a vari- out and save prevent any glue dripping High School were(I also collected some in the newsbe placed in cartons • Milk cartons ing Editor. extras paper on them—until it dried completely they could for additional • Newspapers, foam board a shiny Merivale firing, students Contribut forbisque strength. They wrapped the tape the “unexpected”). wantedmy For materials, rst • White drawing paper & Activities about second- Arts and thirdor cardboard After the fi graders es. For those who Students then used acrylic paint half way down so it resembled to cover the posts, being would use these and carefully • Double-stick, masking and techniqu a crude feather half-pint chosen milk cartons, • Hot-glue gun and glue sure to paint a bit of the fanned-out ety of finishingnewspaper, duster when finished. The biggest glazes were duct tape portion at the base as • Acrylic paint, watercolors, brushes challenge appropriate masking tape and foam board to create well. Watercolor was used to paint • Wool felts, towels, sponges finish, the students had with post-making decorative birdhouses. the paper-wrapped carDeckles/molds, drying screens • was wrapping • Green paper scraps tons. Short pieces of drinking straws the masking tape tight enough. • Blender, dish tubs Instead of using papier-mâché were hot-glued to the to cover the • Clothespins birdhouses to serve as perches, • Straws, black circles Students then pulled and fanned cartons, I precut 10" x 4.75" and black paper-punched white drawing out the OBJECTIVES circles glued above became the loose newspaper so the bottoms paper, which we would wrap around entry “holes.” LEARNING of their the car... posts would lay as closely as possible Birdhouses prior tons, creating smooth, blank canvases. students will d WITH ART to the High school of endangere to painting. ERED SPECIES base. I told them if it wiggled like TO MaKe THe “Grass” to more aware To do this, each student completely to participate ENDANG cover a joystick, are invited • become focusing on frogs. opened SAVING their students 10th annual it wouldn’t hold the milk carton the bases, we cleaned out my scraphis or her carton’s top, then placed apply color species, part of the teachers and up correctly. clay frogs, a length of The pulp was an integral high school and create They placed the fanned-out newspaper paper box of all the green, and made double-sided tape vertically along middle- and Art Contest, • Design , glaze or paint. May 15, 2015. of the Elementary, the center poured into a tub on Species Youth celebrated with underglaze is a celebration Endangered their foam board, securing their of one of the sides. One edge paper. My students were amazed to which will be Species Day in the Saving of the white of water and a d Species Day, Endangered with an opportunity RDS post to the base with paper was then laid on the tape, at the process. The green paper national Endangere by the U.S. Congress, provides K–12 students contrast through artwork. deckle and mold ART STANDA LEARNING OBJECTIVES the natural and support Started in 2006 wild places. The contest four strips of maskNATIONAL then wrapped around the was torn into small bits, soaked knowledge schooled and Employing stuImagitheirhis developing elementary students and colors, horses.who were both dipped and cool are home express and with wildlife done also warm and had are between will ... nation’s : Conceiving ing tape. species Children milk carton (be sure they in water and made into a pulp in Shields d Marc by Sue endangere • learn about Impressionism, to use in youth groups reserved. also be drawn on illustrated • CREATING underneath the and work. All rights could which color ideas family learn about patterns who participate their art. Claude Monet and explored Jenkins and native dents chose Species Coalition. sharing It worked best crease the paper at the a blender (about two thirds water new artistic and • learn to see the simple Vincent van Gogh. use y fifth-grade students unique 2001). Photographs courtesy of the Endangered which to water’s Interpreting G:and surface shapes in the objects to add creative, eligible to submit cool col- (Candlewick, for their•chameleons, PRESENTIN • understand good composition. for the masking corners). being drawn. to one-third paper bits).What a at sketching the chameleons Another the world of warm and outlined Learn more and then pulled • be Next, students began g The children then ing and artistic work. introduced to pointillism/stipp ciesday.orfor the backgrounds. tape to be placed Chameleons.” piece of doublefun (and wet) way to recycle! paper, as details. ngeredspe NG: Understand frommeaning. permanent ors by creating “Colorful coming ling and how to straight up, letting the pulp chameleons on white with black,www.enda this method. light