Arts & Activities Magazine June 2018 by Arts & Activities

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CONTENTS VOLUME 163, N o. 5

J UNE 2 0 1 8

PERFECT FOR JUNE AND SUMMER 12 AIRBRUSHED BUTTERFLY COLLAGES Amy Anderson 14 SUMMERTIME SCULPTURE: SQUEAKY-CLEAN TIKIS Katherine Richards 22 SIMPLE AND SUCCESSFUL CERAMIC WALL HANGINGS Suzanne Dionne CONVERTING FOUND MATERIALS INTO ART 16 RECYCLING RENAISSANCE, IN THE BOX: MIXED-MEDIA PORTRAITS Kerri Waller 18 RECYCLING RENAISSANCE, DRINK TRAYS CAN BE BEAUTIFUL! Anne M. Hoffman 20 RECYCLING RENAISSANCE, LITTLE PEOPLE: SCULPTURE FROM FOUND MATERIALS

Larry Goldade with Kenneth O’Connell

YEARLONG SECONDARY ADVANCED ART SERIES 10 AN AMPED-UP CURRICULUM, ARTICLE 10 OF 10: PERFORMANCE FINAL /

CAPSTONE Debi West

SPECIAL FEATURES AND COLUMNS 6 STEPPING STONES: HOW ART EDUCATORS CAN RECONNECT WITH NATURE Heidi O’Hanley

8 ART IS AT THE CORE: YAYOI KUSAMA Amanda Koonlaba 27 YOUNG ARTIST: JANELL OLIVIERI Suzanne Dionne 46 TRIED & TRUE TIPS FOR ART TEACHERS: IN THE FLOW Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 23 ARTS & ACTIVITIES ART PRINT: GEORGE CALEB BINGHAM, THE JOLLY FLATBOATMEN Tara Cady Sartorius 45 ARTS & ACTIVITIES STUDY PRINT: NYMPHALIS BERNARDUS

28 33 41 42

A&A AT YOUR SERVICE CLAY CORNER 2018 SUMMER BUYER’S GUIDE ADVERTISER INDEX VOLUME 163 INDEX

DEPARTMENTS 4 EDITOR’S NOTE 30 MEDIA REVIEWS 31 SHOP TALK ON THE COVER

SUMMER AT THE BEACH Ceramic hanging plate, 6.5 inches across. By Janell Olivieri, Rotella Interdistrict Magnet School, Waterbury, Connecticut. See “Young Artist,” page 27. SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. AD SALES: (800) 651-7567; amy.tanguay@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128. Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

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16 3

e d i t o r ’s n o t e

The ceramic plate on the cover announces that

It’s time to wrap up the school year and start some art adventures that reflect the change in seasons. Amy Anderson’s “Airbrushed Butterfly Collages” (page 12) could be just the thing an art teacher needs to grab and hold the attention of students anxious for school to end and summer vacation to begin. Or, perhaps “Summertime Sculpture: Squeaky-Clean Tikis” will be the perfect project for art

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

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

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

classes, art clubs, and even summer camp! Check out Katherine Richards’ lesson on page 14.

Thomas von Rosen

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

warmer weather and seaside vacations are ahead! Janell Olivieri, the young artist whose work it is, seems to be telling us “Summer is on its way!”

president

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

What else comes to mind at the end of a school

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

year? Making creative use of leftover and found materials that reveal

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

themselves as possible sparks for a “Recycling Renaissance” in the art

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

room. Kerri Waller did her “happy dance” when she found tall empty boxes,

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

and considered all of the possibilities they presented. She shares one of her related projects with us on page 16: “In the Box: Mixed-Media Portraits.” According to Anne Hoffman, “Drink Trays Can Be Beautiful!”—espe-

Don Masse Heidi O’Hanley

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

cially when elementary-level artists get hold of them! From drab recycled

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

fiber forms to bright and beautiful artworks, it’s astonishing how she and

Debi West Art Teacher, Art Education Consultant, Suwanee, Georgia

her students inspired an entire school to see the beauty in recycled objects! Turn to page 18 to read the story. “Little People: Sculpture from Found Materials” tells the tale of retired art teacher and octogenarian Larry Goldade. According to former student Kenneth O’Connell, “In retirement [Larry] uses throw-away and recycled materials to create these wonderful and playful little sculptures.” The neigh-

ADVERTISING DEPARTMENT

a d v e r t i s i n g m a n a g e r Amy Tanguay

amy.tanguay @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n d i r e c t o r Kevin Lewis p r o d u c t i o n m a n a g e r Tong Ros production @ artsandactivities.com

borhood kids call them “Little People.” Pieces of bark and cloth, as well as driftwood, twisted roots and bottle caps, are fashioned into figures that can

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

evoke strong emotions. Larry has many tips to share on how to make the

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

most of found objects starting on page 20.

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

Summer is on its way, and we know you will find great ideas in this issue for making the most of it. It’s simply a matter of opening one’s eyes to see the possibilities.

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

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

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Stepping Stones 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.

HOW ART EDUCATORS CAN RECONNECT WITH NATURE

BY HEIDI O'HANLEY

his month, teachers are closing up their classrooms, or already enjoying the beginning of summer break. If you’re still in session or out of the classroom, June is a wonderful time to begin reconnecting with the natural elements and be re-inspired to design lessons for the next school year. Summer break is my time to recharge, and the best way to do that is by being outdoors and enjoying nature as often as possible. This month’s theme is natural environments and I’d like to focus on how to use nature to reconnect and be inspired for the next school year.

CONNECT TO EARTH by taking care of your physical

self. We put forth so much extra effort during the school year that it takes a toll on us physically. If you do not keep up with a daily routine, consider stretching exercises. Spend time going outdoors, observing your surroundings. Do some yoga, meditate, or just sit in the shade to relax. Besides exercise, summertime is also when most of us have time to create. If you don’t have space at home, look for a local art studio to have a space for yourself. Practice new techniques or create new pieces from what materials you love to work with. Consider bringing some clay home to create sculptures for yourself, as well as examples for your classroom.

CONNECT TO AIR by exercising your creative think-

ing and imagination. The element of air represents thinking, designing and learning. In the summer months, consider taking your professional development courses to increase your knowledge and experiences. Take time to learn something new. Write down any ideas that come to mind, so when you have time to pursue it, you will not forget the light bulbs that lit up in your brains. Completing professional development will not only help elevate your status where you work, but builds your confidence in what lessons and processes you teach.

CONNECT TO FIRE by igniting your passion for the arts. At the end of the school year, many of our candles are burnt on both ends. It’s not just teaching, but also all the extra activities that happen around this time of year, such as graduations, recitals and more. With feeling worn out, we lose our passion for what we love, which for us, is anything having to do with the arts. Use this time to rekindle your passion. Visit a museum 6

or galler y. Be a student and take an art class. Watch a dance or musical performance. Last summer, I discovered fire dancing, which has become popular as outdoor nighttime performances.

CONNECT TO WATER by recognizing the emotions

CONNECT TO SPIRIT by being yourself and recog-

and feelings you put into your work. Are you feeling burnt out after a challenging school year? It’s okay, you are not the only one! Sadly, criticism of showing outward emotion is real, so we tell ourselves to bottle our sensitivity inside. If you feel this way, use this summer to release your emotions constructively through your work. The more you do for yourself, the better you’ll be for helping others. This is why it is so important to take time for yourself, even if you’re a parent of kids any age. On the flip side, if you have a special place to visit (like a vacation spot), you may find inspiration for your own artwork or lessons you teach just by being in a place that makes you happy! For example, our family cottage is on a large lake. I love to sit on the picnic bench with a watercolor pad and paint the scene I see before me. Just by sitting and painting the nature around me recharges my batteries and helps me to recharge for the next school year.

nizing where your inspiration comes from. One of the great joys of being on social media as an educator is that we have found so many ways to gather ideas and resources to use for our classrooms and curriculum. Ideas are inspiring and help motivate you to design more authentic projects for your students. Connecting with other art teachers has also been important because we’ve developed a community support system. This summer, when you’re planning for the following school year, design lessons that inspire both you and your students. The more excited you are about the materials you teach, the more students will be inspired as well. Be yourself and your work will be authentic too. I wish the best of luck for those who are completing their school years, as well as those who continue to teach throughout the summer. You are all amazing educators and deserve the time to take a step and breathe. I look forward to the amazing works our students will create in the following school year! n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling artteacher.blogspot.com. j u n e 2 0 1 8 • 85 Y E A R S

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LIGHT

For bright, translucent color!

cone 05

TPL-03 Onyx

TPL-05 Quartz

TPL-23 Aquamarine

TPL-27 Zircon

TPL-28 Sapphire

TPL-34 Jasper

TPL-44 Peridot

TPL-45 Emerald

TPL-55 Tanzanite

TPL-59 Ruby

TPL-63 Citrine

TPL-66 Fire Opal

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.

YAYOI KUSAMA

BY AMANDA KOONLABA

ayoi Kusama (b. 1929) is a Japanese artist and writer who moved to the United States in 1957. She became associated with the Pop Art Movement in the 1960s. She is often acknowledged as one of the most important artists to come out of Japan. Below are ideas for integrating Yayoi Kusama’s “Flowers” (1983) with other subjects.

THIRTY-SECOND LOOK. Have students study the work

for thirty seconds only. Then, cover the work. Discuss what they remember and make a class list or chart. Students may remember colors, shapes, subject matter, and more. Once everyone’s memories have been exhausted, uncover the work and add anything that was left out.

MULTIPLICATION REPRESENTATION. Have students

randomly generate or assign to them a number in the range of 50 to 100. Have them find the factors of the number. Then, have them select two factors that can be multiplied together to get the original number to represent in their artwork. They will draw flowers for one of the factors and petals for the other. So, if a student is representing 48, he or she might draw two flowers, each with 24 petals, or he or she might draw six flowers each with eight petals. Let students practice drawing on a scratch sheet of paper first. This will help them prepare for drawing large numbers of petals. They will need to use spatial reasoning to make their flowers and petals fit. Some of the petals might need to overlap. Some of the flowers can stick straight up in the vase and some can hang over the side like Kusama’s. Go to artsandactivities.com and click on this button for resources and links related to this article.

ART-MAKING. Once students have practiced draw-

ing and are comfortable with the process, have them draw their vase and flowers on a large black sheet of construction paper. Remind them to add a horizon line to create the appearance of a wall and tabletop. They can trace pattern blocks for the background pattern and the table pattern. Let them select one pattern block for each and repeat the shape in the space. They should trace first with a pencil. Then, they can go over the pencil lines for the wall with a white crayon, oil pastel, or chalk. They can go over the pencil lines for the table with black. Then, they can color in the shapes on the table, the vase, and the flowers with whatever colors they choose. Construction paper crayons work great for this task.

LIFE CYCLES. Students should understand that the flowers that are picked for vases are the adults of the lifecycle of a plant. They can draw the lifecycle of a plant on a piece of paper and write about it. Display the flowers and vase artwork side-by-side the lifecycles drawing and writing in the hallway. Be sure to put a list of skills with the display to document student learning.