sourcethe settle on the deckle/mold shade using right next to the base of arts convey With •theRESPONDI by looking at their stick tape is used create their sketches as the how their pastels We began the activity evaluating water drained. • learn about watercolor about how they could think about what artistic ideas the post, pulling the maskmarkers and began to above, the children sorted techniques and color Blue Horses we talked ING: Relating to secure the loose themes. meaning and Franz Marc’s The Large and impact in their pictures • CONNECT The deckle and mold were flipped to explore. dark and began personalcoloring ing tape tightly across the upside down onto a piece from light to used cool colors emphasis edge of the paper to Franz colors they wanted and work with (1911), to see how he the reptiles large, as of wool felt (I found an old army blanket at the top of their value context. fanned-out newspaper and the lightestexternal and cut it up). A sponge for the back- by drawing the milk carton. values for his horses and warm darker was used to remove more water andNATIONAL around to the bottom of the compress theART reptiles. Progressively how artists STANDARDS fibers. After students ALSway ground. We then discussed The deckle was removed worked their • CreatInG: andConceiving base. It should look like a then theand were added as they MATERI mold. The felts balance, drama, carefully refolded the pastels from new artistic ideas PresentInG: Interpreting developing • top use color to create were then stacked on pencils, oil and work. of one another, wrapped the bodies. Oil s,pastels tic-tac-toe down work. colored and board their the sharing in when in tops a towel finof their artistic work. contrast and beauty and compressed even further to kiln for could be used • Sketchbook family work. ished. If the masking tape is remove more water (I stand the book, opposite color stoneware clay, bodies milk cartons, I Gilhooly’s I then read to the class • White clay tools on the on the towel). The paper was then by artist David small details es, glaze, not rightbynext emphasis•of Underglaz removed from the felts in to and written by Martin secured them at the nature the base of paint 13 drawings acrylic Chameleons are Cool, inspired and and placed several on ideas wished. screens their of did to dry flat. (I acquired old window sea Turtle. the post, it will act like a joystick, if the students top edge students • Watercolor with were a fusion hot getting Kemp’s ridley ks before > screens from a thrift store for this Our frogs sketchboo grade 4, Zaharis their > purpose.)MATERIAL Taylor • Brushes glue, using ariz. clothespins the clay. Hailey Boiarsky, Bryanna I hung the felts •from click on hands on school, Mesa, 9" xa12" Macie clothes-drying y 2015 drawing paperrack and reused ities.com and elementary to hold them closed while > februar Mackenzie and links related ears • • Black, fine-tip Go to artsandactiv them when dry. I made • Heavy 7, ❘ 82 y my9.5" for resources ownx 12.5" deckles watercolor es.com and molds the glue nhardened. Litynski, grade this button from markers permanent ctiviti paper foam meat trays by simply Ocelot. Brenna tsa da led, Maryland. to this article. www.ar a rectangle from don’t mix, and 16-color • the home-schoo cen- watercolor sets • Jumbocutting pencils, tape 2015. Oil and water truly 1, ter of com versatwo . a trays s are e and i duct-taping t fasi pastels v Oil plastic screening to Paintbot• the trays, paintbrushes ndacti RKED BY MarCH this technique in action .artsa each student seeing tom of one tray for the deckle (also BE POSTMA ❘ www ears tile material for children created a unique acquired from the thrift They enjoyed • 82 y ENTRIES MUST y 2015 cinated the students! store screens). The mold dictates februar the shape of the paper, in to use. They offer brilliant and personal the watercolors bead up on watching this case, a rectangle. Both trays and sculpture. are upside down, with the color, blend easily, their chameleons. mold being placed on top of the 12 enjoyed deckle. allow for beautiful valueThe children thoroughly In my test-run, I tried white glue overand craft glue but, in the shading as students pleased and proud this project and were end, hot glue worked best to adhere lap the colors. the “grass” to the bases. were impressed of their results. They The end products were whimsical, turned Once their chamefun, and the colorful the projects students were so proud of their colored, with how were by Sarah Hemendinger leons birdhouses. From the to compliment each or out and were quick other students in the school, we primarily with warm heard, “How come we pieces. other on their finished didn’t get to make those?” I think and warm cool pastels, students of this recycling world effort Exploring the their is worth a repeat! Miranda prepared to paint a great way to experi■ abbey > Nathan the cool colors is families, backgrounds with Mckenzie Kirsten with contrasting color Tammie Clark (NBCT) is an art teacher 24 They wet their ment watercolors at Somerville Road opposite color group. using oil pastels and and Decatur Elementary Schools in may 2015 • 82 years LEARNING OBJECTIVES and sponges in and of conDecatur, Alabama. ❘ www.ar tsandactivities.com the importance papers with water the design principle of www.ar tsandactivi projects with reinforces n ties.com students will… ❘ 82 years • may 2015 filling the paper. Upper-elementary order to complete their through materials. If warm and cool colors watercolor tech- trast, 25 • explore the use of create contrast and their drawings the “wet on wet” are in their artwork to wet paint on the art at too small, it would nique. Applying the Hemendinger teaches balance. in them to explore Sarah be more difficult resist properties of Elementary School wet paper allowed to • experiment with the pastels. by Holly Stanek paints Hopkins Hill watercolor and stipblending the watercolor watercolors and oil think a challenge Coventry, Rhode Island. for teachers is to and dark values ple later on. We develop or find lessons together in a new way. • create light, medium, that are successful also neers who started for using oil pastels. discuss enlarging gives room to challenge all of our students. A lesson that with the artwork of a movement that your most gifted • familiarize themselves a single flower as create an opportunity students as well or Franz Marc. showcased their for all ability levels having several in to have success. This project has a been a staple in unique styles and composition. These my third-grade lum, and I have curricu- ways always felt satisfied of painting. I NATIONAL ART STANDARDS could be the same with the results. past, I approached In the realized that the project thinking applying media, all of type or a group my students would be more successful • Understanding and of if I kept it simple, my simplification techniques and processes. different flowers. with fewer options. I figured, this gave assessing the them less to think was actually creat• Reflecting upon andmerits of their work I suggest changabout, which would lead to better results. characteristics and ing an atmosphere ing the angle of Sunflowers were a and the work of others. that was hindering always the subject between visual arts flower or to show simple shapes, because of their • Making connections and students find my students’ abilities them easy to draw. different stages— and other disciplines. color scheme was to explore their The unique with warm colors in ideas and to be their style and approach. the background from buds to fully opened—to create colors in the foreground, and cool more interest. the freedom they or vice versa. Less We discuss making now have to express flowers different easier, and more to think about, the MATERIALS their individuality. heights and sizes. successful, right? At the start of the WHILe I sTILL The stems could straight, bent over Use MONeT aND project students Then I started be examine a variety VaN GOGH in Marc’s, The Large silk flowers, noting or wavy. Students to think about now emphasize the intro, I of flowers to • Reproduction of Franz the shapes of their the Impressionist might overlap the two artists’ ers such as Vincent create more depth, the petals, their centers, paint- approaches unique styles and the stems and leaves. van Gogh and Claude Blue Horses (1911) or have their flowers fearless to their work. I the paper, letting We then practice featured in the Monet, who are go off make sure students a viewer’s drawing the flowers. introduction to • White 12" x 18" paper is no doubt in know there this project. They markers, oil pastels, They consider whether imagination finish the rest. were pio- to challenge my mind that they can handle what • Pencils, permanent IN THe NeXT their compositions 34 CLass, I DIsPLay I am about them with. They be in of an watercolors flowers outdoor a variety of well-composed will are always quite setting, in a vase flower pictures, water excited about and we talk about inside, a collage, tern, or windblown Morgan • Sponges, brushes, composition. Because a pat17 april 2015 in a specific direction, dents sometimes • 82 y e a r stu- lot to think have a tendency s • Visuals of chameleons and so on. With x www.ar tsandact about, they start to draw small, I a ivities.co emphasize their final drawings. june 2014 m m x 81 y e a r s • (This was www.ar tsa activities.co ndactiviti www.ar tsand es.com see IMPRESS on com x 82 y e a r s • a p r i l ndactivities. page 42 Makayla 2015 x www.ar tsa years j u n e 2 0 1 4 • 81