DIGITAL ARTWORK. Have students photograph their

artwork using any device (tablets, smart phones, etc.). Then, use common photo manipulation apps to enhance the artwork. Have them do this three times in three different ways. So, they would manipulate a photo of their artwork three different ways. Print each photo to create a Pop Art work in the style of Andy Warhol. Talk to students about Warhol and Kusama’s connection to Pop Art. 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.

Note: 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.

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Watch “Wyland’s Art Studio” on PBS for weekly art tips 4/24/18 9:51 AM9

Yearlong Secondary Advanced Art Series | AN AMPed UP CURRICULUM

Performance Final / Capstone by Debi West

hat a joy it has been to share a few of my student’s most successful advanced art lessons this year. I am really excited to see how well these work for you and the creative ways in which you will springboard from them. One of the questions that I am always asked is, “now what?” How do you wrap up a successful school year through an innovative assessment, and it’s a great question and one that I can’t wait to share! In my county, we are required to have our students involved in not only a written assessment final exam, but also a performance final of some kind. Many teachers have their student’s write full essay critiques, but I am not a Language Arts teacher and honestly can’t imagine trying to read and grade Go to artsandactivities.com and click on this button for resources related to this article.

Allison

over 30 essays at the end of the year. I also question how relevant an essay would be in authentically assessing my student’s overall learning through a school year of creating. I did, however, think that by having them create full brochures of their body of work as a reflection tool might be a good place to start. Once my students created their unique, beautiful and professional looking brochures of their art—complete with images, media, sizes and titles— we took it to the next level. We knew we needed to exhibit these brochures so they were also required to exhibit a minimum of 10 pieces in an Advanced Art Student Community Art Exhibit. EACH YEAR THIS EVENT GROWS LARGER

and more successful and students truly enjoy mounting or matting their work, creating labels, setting up their

section in our commons area complete with easels, tables, table clothes, drapes, hors d’oeuvres, accessories and anything else they can think of that might enhance their curated mini galler y space. Finally, students are required to create an invitation and invite at least 10 community members to the exhibit. And WOW, is it ever AMAZING! It has become one of our art department’s most celebrated and anticipated events. Students now know that their advanced art will culminate into this capstone exhibit and they start planning it early in the school year. THEY CONSIDER THEIR BODY OF WORK

and, more specifically, what the title of their show might be. They take photos after each project and document the necessary information so they aren’t too stressed in mid-April as they begin

Poster announcing our 2016 exhibit.

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ARTICLE 10 OF 10

to put their final brochures together. They usually make extra invitations because they know that their other teachers want invites, as do their friends and family members. It’s just an incredible learning opportunity for them and a wonderful way to reflect on a successful school year. Not to mention what a great advocacy program this becomes to keep your art program and students at the forefront of school and community activities.

Students frantically mounting their art for display at the AP exhibit.

I LOOK FORWARD to writing an intro

3D series of lessons next year and would love to hear from you if you have any thoughts on what you’d specifically like to know more about. Thank you for all that you do for your students and art education! n A&A Contributing Editor Debi West, Ed.S, NBCT, was an art educator and department chair at North Gwinnett High School in Suwanee, Georgia. She is now involved with her two businesses, WESTpectations Educational Consulting and Crystal Collage Children’s Art Studio in Suwanee.

Abigail

Christine

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These students airbrushed paint over paper doilies to create delicate-looking wings.

airbrushed Butterfly collages by Amy Anderson

ne of my favorite parts of doing art in a group setting is watching the kids give each other technique pointers, borrow ideas from each other, and then ooh and ahh over how “cool” something turned out. In the first part of this lesson, students collaborate to create a buffet of patterned paper using airbrushes and three different resist and masking techniques.

The novelty of the airbrush is an immediate motivator to jump in and experiment. For the second part of the lesson, the student artists select a variety of the painted papers they created, cutting shapes and assembling them into colorful collaged butterflies. Rather than using stencils or tracers, students create their own shapes, making each butterfly truly unique. PART ONE: AIRBRUSH RESIST TECHNIQUES. Individual stations are an

Colorful painted paper created with an airbrush and various resist techniques. 12

effective way for students to experiment with the techniques in this lesson. Set-up three art stations, each equipped with at least one airbrush and a few colors of airbrush paints. I find it helpful to leave a prepped piece of paper or a finished example at each station. Demonstrate for students how to operate the airbrush before painting. Also, encourage students to

observe and learn from each other, and even collaborate on paintings together. Thanks to the quick-drying airbrush paint, any of the following techniques can be repeated multiple times on the same piece of paper. At the first station, students wrap a long piece of yarn around a sheet of watercolor paper repeatedly, securing with tape on the backside. Wrap the yarn in vertical stripes or randomly around all sides of the paper. Use the airbrush to paint over the yarn-wrapped paper with one or more colors. Let the paint dr y for a minute or two, then remove the yarn. The paint dries quickly, so the yarn can be reused multiple times. Many questions can be posed at this station: What happens when you wrap the yarn tightly verses loosely? Would thick or thin yarn be more effective in creating a pattern? This next station is always a favorite! Tear or cut pieces of painter’s tape and stick onto a sheet of watercolor paper. The tape pieces can be any size or shape, and they can be applied in a design or randomly. Airbrush over the tape with one or more colors, then let dr y for 1–2 minutes before removing tape. This is a simple technique, but also one of the most effective. Students love pulling off the tape to reveal the sharp, crisp shapes left underneath! The final station requires a selection of objects that can act as masks or stencils on the paper. Students choose their objects and arrange them on a sheet of watercolor paper, securing anything lightweight (like paper doilies) with a little tape. Airbrush the entire page, let

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LEARNING OBJECTIVES Upper-elementary students will … • learn basic airbrush painting techniques. • experiment with three different resist and masking techniques. • use their knowledge of shape and color to create butterfly collages.

NATIONAL ART STANDARDS

•

CREATING: Generating and conceptualizing artistic ideas and work. • Organizing and developing artistic ideas and work.

STATION 1: Students wrap a long piece of yarn around a sheet of watercolor paper repeatedly, then use the airbrush to paint over the yarn-wrapped paper. STATION 2: Tear or cut pieces of painter’s tape and stick onto a sheet of watercolor paper, then paint paper with airbrush. Students love pulling off the tape to reveal the sharp, crisp shapes left underneath!

MATERIALS

•

• • •

•

• •

9" x 12" watercolor paper (90 lb. recommended), 9" x 12" construction paper in various colors Yarn, cut into 1-yard pieces Painter’s tape or masking tape Variety of “found objects” (paper clips, key rings, lids, paper doilies, etc.) Airbrush (we used Testors® Amazing Air Airbrush Kit), airbrush propellant, 0.25 oz. bottles of acrylic airbrush paints Scissors, glue Black and metallic permanent markers

STATION 3: Choose and arrange a selection of objects that can act as masks or stencils on the paper.

Students used a variety of colors, masks and embellishments for their butterflies.

dry, and then remove objects. There can be some trial and error to find objects that work well and don’t get blown by the airbrush. Encourage the students to persevere and come up with creative solutions! PART

TWO:

BUTTERFLY

COLLAGES.

Once students have had a chance to try all three techniques, it’s time to create the butterfly collages. I like to cut all the painted pages in halves or quarters and lay them all out on a long table for students to peruse. www.ar tsandactivities.com

For the butterfly collage, each student draws and cuts two large upper wings, two smaller lower wings, and a body. I find it helpful to have a few photos of butterflies displayed for inspiration (see this month’s Study Print on page 45). Arrange and glue onto a piece of construction paper. Embellish with smaller cut paper shapes and markers. Metallic permanent markers or gel pens are always a hit! Some students may create symmetrical butterflies, with identical wing shapes cut from the same paper. Other

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students prefer to experiment with a variety of shapes and colors when assembling their butterflies. Either way, this is the perfect time to engage in conversations about how artists’ choices can convey certain messages, moods, or ideas. All of these cheerful butterflies remind me of a warm and bright summer’s day! n Based in Loomis, California, Amy Anderson, M.A.Ed., blogs about early childhood education, art activities, and parenting. Visit: lets-explore.net. 13

Summertime

Squeaky - Clean S

The white color of the soap was preferred by a number of students.

WE BEGAN THIS PROJECT by researching the history of tikis

Clay carving tools were used to create the tikis.

and looking up images online. Since most students were familiar with how tikis look, but not their origin, we took time to look up information about Polynesia, the birthplace of tikis. Once students had sufficient background knowledge on tikis, we had to tackle the difference between additive and subtractive sculpture. Throughout their elementary art careers, the students had many opportunities to create additive sculptures, but this was their first subtractive sculpture. Since subtractive sculpture is a complex process, I found tikis to be a good subject matter for their first attempt. Tikis are essentially rectangular, so students wouldn’t have to make major alterations to the shape of a bar of soap and could focus more on creating raised and recessed features. Handouts containing images of typical tiki foreheads, eyebrows, eyes, noses, and mouths aided students in designing their tikis (see A&A Online). They easily and quickly sketched out their ideas on paper before they were given soap or carving tools. Once their designs were completed, we went over the tools they would be using. I found that I didn’t need to purchase any new ones for this project; I just wiped off my ceramics needle and loop tools, and used toothbrushes previously used for painting. I demonstrated how to use the loop tool to shave the soap, the needle tool to draw, and the toothbrush to wipe away crumbs and buff the soap. The soap was thick enough that students were able to practice using the tools on the back of their bar before flipping it over to start their final carving. I highly recommend using Ivory brand soap. It is soft enough to be carved easily and does not crumble like some cheaper soaps. Having some carved soap tikis on hand for students to look at proved essential for a successful carving experience. They were able to see the height levels of the features. Without the samples, students were initially just drawing

Handouts with images of typical tiki foreheads, eyebrows, eyes, noses and mouths helped students design their tikis.

oap carving is an easy, inexpensive, and pleasant-smelling way for students to try subtractive sculpture! I piloted this project with my Art Club to determine where students might struggle with the process. I also wanted to see if the end results would actually look like tikis before extrapolating it to a full class project. The students were engaged, the projects were successful, and as an added bonus the classroom smelled fresh and clean!

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Sculpture: Tikis by Katherine Richards

LEARNING OBJECTIVES Middle school students will … • learn about the history and origin of tikis. • demonstrate an understanding of subtractive sculpture. • carve a tiki from soap.

NATIONAL ART STANDARDS

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CREATING: Conceiving and developing artistic ideas and work

MATERIALS

• Ivory soap • Clay carving tools: needle, loop, etc.

• Toothbrushes • Pencils, paper • Acrylic painting supplies (optional)

Tikis were a fun subject for a first attempt at subtractive sculpture.