by Irv Osterer

ago, any years while a student Colat the Ontario in Toronto, lege of Art by a lecture I attended David Gilhooly ceramicist of a product (1943–2013), funk ceramics the California student work. of the 1960s. talk movement a spirited Gilhooly gave “Frog was and his His work he created. about ceramics Queen ceramic universe in her 100th Year as World,” the FrogVictoria s.onlinemac.com/ outstanding—withmy favorites (www.site ria.jpg). (1976), among and joie de ythhisjpg/FrogVicto Gilhooly’s spirit at cchang/fm remembered ceramics course to I have always to teach a in homage I was asked a frog project vivre, so when I had to do knew I our school, meanfrogs are connection, David Gilhooly. not the the Gilhooly of other reasons, Aside from for a number ingful subjects

3. Not sure if your brush is clean enough? Try tickling it on your wrist—if your wrist is still clean, then you can try your next color! 4. Hold your brush just like a pencil, and try to paint with the brush tip; don’t give your brush a bad hair day by pushing on it too hard! 5. Use your little brush for the little bits like your bird’s eyes and wings, and your big brush for the big places. 6. What happens if I rub my brush too hard? Uh-oh! A hole in my paper! 7. Does your paint feel sticky? Add more water. Watercolor means we need to use lots of water! 8. Check your “bath water.” Do you need to change it? Carry it carefully to the sink, pour it out, rinse and refill with cold water so your brush and paints don’t get muddy!

RIZZI

continued from page 15

these Wat erc olo rs make Quite an Imp res sIon

$2 each

Order Individual Articles artsandactivities.com/search

(Includes Postage)

Purchase Back Issues

artsandactivities.com/issues/back-issues

artsandactivities.com 34

OUR ART HELPERS then pass out the

brushes and ... we paint! My students love listening to “quiet painting music” as they focus on their work; they say it makes them feel like REAL artists. As kids finish, I remind them to carry their work “flat as a pancake” to the drying rack and help them slide their work onto the rack. Loading the drying rack starting from the bottom shelf to the top helps everyone see which shelf is ready for the next work of art. To finish our Rizzi project, we began the next class with a review of James Rizzi and his symbols. We then brainstormed more ideas that we could add to the large symbol sheet that we created when we began our project. Students carefully cut out their bird paintings and glued them onto black construction paper. They drew their own symbols on small squares of paper (smiling suns and fish were favorites) and added these along the outside of their paintings to create colorful Rizzi-inspired borders. The students’ finished jazzy Rizzi birds were a successful first-time painting project. The children loved their birds so much, that they gave them cute names! “Pretty Bird” and “Purple Tweety” couldn’t wait to go home with their happy owners. n Josey M. Brouwer, NBCT, is an art specialist at Georgetown Elementary School in Hudsonville, Michigan

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

W WEB CONNECT SPECIAL ADVERTISING SECTION

www.amep.com

BAILEY POTTERY EQUIPMENT

needs: brand-name clay, glazes, pottery wheels, small tools, kilns and so much more.