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onto their soap with the needle tool. After seeing a sample, however, they were able to better understand how to make their features either raised or recessed. THE MOST DIFFICULT ELEMENT for my students was accept-

ing that once something was carved away it could not be reattached. We had an impromptu discussion on the importance of being flexible with your idea once you realize the limitations of your material. I had one student who needed to restart completely after he carved a little too aggressively. I would budget having 10% more soap than you need for instances like this. The decision whether to paint their tikis was left up to each student. Some were attracted to the bright colors of some tikis, and chose to paint theirs with acrylics. Others wanted to be able to display their tikis in their bathrooms as soap, and therefore chose to leave them their natural color. This project was the perfect introduction to subtractive sculpture for my students. It was affordable, doable, my students loved the process, and they were happy with their results. In fact, for the end of the quarter art reflection, most of them selected the soap carved tikis as their favorite project. It is definitely my most favorite-smelling art project! n

Some of the students chose to paint their tikis with bright acrylics.

Katherine Richards, NBCT, is an art teacher at S.E. Gross Middle School in Brookfield, Illinois.

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renaissance

In the : Mixed-Media Portraits by Kerri Waller

Emma

hen I discovered empty boxes as tall as me, I did my happy dance and took them in the ar t room. At first I was not sure what to use them for, but I knew the possibilities were many. While I waited for inspiration to spark, we used them as a collective galler y space for ar tworks in my classroom. Then, the “galler y room” boxes traveled the school and were housed in the seventhgrade classrooms for a few weeks before returning back to the ar t room. Upon their return to my room, I realized the boxes were a wonderful opportunity for my eighth-grade students to work on large scale, mixed-media, recycled pieces. Each student was to create a layered work of art that had to include the boxes as a base, newspaper, paint, added recycled cardboard pieces, and portraiture. AT FIRST, MY EIGHTH-GRADERS WERE INTIMIDATED by the size

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of the boxes. To get their feet wet, we held a contest to see who could fill the inside of the box with torn newspaper pieces using care and craftsmanship first. The contest loosened them up, helped them to think on a larger scale, and raised the level of enthusiasm for the project. We worked on thumbnail sketches to think of the creative process we would need to follow to create finished pieces. Students wrote their steps down so they could think critically about the projects before they went any further with their work. Small groups met to give students the opportunity to explain their steps and get ideas for any changes that were needed. Once their plans of action were set, the students were eager to start. I demonstrated tinting the j u n e 2 0 1 8 • 85 Y E A R S

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Maggie

Ashton

Julia

LEARNING OBJECTIVES Middle school students will … • create a large scale mixed-media work focusing on portraiture using recycled materials and paint. • use tools and materials with care and craftsmanship. The students’ mixed-media portraits were featured in a two-hour pop-up art show in the media center.

gesso, hot glue safety, proper use of the craft knife, and how to enlarge drawings on the projector. Students worked at their own pace for the rest of the project. When the projects were completed, we had a two-hour pop-up art show in our school’s media center and invited the eighth-grade teachers and the administration to come to view the work. In addition, a selection of mixed-media recycled portraits were sent in to the “Junk Yard Wars” recycled art show, put on by art teacher Jamie Richardson and her students at Cooper Middle School. n Kerri Waller teaches ar t at Simpson Middle School in Marrietta, Ga., and is the GAEA Middle Level Teacher of the Year. www.ar tsandactivities.com

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NATIONAL ART STANDARDS

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CREATING: Conceiving and developing new artistic ideas and work. PRESENTING: Interpreting and sharing artistic work. RESPONDING: Understanding and evaluating how the arts convey meaning. • CONNECTING: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• Sketchbook for thumbnail sketches • Recycled Cardboard Boxes • Recycled Cardboard for cut out pieces • Craft knives • Old Puzzle Pieces • Newspaper • Glue

• Gesso • Acrylic Paint • Paint Brushes • Hot Glue Gun • Hot Glue • Transparency • Projector • Pencils 17

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Drink Trays >

Bella blended colors, splattered paint and also added her favorite “Van Gogh swirls” with paint pens! Maya chose a calming color palette with a pop of orange to emphasize the center of her piece.

lthough we are currently sprawling in the midst of a throwaway culture, we as art teachers often do something very valuable that helps reduce the amount of trash being dumped into landfills. We salvage materials like paper-towel tubes and plastic containers to reuse them in our classrooms so our students can create art with them. One treasure I recently discovered is the single-use recycled fiber drink tray. It took a few months to collect these from my own carry-out ordering and from the helpful staff at my school. Once there were enough trays to furnish one to each student, I was ready to dive into this art project! ON THE FIRST DAY OF THIS UNIT, I talked with my fifthgrade students about the importance of recycling and reusing materials in our art class, which we also do in our building. I told them we would be creating our next art project using some fabulous drink trays I had collected, which were actually made from recycled fibers. We were not only reusing them but also re-reusing the materials! Next, I introduced the concept that in visual art there are three main styles with which you can categorize just about any piece: realistic (or representational), abstract and

non-objective. I used three art images to illustrate the differences: Diner (1971), by Richard Estes, is unequivocally a realistic painting to the point where it can fool viewers into thinking it is an actual photograph. Deborah Butterfield’s abstract Conure (2007) sculpture reminds us of a horse but is clearly not made from flesh and bone, but of found metal pieces. Finally, in Composition VIII by Wassily Kandinsky, we see no distinct recognizable objects, thus depicting the non-objective style of art. A light bulb turned on for my students at this point because they had always loosely labeled all non-realistic art as abstract. We then combined the idea of creating non-objective art with the recycled drink trays—how fun would that be?! In order to do that, I talked with students about how to use color, texture, balance, emphasis and unity in their pieces. I challenged them to use their creativity in using these elements and principles of art to create a finished piece of artwork that was visually interesting, yet did not represent any known objects. Some students did have a bit of difficulty wrapping their minds around the fact that even though the actual drink tray was an object, they would still be painting in a non-objective way.

LEARNING OBJECTIVES Elementary students will ... • understand the difference between the three main categories of visual art: realistic (or representational), abstract and nonobjective. • visually balance their artwork through the use of color. • discuss a finished piece of art using the elements and principles of art terms, especially color, texture, balance, contrast, emphasis and unity.

NATIONAL ART STANDARDS

• CREATING: Generate and conceptualize artistic ideas and work. • PRESENTING: Develop and refine artistic work for presentation. • RESPONDING: Perceive and analyze artistic work.

MATERIALS

• Go to artsandactivities.com and click on this button for resources related to this article. 18

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Tempera and/or acrylic paints, metallic paints, paintbrushes, palettes j u n e 2 0 1 8 • 85 Y E A R S

Recycled drink trays Paint pens

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Can be Beautiful!

by Anne M. Hoffman

As my students got to work creating quick color sketches to lay out their ideas, I pulled out a large cabinet-full of random tempera and acrylic paints in a multitude of colors. (I had quite a collection from previous art teachers and felt good using all of those old paints so they didnâ&#x20AC;&#x2122;t go to waste.) I did not give a limit to how many colors students could use for their designs, so some of them used a rainbow selection of colors while other kids limited their palettes to only a few.

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THE FOLLOWING DAY when I saw my students, I let them begin painting their drink trays. I had worried that maybe the trays would need a coat of gesso or that they might fall apart after a lot of painting, but the trays proved to be very durable and could withstand many layers of paint, which securely adhered to the recycled fiber! Overall, it took students anywhere from five to seven 40-minute class periods to thoroughly paint their projects, as some trays were a lot more detailed than others. Details were added using paint pens. Everyone enjoyed painting on this unique surface and one student even told me that when her family got a recycled drink tray from a takeout restaurant, she went home and painted it! At the end of the lesson when everyone had finished painting their drink trays, I reviewed the three different types of visual art by showing students a variety of art images. Each was clearly either realistic, abstract or nonobjective. Students were better able to identify each style than at the beginning of the lesson, and had a much better understanding of the difference between abstract and non-objective art. The final pieces looked great on display and demonstrated to the school how we could turn an everyday, throwaway object into something wonderful. This practice of reusing is not only good for the environment, but also essential for our often-diminishing art budgets! Hopefully as art teachers, we can also inspire others to see the beauty in recycled objects! n

Evan demonstrated unity and balance using rainbow colors. By dotting yellow paint, Jordan was able to create visual texture. Using a limited yet bold color palette, Addison showed her knowledge of how to create emphasis and contrast in her piece.

Anne M. Hof fman teaches ar t at Shabonee Elementary School in Northbrook, Illinois. www.ar tsandactivities.com

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“Lady Lockjaw” and friends. A bunch of old nails rusted together became a fashion headdress for one of the “Little People” sculptures.

by Larry Goldade with Kenneth O’Connell

FOREWORD After retiring, Larry Goldade, my former art teacher at South Eugene High School in Eugene, Oregon. Following his teaching career, he worked as a landscape gardener and, for years, created interactive displays at the Children’s Museum in Portland. Now 88 years old (I’m 73), Mr. Goldade uses throw-away and recycled materials to create wonderful, playful little sculptures. The neighborhood kids call them “Little People.” Here is their story, Larry Goldade works in his in Larry’s own words. basement workshop, building Hope you enjoy it! a sculpture. — Kenneth O’Connell, Professor Emeritus, Department of Art, University of Oregon, Eugene

s an ar tist/craftsman I see the potential in simple materials. I recycle found objects and pick up junk from my favorite beach on the Columbia River in Por tland, Oregon. I see discarded bottle caps as round metal pieces ready to start a new life in my sculptures. They can be flattened and burned or I can find them flattened in parking lots. As I assemble these found objects on my workbench, figures begin to appear. The children at the beach call them “Little People.” NAMING THE LITTLE PEOPLE. Names for the little people spontaneously come to mind like the time I put the most unlikely material of rusty nails as the headdress on a figure. She became Lady Lockjaw or Lady Tetanus. Any object or material can inspire parts of the clothing or heads of these Little People. A stiff dead leather glove becomes the coat of a witch. I study pieces of cloth, wood scraps, beads, buttons, feathers, a bent potato peeler, leather belt and buckle, dried fish skin, snake skin belt, or a carving fork and they become different body parts. Once you start with the idea of creativity in mind it is time to go for the challenge. Pick up something that suggests nothing at all and go make it into something that will evoke pure pleasure or strike terror in your audience. j u n e 2 0 1 8 • 85 Y E A R S

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Audience response is the measure of success. Love or hate may result! To the Little People, not to you. POWER OF EYES. Establishing a head with eyes can sug-

Simple pieces of driftwood become the bodies of these humorous figures,

gest life in an other wise lifeless piece of material. Like a ball of white snow, add eyes then other features and you have a snowman. An ordinar y piece of driftwood can become whatever your imagination comes up with. Don’t hold back unless you have trouble with heavy emotions. Remember it is your soul on the line. You don’t have to conform for anyone but yourself. THE FOUND OBJECT. A face starting with the eyes can encourage the imagination to move on to body forms; arms, legs, wings or fins. Clothing possibilities are endless. Rags and tatters make for good mood “enhancers.” Grotesque figures come from shapes in nature like driftwood, root clumps, and twisted scissors. ONE THING BECOMES ANOTHER. Some sturgeon bones and driftwood sticks become a mermaid leaning on a rock. A walnut with a feline face, yellow color, and long leather tail with a round tree branch now has a circus drum to stand on. JAPANESE NETSUKE. Many cultures have a tradition of

small car vings, statues, or amulets used in daily or religious life. The Japanese developed a small car vings with holes to help hold the cord and sash around their waist to hold pockets or purses or pouches. These became an opportunity for craftsman to car ve tiny animals or humans in wood or ivor y. They fit well in the palm of your hand

Small pieces of bark and cloth become clothing for these stylish figures.

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often smaller than 1.5" x 1.75". They may represent gods, demons, mythological creatures or domestic scenes of a mother holding a child playing with a toy. These were popular in Japan between 1688–1860. GROWING UP. I recall at age 5 or 6 being at the ocean

beach. A pure white shell, shaped like a crescent moon with rounded ends caught my attention and a love of form was born. About the same time I did my first craft project, which consisted of sticking a pussy willow onto a pencil, drawn fence on paper provided by my mom. Then adding details by pencil around the fluffy seeds to make them into cats on the fence. I loved it and filled the page and asked for more. This was my first drawing lesson and craft experience. Now, 80 years later, I make small characters that are called Little People. So named by the kids at the beach. Not dolls; Little People. My mother always took us to campsites or picnics outdoors and I have always had appreciation of nature. People on the beach wonder what treasure I’m gathering, like it must be edible or valuable minerals. Early on as a kid I did hunt agates, shells and sometimes arrowheads and I did learn to see, to pay attention to the wonderful world around us. Former students of mine have said that I “awakened their senses.” n Larry Goldade grew up in Lake Oswego, Oregon and taught art at South Eugene High School in Eugene, Oregon. He attended the University of Oregon where he studied Painting, Jewelry, Metalsmith, and Ceramics. He worked as a landscape gardener and for years created interactive displays at the Children’s Museum in Portland, Oregon. 21

Simple and Successful

ring out the clay and bring about positive student responses! Clay is always a favorite medium for my students. This project is fun, easy, and allows for all students to experience success. Students who struggle with fine motor skills do ver y well with this lesson. It can be adapted for all grade levels. I have taught this to students in grades 2–5. It can ser ve as an introductor y lesson to clay/ceramics as well. The work shown here is by second-graders.

Ceramic Wall Hangings by Suzanne Dionne

Isabella Jaezlyn

FOR MOST OF MY ART LESSONS,

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Devin Analeaz

I create a project bulletin board on a rolling display board. Pictures, learning targets and vocabular y are posted. For this project, the term “organic shape” is noted. On the backside, clay processes and techniques are listed. Included are pictures of packaged clay, slab roller, slab, bisque, kiln, glaze, and greenware. The term and definition are also put up. This ser ves as a discussion board and the commencement of the project. Prior to the beginning of the lesson, clay is rolled out on a slab roller at approximately ¼-inch thickness. Clay can also be flattened by using rolling pins. Students use plastic lids and clay tools to form circles and remove excess clay. Smooth the edges, only if necessar y, carefully using a wet finger. I prefer to have students do a rough sketch of their design on paper, using the same plastic lid, so it is true to size. A few minutes of planning can help students make fewer mistakes. Students love using the seaside design press tools. It is beneficial to have some extra small pieces of slab-rolled clay, so they can practice pressing. I even had to learn how hard to press the tool into the clay. It helps to move it from side to side to get the smallest details to really show up. Actual shells may be used as well. Some students have created ocean scenes, shore scenes and shell designs. They can also use tools to make their own designs as well. The press tools are optional. Once the designs are complete, students etch their initials on the back side. A hole is placed into the piece for hanging. This part of the project takes about one 45 minute class. The clay is allowed to dry before firing. I usually apply the wax resist to the bottom of the fired pieces. Older students can do this with instruction and some super vision. Make sure that any unwanted wax spots are removed before applying glaze. Wax scrapes

LEARNING OBJECTIVES Elementary students will … • refine fine motor skills. • use appropriate art vocabulary to discuss artwork. • learn about materials, techniques and processes relating to ceramics.

NATIONAL ART STANDARDS

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CREATING: Making art or design with various materials and tools to explore personal interests, questions, and curiosity. • Experimenting with various materials and tools to explore personal interests in a work of art or design. • Discussing and reflecting with peers about choices made in creating artwork.

MATERIALS

• Clay, clay tools • Brushes • Hanging wire (we used • Press tools (we used the Twisteez® Craft Sculpture Wire) seaside design set from Mayco) or real shells • Glaze, AMACO Wax Resist Solution j u n e 2 0 1 8 • 85 Y E A R S

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A&A Art Print: Respond and Connect George Caleb Bingham (American; 1811-1879). The Jolly Flatboatmen, 1846.

“Many are always praising the by-gone time, for it is natural that the old should extol the days of their youth; the weak, the time of their strength; the sick, the season of their vigor; and the disappointed, the spring-tide of their hopes.” George Caleb Bingham

MAIN ART CONCEPTS: Color • Symmetry • Movement • Value • Composition • Genre Painting • Luminism

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COMPOSITION: The depicted movement of the figures playing music and dancing goes against the central static triangular mass formed by the boat and the figures. This is a compositional device “borrowed” from the Renaissance. Art historians have noted, also, the uncanny resemblance of the dancer to Raphael’s Christ figure in his painting, The Transfiguration.

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• Raphael (Italian; 1483–1520). The Transfiguration (detail), 1520. Tempera on wood; 159" × 109". Vatican Museums, Vatican City.

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FLATBOAT: These boats were used to carry freight down rivers, and were especially good in shallow water because they did not have keels. The first known use of the word, “flatboat,” was in 1653.

BIOGRAPHICAL NOTE: Bingham’s life was deeply affected by the political and social strife before, during and after the American Civil War. He was a politician in addition to being an artist. He was a member of the Whig party, supported the Union, and held anti-slavery views that caused him to lose some friends and some, but not all, elections.

HISTORY OF RIVER TRADE AND COMMERCE: The primary hints of trade, in this picture, are the turkey in the cage and the raccoon pelt hanging next to the ladder. Mostly flatboats carried farm goods downriver, such as produce, cotton, some manufactured goods, and people. Along the way flatboatmen hunted and trapped small game. At the end of the downstream journey, usually in New Orleans, most flatboats were dismantled and sold for lumber. The boatmen then hiked back up river, or they used part of their sales money to purchase the fare on a steamboat.

MUSIC: The tunes of the violin and the rhythm of the “skillet-beater” inspire the dancing flatboatman. They are enjoying a casual celebration as they drift down the river in the late afternoon. Songs such as Shawnee Town and Natchez Under the Hill are examples of what they may have been playing.

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LUMINISM: Cover the central area of the painting with your hand or a piece of white paper, and compare the sky colors on either side. Observe how Bingham, a master of gradation, creates a subtle color shift (left to right) in the sky from yellow to blue. The glow of light in this piece places it in the style of American Luminism.

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PREPARATORY STUDIES: Bingham often created detailed drawings to exact scale, which he then transferred to the canvas surface. This drawing of the fiddler is one of the studies he created in advance of placing the figure into his painting. Many of the drawings on paper show indentations of contours and highlights where Bingham transferred the images.

Fiddler (study for The Jolly Flatboatmen), 1846. Black India ink, wash, and pencil on rag paper; 20.75" x 16". NelsonAtkins Museum of Art, Kansas City, Missouri.

GEOGRAPHY AND HISTORY: The Missouri and the Mississippi Rivers intersect just south of St. Louis, Missouri. At that point is the Edward “Ted” and Pat Jones–Confluence Point State Park, where the Lewis and Clark Expedition began in 1804.

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George Caleb Bingham (American; 1811–1879). The Jolly Flatboatmen, 1846. Oil on canvas; 38.125" x 48.5". National Gallery of Art, Washington, D.C. Patrons’ Permanent Fund. / Public domain. ©

In the Studio: Create and Present Annotations and lesson connections on these pages by Tara Cady Sartorius, Program Director, Alabama Arts Alliance

GRADES K–6

GRADES 7–12

“FUR”ST RATE RACCOONS. George Caleb Bingham practiced

ATMOSPHERIC REFLECTIONS. If you look closely at the water in Bingham’s Jolly Flatboatmen, you will see he depicts reflections in soft and subtle ways. Teacher Maria Naumik had her high school students develop their own approaches to reflections. Says Naumik, “Students were to manipulate and layer acrylic paint in untraditional ways and add color outside of a representational landscape captured in … a photo. Inclusion of some water to allow for reflections, pools, falls or puddles was encouraged to make way for variations in color due to light.” Part of Naumik’s lesson includes self-reflection and artist statements by the students. Using their own words solidifies understanding of processes and concepts used by students in making their art. They did a great job with reflections all around!

drawing many figures before ever painting them on canvas. He worked hard to bring out the personalities of his subjects. Here, the first grade students of Sara Kharatyan practiced their watercolor brushwork on paper using the shapes and strong features of raccoons. In the process, they also learned something about pattern, rhythm, perspective and creating the appearance of depth on a twodimensional surface.

Artworks by first-grade students of Sara Kharatyan from Graden Elementary School in Parkville, Missouri.

It appears the young artists had lots of fun character, and they learned several lessons in the process.. Kharatyan says, “First-graders learned how to create the illusion of space using a horizon line and size variation. We created a background, middle ground, and foreground habitat for our raccoons with crayons. Then, we drew our raccoons together, combining simple lines and shapes. We then used watercolor paints to create the texture of a raccoon. First-graders learned the proper way to pull a paintbrush, only allowing the tip to touch the page, in order to create fur-like brushstrokes.” Kharatyan taught this lesson several times, improving on it along the way. In this variation her students used construction paper crayons for the cool colors in the background. NATIONAL ART STANDARDS: Grades K–6 CREATE: Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. • Use art vocabulary to describe choices while creating art. RESPOND: Compare images that represent the same subject. • Perceive and describe aesthetic characteristics of one’s natural world and constructed environments.

“… my dad drove us to take the picture at the park. I used pale yellows, pinks and oranges to imitate the colors of the sunrise … My second layer of paint was below the horizon line … I added pale, warm colors and distorted it to create the illusion of flowing water. I added the first layer of trees by mixing dark blue and violet to complement the sunrise. I repeated the vertical lines to create more depth to my piece, and reflected and balanced this in the water by using the same colors and adding a muddy gray to define my horizon line … I added white to some of the trees to create highlights and kept the branches bare to suggest the winter weather.” “In my painting of trees there is a reflection as if you were seeing double during daylight. I had to mix colors like orange and cherry to arrive at the hues in the water. I did this all with sticks and cardboard.”

“The autumn hues are radiant against the cool colors of the water. When I was painting the water, I layered different shades of blue to mimic the rhythm of moving water.” Works and artist statements by students of Marie Naumik from Monroe Township High School in Monroe, New Jersey.

NATIONAL ART STANDARDS: Grades 7–12 CREATE: Use multiple approaches to begin creative endeavors.

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

• Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. • Engage in constructive critique with peers, then reflect on, re-engage, revise, and refine works of art and design in response to personal artistic vision. RESPOND: Analyze how one’s understanding of the world is affected by experiencing visual imagery.