WEB CONNECT

www.baileypottery.com

BAILEY POTTERY EQUIPMENT

www.dickblick.com >> CHECK US OUT Your one-stop

BLICK ART MATERIALS

shop for all your ceramic needs >>School WE OFFER Big back-to-school at the best prices. savings on art-room and classpurchase orders welcome. room supplies! Visit DickBlick.com/educators

>> WE OFFER Everything a school needs: brand-name clay, glazes, pottery wheels, small tools, kilns and so much more.

www.dickblick.com

>> CHECK US OUT Your one-stop >> WE OFFER Big back-to-schoolshop for all your ceramic needs WOODCRAFTS School savings on art-room and class-at the best prices. DIVERSIFIED purchase orders welcome. room supplies!

>> CHECK US OUT Hundreds of free, fun lesson plans! Visit

www.diversifiedwoodcrafts.com EUCLID'S DickBlick.com/lessonplans

>> WE OFFER Educational Furniture @BlickArtMaterials for 2D and 3D art classrooms @Blick_Art and makerspaces.

>> CHECK US OUT Hundreds of free, fun lesson plans! Visit DickBlick.com/lessonplans

www.diversifiedwoodcrafts.com

@BlickArtMaterials @Blick_Art

>> WE OFFER Educational Furniture for 2D and 3D art classrooms and makerspaces.

www.euclids.com

>> CHECK US OUT View Our >> WE OFFER Top quality, value priced replacement kiln elements Products @ www.diversified and parts. Incredible selection woodcrafts.com/products. of tools for clay.

>> CHECK US OUT Specialized, GET SOCIAL hard-to-find clayworking tools, @divwoodcrafts @diversifiedwood replacement elements, and kiln parts. divwood

L & L KILN

EUCLID'S

>> CHECK US OUT View Our www.euclids.com

GET SOCIAL

>> WE OFFER Kilns designed just for @thepotterysupplyhouse schools; five-year limited warranty.

>> CHECK US OUT School-Master &

Easy-Fire top-loading kilns plus www.northstarequipment.com NORTH STAR EQUIPMENT

www.hotkilns.com/k 12

Hercules front-loading kilns.

www.northstarequipment.com

>> WE OFFER Kilns designed just for schools; five-year limited warranty. >> WE OFFER American made slab

GET SOCIAL

@hotkilns

rollers, extruders, ware carts, drying >> CHECK US OUT School-Master & cabinets & throwing bats - K-12.

quality. Lifetime warranties. Custom extruder & pugmill dies for any GET SOCIAL brand. Get-It-Now shipping.

RENAISSANCE GRAPHIC ARTS

www.skutt.com

quality. Lifetime warranties. Custom extruder & pugmill dies for any brand. Get-It-Now shipping. SKUTT CERAMICS, I www.printmaking-materials.com

>> WE OFFER A full line of @NorthStarEquipmentInc

@NorthStarEquipmentInc

RENAISSANCE GRAPHIC ARTS

rollers, extruders, ware carts, drying cabinets & throwing bats - K-12.

GET SOCIAL

AMICS, INC.

>> WE OFFER American made slab >> CHECK US OUT Dependable

Easy-Fire top-loading kilns plus >> CHECK US OUT Dependable Hercules front-loading kilns. @hotkilns

>> WE OFFER Top quality, value

priced replacement kiln elements and parts. Incredible selection of @divwoodcrafts @diversifiedwood tools for clay. divwood >> CHECK US OUT Specialized, hard-to-find clayworking tools, replacement elements, and www.hotkilns.com/k 12 NORTH STAR EQUI kiln parts.

@thepotterysupplyhouse

AR EQUIPMENT

Products @ www.diversified woodcrafts.com/products. GET SOCIAL

GET SOCIAL

L & L KILN

printmaking equipment, supplies, materials and resources.

www.printmaking-materials.com

>> WE OFFER Kilns, potter‘s wheels

WE OFFER A full line of and the brand-new KilnLink>> cloudbased kiln-monitoring system. printmaking equipment, supplies,

materials and resources.