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think art is all in the imagination, whether it’s objective or non-objective. Art can be paintings, statues, vases, and many other things. Art is everywhere! My favorite thing to do in my spare time is drawing. I like to draw animals or pictures of my friends and myself. I enjoy using colored pencils. When I have extra time, I make small crafts. I use materials, such as yarn and cardboard. During summer, I like to create large art, especially paintings. I know that I will create art when I am older. I would also like to write and illustrate a book. “Musical Picasso,” grade 2. Collage; 10" x 18".

Janell Olivieri, grade 5 Rotella Interdistrict Magnet School Watrebury, Connecticut Suzanne Dionne, Art Teacher

“Sunflowers,” grade 2. Mixed media; 18" x 12".

“Under the Sea,” kindergarten. Mixed media; 18" x 12". 85 Y E A R S •

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“Starry Night Sunflowers,” grade 2. Mixed media; 12" x 18".

ARTIST

“July 4,” grade 2. Crayon on black construction paper; 12" x 18".

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“Summer at the Beach,” grade 4. Ceramic; 6.5-inch diameter.

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off fairly easy with a clay tool.

WHEN POSSIBLE, I prefer to have stu-

dents use glazes for this project. I tr y to purchase classroom packs with assorted colors. Students can use one glaze for the entire piece or a variety of glazes. If you can fire small sample tiles, so that, students can get a better idea of how the glaze truly appears, it is ver y helpful. Catalog pictures are not always accurate. We pour the glazes into small plastic containers with lids. If glazes get mixed, by accident, the entire bottle is not altered. Do not forget to label the containers. Students are instructed to use 2–3 coats of glaze. The finished ceramic pieces are unique. It’s really exciting to open the kiln and see the effects of the glaze. The students are truly amazed when they see the final results. You know that these pieces are going to be hanging on a wall at home. This artwork is “a keeper.” For younger students, wrapping the pieces in newspaper or bubble wrap is a good idea to avoid accidental breaks during transportation from school to home.

BEFORE ARTWORKS GO HOME, we

have a reflection session. Students are eager to show one another their artwork. They are proud of their accomplishments. This is a time when they are encouraged to use art vocabular y and can refer to the display board. I will pose questions based on the essential questions from the national art standards in kid friendly terms and have students participate in a brief discussion within their groups. “What choices did you make when you were creating your artwork?” “Why did you make that choice or choices?” Next, students will share their answers in a class discussion. If you are looking to integrate science or history with this lesson, there are other design press tools available: Celtic, Egyptian, Native American, Insects and Lizards, and Flowers. n Suzanne Dionne teaches visual art at Rotella Interdistrict Magnet School in Waterbury, Connecticut. Currently, she is president of the Connecticut Art Education Association. 28

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

Clay Tools & Reference Materials

New Book Figure Sculpting Volume 2: Gesture & Drapery Techniques by P & C Faraut

$54.95 + Shipping

PCF Studios.com

PO Box 722 Honeoye, NY 14471

585-229-2976

www.philippefaraut.com j u n e 2 0 1 8 • 85 Y E A R S

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Why limit yourself to the standard blue kiln? At no extra charge, choose jade, navy, hot pink, turquoise, berry, black or purple paint. Have the most colorful kiln in your district!

The TnF-27-3 comes with a heavy duty rolling stand and locking casters. Dry greenware on the lower shelf during firing. Speed production by pre-drying your ware.

The short, easy to load Paragon TnF-27-3 For teachers who have difficulty loading a studio kiln, Paragon has an answer: the TnF-27-3. This studio kiln is as short as a hobby kiln. Yet the 12-sided interior is a massive 8.11 cubic feet, slightly larger than a typical 10-sided 29” deep studio kiln. Paragon’s LiteLid spring counter-balance reduces lid weight to several pounds of pressure. The LiteLid prolongs sidewall brick life by eliminating wall flex. The top row of brick is 2” high and without element grooves. It is less susceptible to damage during loading than a grooved brick. Hinged at the bottom, the switch box opens forward. A folding support arm holds the box open for easier maintenance. The Sentry digital controller is mounted at the top of the switch box

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within easy reach. Operate it from a comfortable position. You will marvel at the heat uniformity in the TnF-27-3. Elements are tuned to pour extra heat into the top and bottom. A full-formed galvanized steel plate supports the 3” brick bottom. The stand has a solid top that fully supports the kiln bottom. The TnF-27-3 uses 3” thick firebrick throughout instead of the standard 2 ½”. For more details on the exciting TnF-27-3, see your nearest Paragon dealer. Or call for a free catalog.

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media reviews

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

EXPERIENCES OF ART: Reflections On Masterpieces, by Hilda Werschkul. ORO Editions, $29.95. The author of this stout art history book has compiled the perceptions of former New School University students in New York, and she organized them thematically. The reader becomes a voyeur of sorts, peering into the thoughts of art and design scholars. Keep in mind that the class might have included participation requirements. Werschkul divides the material into five periods: the first four are the Prehistoric, Classical, Renaissance, and Rococo/Neoclassical/Romantic eras. The final portion, encompassing about 50 years from van Gogh to the outbreak of World War II, includes Post-Impressionism, Fauvism, and Expressionism.

Several of Picasso’s styles appear, as do the work of Mondrian and Leger, too. Of course, not all masterpieces are oils on canvas: There’s a Bauhaus tea ser vice, a wall hanging, cave paintings, sculptures, frescoes, and architecture. Full-color photos enhance ever y other page or so of the 200page softcover from a boutique publishing company. The students’ quotations, taken from an on-line discussion group, inset and italicized in this tome, were supposed to be their own interpretations or impressions regarding masterful works of art and the eras in which they were created. Some of their comments are enlightening and astute. For instance, Jaeeun Chung said, “…Oppenheim is one of the [Surrealists] who offers the most promise of revolutionary change in living.” Another, Brian Lane, wrote of Fragonard’s The Meeting, “This playful image makes you think about your childhood crushes and flirts,” and “I’m sure the brushstrokes

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and textures are eye-candy.” The book ends with a thorough bibliography and notes for each chapter. Experiences of Art might make a good textbook for college-level or preparator y art histor y courses (which the author has taught for a decade at the School of Visual Arts in New York, N.Y.).–P.G. SQUIGGLE!: Doodle Over 200 OneLine Animals, by Kenzo Hayashi. Workman Publishing, $12.95. We’ve seen perforated, tear-off pages in books before, but those in this unique paperback caught our attention. The sketch pad portion, once removed, would leave a cover too long for the inspirational pages of the drawing book. But the clever publishers of Squiggle! have added a crease or indentation halfway across the front and back covers. Once a young child has separated all his masterpieces— and most artists love to share their work with relatives—the extended cover folds back into flaps. This makes the book of what Hayashi calls the “model squiggles” even more durable. T h o s e models, from three to five critters on each page, range from easy to challenging for a four-year-old. Only one of those is also printed lightly on the sketchbook portion, meant for tracing over the lines. Hayashi uses the continuous contour method and he does remind kids that they can invent their own drawings rather than copying. Another great message of his: “A squiggle doesn’t have to be perfect to be wonderful.” Parents and other caregivers might expand on the author’s idea; they could draw a partial line, jagged or cur vy, and ask the child to “see” any object, anything she could develop from that incomplete line. The book is another aid in improving hand-eye coordination, and it’s ver y affordable.–P.G.

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shop talk

SAKURA OF AMERICA Add vibrant color to any sketch, journal, cartoon, illustration and more with Koi® Coloring Brush Pens. The transparent ink colors blend easily to create myriad hues and effects. Use the colorless blender pen to create seamless washes and color gradations. Make fine, medium or bold brush strokes by changing the amount of pressure to the nib. The odorless, water-based solvent facilitates smooth blending and layering of colors.

TESTORS The Amazing Air Activity Set, from Testors®, is a simple to use airbrush system that you can spray on just about anything from small household projects, models and craft projects. The set includes five acr ylic colors, airbrush, canned air and accessories. Its broad stroke spray allows for large coverage areas while keeping a consistent and professional finish.

GENERAL PENCIL Kiss-Off® Stain Remover removes stains on the spot. It is unique because it needs just water to remove tough stains, including grease, lipstick, blood, grass stains, wine, coffee and more! No harmful fumes, no liquid to spill, so it is safe to use at home, office, school, traveling, etc. Its convenient size makes it handy to take along anywhere a stain might find you.

www.testors.com

www.generalpencil.com

www.sakuraofamerica.com

L&L KILNS The School-Master Kiln Series was designed in conjunction with the OneTouch™ Intuitive Kiln Control specifically with busy school teachers in mind. One touch and you are ready to fire the bisque and glaze programs most often used in K–12 schools. No programming is necessary, simple adjustments are easy (like cone level, heating and cooling speed, hold time and delay time), yet sophisticated programming is also possible. Two different furniture kits are available as well.

www.hotkilns.com www.ar tsandactivities.com

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june 2018

When Precision Matters

Midwest Products Educational Class Packs

Designed to enhance a student’s creativity and involvement in the classroom • Designed for the classroom • Used for academic competitions • Features Midwest’s renowned wood • Makes learning and teaching fun!

Kit Varieties Include: Aviation

Structures

Racing

800.348.3497 | www.midwestproducts.com | Hobart, IN

Summer Buyer’s Guide 2018 ARTS & ACTIVITIES’ comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services ... a ready reference for teachers, administrators and purchasing agents. Telephone numbers and websites shown with listings provide prompt access for inquiries, orders and special requests. Be sure to say you found them in Arts & Activities magazine!

AMACO/Brent 800-374-1600 www.amaco.com BR CE CT FN HC SA SH SP

Art New England Workshops 617-250-1040 www.artnewengland.com SH

Aardvark Clay & Supplies 714-541-4157 www.aardvarkclay.com CE SP

American Academy of Equine Art 859-281-6031 www.aaea.net SH

The Art of Education www.theartofed.com SH

Academy of Art University 800-544-2787 www.academyart.edu SH

American Ceramic Supply Co. 866-535-2651 www.americanceramics.com AB AD BR CE CT HC JM PT RS SA SG SH SP

ACMI www.acmiart.org SH Activa Products, Inc. 877-970-0832 www.activaproducts.com CE HC SH SP Aftosa 800-231-0397 www.aftosa.com CE DE Alfred University 607-871-2412 www.alfred.edu SH

CODES AB Airbrush* AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy* CE Ceramics* CO Computers*/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing* DR Drafting* DS Dispensers/Containers DY Dye/Batik* EP Easels/Palettes FD Fundraising* FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats* GR Graphic* HC Hobby/Craft* JM Jewelry/Metal* LO Looms/Weaving* LT Leathercraft* PB Publishers/Art Reproductions PC Paper/Canvas PH Photography* PR Printmaking* PS Pastels PT Paints/Pigments RS Rubber Stamps* SA Safety Equipment* SG Stained Glass* SH Schools/Workshops SP Sculpture* *Equipment and supplies

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AMEP-Crystal Productions 800-289-9299 www.amep.com AV DE PB American Educational Products LLC 800-289-9299 www.amep.com BR CE CY DE DG DR EP PC PR PT Amon Carter Museum 817-989-5067 www.cartermuseum.org DE Ampersand Art Supply 800-822-1939 www.ampersandart.com CE DG FI FN HC JM LO PH PR SG SH SP Armada Art, Inc. 800-435-0601 www.armadaart.com BR CT HC Armory Art Center 561-832-1776 www.armoryart.org CE DG JM SP Arnold Grummer’s Paper Making 800-453-1485 www.arnoldgrummer.com HC RS Arrowmont Sch. of Arts/Crafts 865-436-5860 www.arrowmont.org SH Art Boards 800-546-7985 www.art-boards.com EP FN PR Art Image Publications 800-361-2598 www.artimagepublications.com PB Art Institute of Southern Cal. 949-376-6000 www.artinstitutes.edu SH Artisan 800-331-6375 www.artisan-santafe.com BR EP FN FR HC PC PS PT SH

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Artograph, Inc. 888-975-9555 www.artograph.com AV DG DR FD FN HC JM PH Artrage www.artrage.com GR Arts Attack 888-760-ARTS www.artsattack.com AV Art Shop Therapy 612-234-5013 www.artshoptherapy.com AV PB Artsonia 800-869-9974 www.artsonia.com AV DE SH

B Badge-A-Minit Ltd. 800-223-4103 www.badgeaminit.com HC Bailey Ceramic Supply 800-431-6067 www.baileypottery.com AB AV BR CE FN HC SA SP Baltimore Clayworks 410-578-1919 www.baltimoreclayworks.org CE SH Bamboo Tools 604-723-2900 www.bambootools.com BR CE CT BigCeramicStore.com 888-513-5303 www.bigceramicstore.com AB BR CE HC JM PR RS SP Birdcage Books 650-424-1701 www.birdcagebooks.com PB

Art Supplies Wholesale 800-462-2420 www.allartsupplies.com BR CY DG EP FR PC PR PS PT

Bisque Imports 888-568-5991 www.bisqueimports.com CE SH SP

Art Teacher on the Net 858-453-2278 www.artmuseums.com DE DG HC PB PH PS PT SH

Blick Art Materials 800-447-8192 www.dickblick.com AB AD AV BR CA CE CO CT CY DE DG DR DS DY EP FD FI FN FR GR HC JM LO LT PC PH PR PS PT RS SA SG SP

Art to Remember 800-895-8777 www.arttoremember.com FD HC Art Trek 415-868-9558 www.arttreks.com SH ArtWare By You 973-509-7736 www.artwareforgood.com FD Aves Studio 800-261-AVES www.avesstudio.com CE HC SP A.W.T. World Trade, Inc. 773-777-7100 www.awt-gpi.com FN Axner Pottery Supply 800-843-7057 www.axner.com AB AV CE FD FN HC JM PT SH SP

Bluebird Mfg., Inc. 970-484-3243 www.bluebird-mfg.com CE FN HC SP Boston Univ. School of Visual Arts 866-347-6876 www.bu.edu/cfa/visual-arts/ SH Bracker’s Good Earth Clays, Inc. 888-822-1982 www.brackers.com CE DS HC Brent Pottery Equipment 800-374-1600 www.brentwheels.com CE FN Bright Ring Publishing Inc. 800-480-4278 www.brightring.com PB

Clay Mat 559-360-9770 www.claymat.com CE

Createx Colors 800-243-2712 www.createxcolors.com AB HC PT

Canson Inc. 800-628-9283 www.canson.com PC

Clay Planet 800-443-CLAY www.clay-planet.com CE FN PT SP

Creative Paperclay Co., Inc. 805-484-6648 www.paperclay.com CE SP

Carbondale Clay Center 970-963-2529 www.carbondaleclay.org CE SH

Clay Stamps from Socwell LLC 608-295-1415 www.4clay.com CE JM RS

Cress Mfg. Co. 800-423-4584 www.cressmfg.com CE SP

Faber-Castell USA 800-642-2288 www.faber-castellusa.com CY DG HC PS

Carolina Clay Connection 704-376-7221 www.carolinaclay.com CE HC SH

Clay Times 800-356-2529 www.claytimes.com PB

Crizmac Art & Cultural Ed. Matls. 520-323-8555 www.crizmac.com FI PB SH

Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC

Ceramic Supply Chicago 847-425-1900 www.ceramicsupplychicago.com BR CE

Clear Bags 916-933-4700 www.clearbags.com DS

Chavant, Inc. 732-751-0003 www.chavant.com SP

ColArt Americas, Inc. 800-445-4278 www.colart.com AD BR CA CY DG EP HC PC PS PT

Daler-Rowney, USA 609-655-5252 www.daler-rowney.com BR DG EP FN GR HC PC PR PS PT SH

Fiskars 866-348-5661 www.fiskars.com CT HC

Chesapeake Ceramics LLC 800-962-9655 www.ceramicschoolsupply.com CE

The Color Wheel Co. 541-929-7526 www.colorwheelco.com AV HC PT

D’Ambruoso Studios 203-758-9660 www.samdambruoso.com SH

Florida Clay Art Co. 407-330-1116 www.flclay.com AB CE HC RS SA SH SP

Chicago Canvas & Supply 773-478-5700 www.chicagocanvas.com DY FI

Columbus College of Art & Design www.ccad.edu SH

Debcor, Inc. 708-333-2191 CE FN

The Compleat Sculptor, Inc. 800-972-8578 www.sculpt.com AD CE DY HC JM SH SP

Delphi 888-281-5780 www.delphiglass.com/teach AD HC JM SG SH

FM Brush Co. 718-821-5939 www.fmbrush.com BR

Concordia Univ. 888-628-9472 www.cuw.edu SH

Discount School Supply 831-333-2549 www.discountschoolsupply.com AD BR CY DG EP FN HC PC PT SH

Conrad Machine Co. 231-893-7455 www.conradmachine.com FN GR PR

Diversified Woodcrafts 877-348-9663 www.diversifiedwoodcrafts.com FN

Continental Clay Co. 800-432-CLAY www.continentalclay.com AB AD BR CE DS FN HC JM PC PT RS SA SH SP

Dixon Ticonderoga Co./Prang www.prang.com CY DG PS PT

Chroma Inc. 800-257-8278 www.chromaonline.com PT

Copic Markers www.copicmarker.com AB DG DR Corcoran Coll. Art & Design 202-639-1783 www.corcoran.gwu.edu SH Core Learning Inc. 800-399-0695 www.corelearningonline.com CO GR PB Cornell Studio 937-454-0357 www.cornellstudiosupply.com CE Coyote Creek Productions 760-731-3184 www.coycreek.com AV Crayola 800-272-9652 www.crayola.com CY DG HC PT SP

Evenheat Kiln 989-856-2281 www.evenheat-kiln.com CE SP

Faust Ink, Inc. 908-276-6555 www.faustink.com PR PT

The Folding Art Horse 909-596-2180 www.thefoldingarthorse.com FN Frame Fit Co. 800-523-3693 www.framefit.com FR F & W North Light Book Club 800-448-0915 www.fwmedia.com PB

Dry Creek Pottery 817-578-1563 www.drycreekpottery.com CE HC SH

Geil Kilns 714-847-6135 www.kilns.com CE SH

Gelli Arts 800-580-4198 www.gelliarts.com HC PR

Earth Guild 800-327-8448 www.earthguild.com AD BR CA CT DY FI HC LO LT PT SA SP

General Pencil Co. 800-537-0734 www.generalpencil.com CY DG DR HC PS

Ed Hoy’s International 800-323-5668 www.edhoy.com AD BR CE CT DE HC JM PT SA SG SH SP

Getting To Know, Inc. 312-642-5526 www.gettingtoknow.com AV PB

Elmer’s Products, Inc. 888-435-6377 www.elmers.com AD HC

Getty Trust Publications 800-223-3431 www.getty.edu PB SH

Euclid’s Elements 800-296-5456 www.euclids.com CE FN

Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE

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Glue Dots Int’l.(GDI) 888-688-7131 www.gluedots.com AD HC Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC

iLoveToCreate, Duncan Ent. Co. 800-438-6226 www.ilovetocreate.com AD BR CE DY HC JM PC PT SH

Golden Artist Colors 800-959-6543 www.goldenpaints.com CY PT

Imagination Int’l Inc. www.iii.global/iii-academy SH

Grafix 800-447-2349 www.grafixarts.com AD DG DR GR HC Graphic Chemical & Ink 800-465-7382 www.graphicchemical.com PR Graphic Display Systems 800-848-3020 www.graphicdisplaysystems.com DE Graphic Products Corp. 847-836-9600 www.gpcpapers.com PC Graphik Dimensions Ltd. 800-221-0262 www.pictureframes.com FR

Incredible Art Department www.incredibleart.org PB Inovart Inc. 800-292-7622 www.inovart.net CA CT DG EP FR HC LO PR RS Interlochen Center For Arts 800-681-5912 www.interlochen.org SH

J Jack Richeson & Co, Inc. 800-233-2404 www.richesonart.com AV BR DG DS EP FN HC PC PR PS PT SH SP

Great Lakes Clay 800-258-8796 www.greatclay.com AB AD AV BR CE FN HC SA SH SP

Jacquard Products 800-442-0455 www.jacquardproducts.com AB AD BR DG DS DY FI HC JM LT PH PR PT RS SG SH SP

Groovy Tools LLC 502-859-5070 www.groovy-tools.com CE CT HC SH SP

Jiffy Mixer 800-560-2903 www.jiffymixer.com CE PT

J&J Display 800-347-2008 www.jjdisplay.com AD DE Jones Publishing, Inc. 800-331-0038 www.jonespublishing.com CE HC PB

Harrisville Designs/Friendly Loom 800-338-9415 www.harrisville.com FI HC LO

JourneyEd 800-874-9001 www.journeyed.com CO DR GR

Haystack Mountain School of Crafts 207-348-2306 www.haystack-mtn.org SH Hemlocks Studio 828-885-2831 www.hemlocks.com SH

Kids Can Press 800-265-0885 www.kidscanpress.com DG PB PR PT SP KidsKards 888-543-7527 www.kidskards.com FD

Klopfenstein Art Equipment 866-899-1899 www.klopfensteinart.com FN KopyKake Ent. 800-999-5253 www.kopykake.com AB GR

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85 Y E A R S •

Matcutter.com 800-358-6540 www.matcutter.com FR

Krueger Pottery, Inc. 800-358-0180 www.kruegerpottery.com AD BR CE FN SH

Mayco Colors 614-876-1171 www.maycocolors.com BR CE HC PT SH

Krylon Products Group 216-515-7693 www.krylon.com HC PT

Laguna College of Art & Design 949-376-6000 www.lcad.edu SH Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP Lightfoot Ltd, Inc 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH Liqui-Mark Corp. 800-486-9005 www.liquimark.com DG HC Liquitex Artist Materials 888-422-7954 www.liquitex.com AB AD GR HC PT SP L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG

Handy Art 800-236-6873 www.handyart.com AD HC PR PT

Hash, Inc. 360-750-0042 www.hash.com CO DG

KQED Public Television 415-553-2298 www.kqed.org SH

june 2018

Loew-Cornell, Inc. 201-836-7070 www.loew-cornell.com BR CE PT

Madison Art Shop 732-961-2211 www.madisonartshop.com AB DG DR EP FR HC PC PR PT SP Makit Products Inc. 972-709-1579 www.makit.com FD HC PC PH Martin/F. Weber 215-677-5600 www.weberart.com AV BR DG EP PB PC PS PT SH Maryland Inst. College of Art 410-225-2300 www.mica.edu SH Marywood University 570-348-6207 www.marywood.edu SH

Midlantic Clay 856-933-0022 www.midlanticclay.com CE Midwest Products 800-348-3497 www.midwestproducts.com AD CT HC SH Minn. Coll. Art/Des. Rm M105 612-874-3765 www.mcad.edu SH Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP Modern Art Museum of Ft. Worth 817-738-9215 www.themodern.org SH Molly Hawkins’ House www.mollyhawkins.com AD BR CA CT CY DG DR DS EP GR HC JM PC PR PS PT SP Muddy Elbows 316-281-9132 www.soldnerequipment.com CE SP

N Nantucket Island School 508-228-9248 www.nisda.org SH Nasco Arts & Crafts 800-558-9595 www.enasco.com AB AD CE DE DG DS EP FN PC PH PR PT SA SP National Artcraft Co. 888-937-2723 www.nationalartcraft.com AB AD BR CE DE DG DS EP HC PC PS PT National Art Education Assoc. 703-860-8000 www.arteducators.org PB New Century Arts 206-284-7805 www.paperclayart.com CE SP New Mexico Clay 800-781-2529 www.nmclay.com BR CE JM SP

New York University 800-771-4698 www.nyu.edu SH

Original Works 800-421-0020 www.originalworks.com FD

North Star Equipment 800-231-7896 www.northstarequipment.com CE FN

Orton Ceramic Foundation 614-895-2663 www.ortonceramic.com CE FN PB SA SH

Ohio Ceramic Supply, Inc. 800-899-4627 www.ohioceramic.com CE Ohio State University, Art Dept. 614-292-7183 www.art.osu.edu SH Olsen Kiln Kits 760-349-3291 www.olsenkilns.com CE SP Olympic Kilns 800-241-4400 www.greatkilns.com CE HC JM SP Oregon College of Art & Craft 503-297-5544 www.ocac.edu PR SH The Original Hi Roller 828-308-2585 www.originalhiroller.com CE

Otis Coll. Art/Des. Cont. Ed/ Summer 310-665-6850 www.otis.edu SH

Pacon Corporation 800-333-2545 www.pacon.com DG FR PC

Paragon Industries, L.P. 972-288-7557 www.paragonweb.com CE SG PCF Studios, Inc. 585-229-2976 www.pcfstudios.com AV CE SH SP Peninsula Art School 920-868-3455 www.peninsulaschoolofart.org SH The Pennsylvania State University 814-865-6570 www.worldcampus.psu.edu SH Pentel of America 800-262-1127 www.pentel.com DG DR Perfectone Mold Co. 800-828-2634 www.perfectonemolds.com HC SP Peter Pugger Mfg. 707-463-1333 www.peterpugger.com CE FN Peters Valley Craft Center 973-948-5200 www.petersvalley.org SH Phelps Publishing 216-752-4938 www.phelpspublishing.com DG HC PB Picasso People 716-684-0244 www.picassopeople.com SH PMC Connection 866-762-2529 www.pmcconnection.com BR HC JM Polyform Products 847-427-0020 www.sculpey.com CE HC SP

Pottery Making Illustrated 614-794-5890 www.ceramicartsdaily.org CE PB

Sanford Corp. 800-323-0749 www.newellrubbermaid.com BR CA CY DG DR PS PT

Sargent Art Inc. 800-424-3596 www.sargentart.com AB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP

Quarry Books www.quarrybooks.com PB

Savannah College of Art & Design 912-525-5000 www.scad.edu SH

Quarto Publishing www.quartoknows.com PB

School of the Art Inst. of Chicago 312-899-5100 www.artic.edu SH

Quinlan Visual Arts Center 770-536-2575 www.quinlanartscenter.org DE SH

Sax/School Specialty 888-388-3224 www.saxarts.com AB AD AV BR CA CE CT CY DE DG DR DS DY EP FD FI FN FR HC JM LO LT PC PH PR PS PT RS SG SH SP

R Renaissance Graphic Arts, Inc. 888-833-3398 www.printmaking-materials.com PC PR PT

Scottsdale Artists’ School 800-333-5707 www.scottsdaleartschool.org SH

Rhode Island School of Design 401-454-6201 www.risd.edu SH

Scratch-Art Co., Inc. 203-762-4500 www.melissaanddoug.com CY DG HC PC PR

Ringling College/Art & Design 941-955-8866 www.ringling.edu SH

Segmation 858-206-3289 www.segmation.com DG HC SH

Rockland Colloid 503-655-4152 www.rockaloid.com GR HC PH PR

Sheffield Pottery 888-774-2529 www.sheffield-pottery.com BR CE SA

Rock Paint Distr./Handy Art 800-236-6873 www.handyart.com AD BR DS PR PT

Shimpo Ceramics 800-237-7079 www.shimpoceramics.com CE HC SH

Rocky Mtn. College of Art & Design 303-753-6046 www.rmcad.edu SH

Sierra Nevada College 775-831-7799 www.sierranevada.edu/workshops SH

Royal & Langnickel Brush Mfg. 219-660-4170 www.royalbrush.com BR CE EP HC PS PT

Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR

Royalwood Ltd. 800-526-1630 www.royalwoodltd.com FI HC LO

Silvergraphics Studio 866-366-5700 www.silvergraphics.com FD GR

Roylco 800-362-8656 www.roylco.com HC

Skidmore College Summer 6 518-580-5052 www.skidmore.edu SH

Runyan Pottery Supply, Inc. 810-687-4500 www.runyanpotterysupply.com AB AD BR CE CT DS FN HC RS SA SH SP

Skutt Ceramic Products 503-774-6000 www.skutt.com CE FN JM SA SG SP Smith-Sharpe Fire Brick Supply 612-331-1345 www.kilnshelf.com CE

Smooth-On, Inc. 800-762-0744 www.smooth-on.com CE HC SP

Sakura of America 800-776-6257 www.sakuraofamerica.com DG DR GR PS SH

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Socwell LLC www.4clay.com CE Spectrum Glazes, Inc. 800-970-1970 www.spectrumglazes.com CE PT Speedball Art Products 800-898-7224 www.speedballart.com CA DG PC PR PT RS Square 1 Art 888-332-3294 www.square1art.com FD SRA/McGraw-Hill 972-224-1111 www.mheonline.com PB Staedtler-Mars, Limited 800-776-5544 www.staedtler.ca DG DR GR HC PS Standard Ceramic Supply 412-276-6333 www.standardceramic.com CE Strathmore Artist Papers 800-353-0375 www.strathmoreartist.com PC Studio Sales Pottery 585-226-3030 www.studiosalespottery.com CE HC SUNY New Paltz www.newpaltz.edu SH

Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT Taos Art School 575-758-0350 www.taosartschool.org SH Tara Materials 800-241-8129 www.taramaterials.com BR FR PC PH PT Teachers College Columbia Univ. 212-278-3270 www.tc.columbia.edu SH Teachers, Art Center College 626-396-2319 www.artcenter.edu/teachers SH Testors Corp. www.testors.com AB BR PT Texas Pottery 800-639-5456 www.texaspottery.com BR CE HC SH SP

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Traveling Exhibits 248-340-7210 www.teachersdiscovery.com DE Triarco Arts & Crafts, Inc. 800-328-3360 www.etriarco.com AB AD AV BR CA CE CT CY DE DG DS DY EP FN FR GR HC JM LO LT PC PH PR PS PT SG SP Trinity Ceramic Supply 214-631-0540 www.trinityceramic.com CE Truro Center for the Arts 508-349-7511 www.castlehill.org SH Tucker’s Pottery Supplies 800-304-6185 www.tuckerspottery.com BR CE CT FN SP Tulsa Stained Glass 918-664-8604 www.tulsastainedglass.com SG SH

U Union Rubber Co. 800-334-8219 www.realbesttest.com AD United Art and Education 800-322-3247 www.unitednow.com AB AD BR CA CE CT CY DG DR DS EP FI FN HC JM LO PC PR PS PT SG SP

Wacom Technology Corp. 360-896-9833 www.wacom.com CO DG HC PH PT The Wallace Foundation www.wallacefoundation.org SH Watson Guptill Publications 800-278-8477 www.watsonguptill.com PB Welsh Products, Inc. 800-745-3255 www.welshproducts.com CO FD GR PR Western Michigan University 269-387-2436 www.wmich.edu/art SH Whittemore-Durgin Glass 800-262-1790 www.whittemoredurgin.com HC SG Wikkistix 800-869-4554 www.wikkistix.com HC SP Winsor & Newton 800-445-4278 www.winsornewton.com BR CA CY EP HC PC PS PT Witzend Workshop, LLC 203-393-2397 www.twisteezwire.com CY DY FI HC JM SP

University of the Arts 215-717-6000 www.uarts.edu SH

Women’s Studio Workshop 845-658-9133 www.wsworkshop.org FI SH

U.S. Artquest, Inc. 517-522-6225 www.usartquest.com AD BR HC RS

Woodstock School of Art 845-679-2388 www.woodstockschoolofart.org SH

Utrecht Mfg. Corp. 800-223-9132 www.utrecht.com AD BR CT DG DR DY EP FN FR GR PC PR PS PT SP

Wyland Foundation www.wylandfoundation.org DE

Vent-A-Kiln Corp. 716-876-2023 www.ventakiln.com CE SA

Video Learning Library 541-479-7140 www.art-video.com AV Visual Manna 573-729-2100 www.visualmanna.com DG GR PB PT

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june 2018

Zebra Pen 800-247-7170 www.zebrapen.com DG

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(AB) AIRBRUSH American Ceramic Supply Co. Axner Pottery Supply Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Continental Clay Co. Copic Markers Createx Colors Florida Clay Art Co. Great Lakes Clay Jacquard Products KopyKake Ent. Laguna Clay Co. Liquitex Artist Materials Madison Art Shop Minnesota Clay USA Nasco Arts & Crafts National Artcraft Co. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education (AD) ADHESIVES/FIXATIVES American Ceramic Supply Co. Blick Art Materials ColArt Americas, Inc. The Compleat Sculptor, Inc. Continental Clay Co. Delphi Discount School Supply Earth Guild Ed Hoy’s International Elmer’s Products, Inc. Fasteners4schools.com Glue Dots Int’l.(GDI) Grafix Great Lakes Clay Handy Art iLoveToCreate, Duncan Ent. Co. Jacquard Products J&J Display Krueger Pottery, Inc. Laguna Clay Co. Liquitex Artist Materials Midwest Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Union Rubber Co. United Art and Education U.S. Artquest, Inc. Utrecht Mfg. Corp. (AV) AUDIO/VISUAL AMEP-Crystal Productions Artograph, Inc. Arts Attack Art Shop Therapy Artsonia Axner Pottery Supply Bailey Ceramic Supply Blick Art Materials The Color Wheel Co. Coyote Creek Productions Getting To Know, Inc. Great Lakes Clay 37