>> CHECK US OUT Newly designed

website; “I am a teacher” section >> CHECK US OUT New with videos, lesson plans, articles products, free ink charts, and more.

request a free catalog.

GET SOCIAL

@Skutt.Inc

>>INC. CHECK US OUT New SKUTT CERAMICS, www.skutt.com products, free ink charts, request a free catalog.

>> WE OFFER Kilns, potter‘s wheels

and the brand-new KilnLink cloudbased kiln-monitoring system.

>> CHECK US OUT Newly designed website; “I am a teacher” section with videos, lesson plans, articles and more. GET SOCIAL

@Skutt.Inc AAWebCon_2Apr17.indd 35

www.ar tsandactivities.com

www.eu

GET SOCIAL

Visit DickBlick.com/educators

DIVERSIFIED WOODCRAFTS GET SOCIAL

BLICK ART MATERI

>> WE OFFER Everything a school

SPECIAL ADVERTISING SECTION

MATERIALS

www.baileypottery.com

84 Y E A R S • a p r i l 2/6/17 3:31 PM

2017

      

ad index

To receive FREE product news, catalogs and samples from some of our Advertisers, visit Reader Service at www.artsandactivities.com. Once on the Reader Service page, click on the appropriate month, and then click on the companies whose products or services interest you. You will be instantly linked to their websites, where you may obtain more information. If you do not have Internet access, please call (858)605-0248 for more information.

 ADVERTISERS  Company Page Company Page

     

Aardvark Clay & Supplies



Arts & Activities

9, 11, 34

Aves Studio LLC

   AMACO/brent



30 3, 7

Handy Art, Inc. L & L Kiln Mfg., Inc.

11 5

Lightfoot/Cartoon Supplies

Nasco Arts & Crafts

A.W.T. World Trade, Inc.

Paragon Industries, L.P.

Bailey Ceramic Supply

Royalwood Ltd.

Blick Art Materials

Runyan Pottery Supply Inc.

Cress Mfg. Co.

Skutt Ceramic Products

Earth Guild

Spectrum Glazes, Inc.

General Pencil Co.

Testors 9

2 30

WEBSITE SHOWCASE Company Page

Company Page

Bailey Ceramic Supply

L & L Kiln Mfg., Inc.

Blick Art Materials

North Star Equipment

Diversified Woodcrafts

Renaissance Graphic Arts, Inc.

Euclid’s Elements

Skutt Ceramic Products

These companies show their support for art education by advertising in this magazine. Send a message of appreciation ... tell them you saw them in Arts & Activities.

MEDIA REVIEWS/SHOP TALK

artsandactivities.com 36

Company Page

Barron’s Educational Series, Inc.

Jaquard Products

Blick Art Materials

Sargent Art

Jack Richeson & Co.

33 a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

Alexej von Jawlensky (Russian; 1864–1941). Portrait of a Girl, 1909. Oil on cardboard; 36.22" x 26.38". Museum Kunstpalast, Düsseldorf, Germany. Public domain.

STUDY PRINT

tip #3

“Good painting is like good cooking; it can be tasted, but not explained.” — Maurice de Vlaminck

BALANCE IS THE KEY. Students must

pril showers bring May flowers … and April Fool’s Day, World Autism Day, Day of Pink and, of course, Earth Day. This month we focus on painting and composition, and we have some great tips to help you through.

tip #1

WHERE TO START? Explaining to your

students that they need to start with a good subject sounds like something they should know, but some students might have a great idea and subject matter, but not know how to execute it. I always have my students do at least 10 thumbnail sketches so that they will be able to see how their idea will play

understand the difference between positive and negative space. We tend to think that if we have an equal amount of positive and negative space in a painting we will have a balanced painting that is pleasing to the eye. If there is too much negative space the painting the artwork may have the feeling of being too empty, and too much positive space may make it look too busy. But as we know, it is the painter’s decision and intent on how they want the final work to look. One thing I propose to my students when they are stuck on composition is to use patches of cutout colors or shapes. They place them on the painting and see if their composition and color combination work with the other

Start Painting! out. They usually realize after a few sketches what might work and what will not work. I explain to them the lighting, as well as color, texture, lines, and shapes are all important elements. We also talk about scale, including hierarchal scaling and the importance of an object. Once they come up with their final idea (which sometimes changes many times before the final project) they “get it!”

tip #2

HOT OR COLD? As a beginner painter,

we see that our students want to use all the colors on the color wheel. Try having them use either warm or cool colors as a starting point, then have them gradually add small amounts of the opposite colors. This will help the painting to be less confusing for the viewer.

elements. If your students have access to painting computer programs this can be an option as well.

TEACHING

tip #4 TOOLS

FROM

WITHIN.

Thelma Halloran from Lyme-Old Lyme Middle School in Old Lyme, Connecticut, has her students paint a practice color wheel as part of her color theory lessons. She then takes the best examples after grading and laminates them for future classes. Students get excited to know that their work has been selected for use as a teaching tool and the new students have a peer exemplar to reference as they create their own color wheel.

tip #5

CLEAN MACHINE. Don’t we all get ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

annoyed when we think a brush is clean and then we start painting with a light color? Yikes! We see blue streaks in our yellow paint! Mark Phillips from George A. Smith Middle School in Quarryville, Pennsylvania, states that dishwashing detergent makes a great

Glenda L

ubiner

soak for paintbrushes, plus it gets them cleaner than just rinsing alone.

tip #6

VALUE THOSE VALUES. When your

students begin a painting, make sure they understand value. One thing that Emily Deacon from Franklin Academy in Pembroke Pines, Florida, does is discuss the artwork of Florida artist Carrie Ann Baade. She has her students make a very colorful collage on copy paper in the style of Ms. Baade. When they are done, she photocopies them in black and white so that they can start understanding value and color. One good rule is to explain to your students that values should be varied. Students might tr y two-thirds medium value, one-third dark value, and a small amount of high or light value. Students can play around with the percentages of different values on thumbnail sketches. Once photocopied, the students then use construction paper crayons before making their paintings. HAPPY BIRTHDAY to Max Ernst (April 2, 1891), Maurice de Vlaminck (April 4, 1876), Jean-Honoré Fragonard (April 5, 1732), Leonardo da Vinci (April 15, 1452), Joan Miró (April 20, 1893), and Eugene Delacroix (April 26, 1798). Thank you Thelma, Mark, and Emily for your great tips. n

Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an adjunct professor at Broward College.

a p r i l 2 0 1 7 • 84 Y E A R S

www.ar tsandactivities.com

AA1704

Toolbox Plaster Painting Lesson Plan for Grades 5–12

Working on a hardboard panel, pour small batches of plaster onto separate, distinct areas. Apply by pouring, troweling, spooning, or brushing.

Create texture in the plaster by adding inclusions or by applying with toothed scrapers or other tools. Textures can also be impressed when the plaster has set slightly.

Blick Liquid Watercolor customer-rated:      Color the plaster by adding paint into wet plaster, or painting on top of the plaster at any stage.

“Paint” with plaster and tools to create a fresh, new Buon Fresco! Working with wet plaster is a fun and spontaneous act. When small batches of plaster are combined with textural elements and pigments, fresh and unique works of art are the result! DickBlick.com/lessonplans/toolbox-plaster-painting FREE lesson plans and video workshops at DickBlick.com/lessonplans. For students of all ages!

BLICK ®

Alliance for Young Artists Writers

materials for

800•447•8192 DickBlick.com

art education

FREE SHIPPING

on orders of $49 or more! Some exceptions apply. See page 672

Request a FREE catalog! DickBlick.com

2017

800.447.8192

DickBlick.com/requests/bigbook