Jack Richeson & Co, Inc. Laguna Clay Co. Lightfoot Ltd, Inc Martin/F. Weber PCF Studios, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Video Learning Library (BR) BRUSHES AMACO/Brent American Ceramic Supply Co. American Educational Products LLC Armada Art, Inc. Artisan Art Supplies Wholesale Bailey Ceramic Supply Bamboo Tools BigCeramicStore.com Blick Art Materials Ceramic Supply Chicago ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Discount School Supply Earth Guild Ed Hoy’s International FM Brush Co. Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Krueger Pottery, Inc. Laguna Clay Co. Loew-Cornell, Inc. Martin/F. Weber Mayco Colors Minnesota Clay USA Molly Hawkins’ House National Artcraft Co. New Mexico Clay PMC Connection Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Sanford Corp. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Silver Brush, Ltd Tara Materials Testors Corp. Texas Pottery Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education U.S. Artquest, Inc. Utrecht Mfg. Corp. Winsor & Newton (CA) CALLIGRAPHY Blick Art Materials ColArt Americas, Inc. Earth Guild Inovart Inc. Molly Hawkins’ House Sanford Corp. Sax/School Specialty Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton (CE) CERAMICS Aardvark Clay & Supplies Activa Products, Inc. Aftosa AMACO/Brent American Ceramic Supply Co. American Educational Products LLC Ampersand Art Supply Armory Art Center 38

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General Pencil Co. Grafix Hash, Inc. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Lightfoot Ltd, Inc Liqui-Mark Corp. Madison Art Shop Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Pentel of America Phelps Publishing Sakura of America Sanford Corp. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Segmation Speedball Art Products Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Visual Manna Wacom Technology Corp. Zebra Pen (DR) DRAFTING American Educational Products LLC Artograph, Inc. Blick Art Materials Copic Markers General Pencil Co. Grafix JourneyEd Madison Art Shop Molly Hawkins’ House Pentel of America Sakura of America Sanford Corp. Sax/School Specialty Staedtler-Mars, Limited United Art and Education Utrecht Mfg. Corp. (DS) DISPENSERS/ CONTAINERS Blick Art Materials Bracker’s Good Earth Clays, Inc. Clear Bags Continental Clay Co. Jack Richeson & Co, Inc. Jacquard Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (DY) DYE/BATIKS Blick Art Materials Chicago Canvas & Supply The Compleat Sculptor, Inc. Earth Guild iLoveToCreate, Duncan Ent. Co. Jacquard Products Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. Witzend Workshop, LLC

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(EP) EASELS/PALETTES American Educational Products LLC Art Boards Artisan Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Discount School Supply Inovart Inc. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Madison Art Shop Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Royal & Langnickel Brush Mfg. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (FD) FUNDRAISING Artograph, Inc. Art to Remember ArtWare By You Axner Pottery Supply Blick Art Materials KidsKards Makit Products Inc. Original Works Sax/School Specialty Silvergraphics Studio Square 1 Art Welsh Products, Inc. (FI) FABRIC/FIBERS Ampersand Art Supply Blick Art Materials Chicago Canvas & Supply Crizmac Art & Cultural Ed. Matls. Earth Guild Harrisville Designs/Friendly Loom Jacquard Products Royalwood Ltd. Sax/School Specialty United Art and Education Witzend Workshop, LLC Women’s Studio Workshop (FN) FURNITURE/EQUIPMENT AMACO/Brent Ampersand Art Supply Art Boards Artisan Artograph, Inc. A.W.T. World Trade, Inc. Axner Pottery Supply Bailey Ceramic Supply Blick Art Materials Bluebird Mfg., Inc. Brent Pottery Equipment Clay Planet Conrad Machine Co. Continental Clay Co. Daler-Rowney, USA Debcor, Inc. Discount School Supply Diversified Woodcrafts Euclid’s Elements The Folding Art Horse Great Lakes Clay Jack Richeson & Co, Inc. Klopfenstein Art Equipment Krueger Pottery, Inc. Laguna Clay Co. Lightfoot Ltd, Inc MKM Pottery Tools Nasco Arts & Crafts www.ar tsandactivities.com

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june 2018

Florida Clay Art Co. Gelli Arts General Pencil Co. Glue Dots Int’l.(GDI) Grafix Great Lakes Clay Groovy Tools LLC Handy Art Harrisville Designs/Friendly Loom iLoveToCreate, Duncan Ent. Co. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Jones Publishing, Inc. Krylon Products Group Laguna Clay Co. Liqui-Mark Corp. Liquitex Artist Materials L & L Kiln Mfg., Inc. Madison Art Shop Makit Products Inc. Mayco Colors Midwest Products MKM Pottery Tools Molly Hawkins’ House National Artcraft Co. Olympic Kilns Perfectone Mold Co. Phelps Publishing PMC Connection Polyform Products Rockland Colloid Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Segmation Shimpo Ceramics Smooth-On, Inc. Staedtler-Mars, Limited Studio Sales Pottery Tandy Leather Factory Texas Pottery Triarco Arts & Crafts, Inc. United Art and Education U.S. Artquest, Inc. Wacom Technology Corp. Whittemore-Durgin Glass Wikkistix Winsor & Newton Witzend Workshop, LLC (JM) JEWELRY/METAL American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Artograph, Inc. Axner Pottery Supply BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC The Compleat Sculptor, Inc. Continental Clay Co. Delphi Ed Hoy’s International iLoveToCreate, Duncan Ent. Co. Jacquard Products L & L Kiln Mfg., Inc. Molly Hawkins’ House New Mexico Clay Olympic Kilns PMC Connection Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education Witzend Workshop, LLC

(LO) LOOMS/WEAVING Ampersand Art Supply Blick Art Materials Earth Guild Harrisville Designs/Friendly Loom Inovart Inc. Royalwood Ltd. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (LT) LEATHERCRAFT Blick Art Materials Earth Guild Jacquard Products Sax/School Specialty Tandy Leather Factory Triarco Arts & Crafts, Inc. (PB) PUBLISHERS AMEP-Crystal Productions Art Image Publications Art Shop Therapy Art Teacher on the Net Birdcage Books Bright Ring Publishing Inc. Clay Times Core Learning Inc. Crizmac Art & Cultural Ed. Matls. F & W North Light Book Club Getting To Know, Inc. Getty Trust Publications Incredible Art Department Jones Publishing, Inc. Kids Can Press Martin/F. Weber National Art Education Assoc. Orton Ceramic Foundation Phelps Publishing Pottery Making Illustrated Quarry Books Quarto Publishing SRA/McGraw-Hill Visual Manna Watson Guptill Publications (PC) PAPER/CANVAS American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Canson Inc. ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Discount School Supply Gold’s Artworks Graphic Products Corp. iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Madison Art Shop Makit Products Inc. Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Speedball Art Products Strathmore Artist Papers Tara Materials Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton

(PH) PHOTOGRAPHY Ampersand Art Supply Artograph, Inc. Art Teacher on the Net Blick Art Materials Jacquard Products Makit Products Inc. Nasco Arts & Crafts Rockland Colloid Sax/School Specialty Tara Materials Triarco Arts & Crafts, Inc. Wacom Technology Corp. (PR) PRINTMAKING American Educational Products LLC Ampersand Art Supply Art Boards Art Supplies Wholesale BigCeramicStore.com Blick Art Materials Conrad Machine Co. Daler-Rowney, USA Faust Ink, Inc. Gelli Arts Graphic Chemical & Ink Handy Art Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Madison Art Shop Molly Hawkins’ House Nasco Arts & Crafts Oregon College of Art & Craft Renaissance Graphic Arts, Inc. Rockland Colloid Rock Paint Distr./Handy Art Sax/School Specialty Scratch-Art Co., Inc. Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Welsh Products, Inc. (PS) PASTELS Artisan Art Supplies Wholesale Art Teacher on the Net Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Jack Richeson & Co, Inc. Martin/F. Weber Molly Hawkins’ House National Artcraft Co. Royal & Langnickel Brush Mfg. Sakura of America Sanford Corp. Sargent Art Inc. Sax/School Specialty Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PT) PAINTS/PIGMENTS American Ceramic Supply Co. American Educational Products LLC Artisan Art Supplies Wholesale Art Teacher on the Net Axner Pottery Supply Blick Art Materials Chroma Inc. Clay Planet ColArt Americas, Inc. The Color Wheel Co. Continental Clay Co. 40

Crayola Createx Colors Daler-Rowney, USA Discount School Supply Dixon Ticonderoga Co./Prang Earth Guild Ed Hoy’s International Faust Ink, Inc. Golden Artist Colors Handy Art iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Jiffy Mixer Kids Can Press Krylon Products Group Laguna Clay Co. Liquitex Artist Materials Loew-Cornell, Inc. Madison Art Shop Martin/F. Weber Mayco Colors Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Sanford Corp. Sargent Art Inc. Sax/School Specialty Spectrum Glazes, Inc. Speedball Art Products Tara Materials Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Visual Manna Wacom Technology Corp. Winsor & Newton (RS) RUBBER STAMPS American Ceramic Supply Co. Arnold Grummer’s Paper Making BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co. Florida Clay Art Co. Inovart Inc. Jacquard Products Runyan Pottery Supply, Inc. Sax/School Specialty Speedball Art Products U.S. Artquest, Inc. (SA) SAFETY EQUIPMENT AMACO/Brent American Ceramic Supply Co. Bailey Ceramic Supply Blick Art Materials Continental Clay Co. Earth Guild Ed Hoy’s International Florida Clay Art Co. Great Lakes Clay Laguna Clay Co. Lightfoot Ltd, Inc Minnesota Clay USA Nasco Arts & Crafts Orton Ceramic Foundation Runyan Pottery Supply, Inc. Sheffield Pottery Skutt Ceramic Products Vent-A-Kiln Corp. (SG) STAINED GLASS American Ceramic Supply Co. Ampersand Art Supply Blick Art Materials Delphi Ed Hoy’s International Jacquard Products

L & L Kiln Mfg., Inc. Paragon Industries, L.P. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tulsa Stained Glass United Art and Education Whittemore-Durgin Glass (SH) SCHOOL/WORKSHOPS Academy of Art University ACMI Activa Products, Inc. Alfred University AMACO/Brent American Academy of Equine Art American Ceramic Supply Co. Ampersand Art Supply Arrowmont Sch. of Arts/Crafts Art Institute of Southern Cal. Artisan Art New England Workshops The Art of Education Artsonia Art Teacher on the Net Art Trek Axner Pottery Supply Baltimore Clayworks Bisque Imports Boston Univ. School of Visual Arts Carbondale Clay Center Carolina Clay Connection Columbus College of Art & Design The Compleat Sculptor, Inc. Concordia Univ. Continental Clay Co. Corcoran Coll. Art & Design Crizmac Art & Cultural Ed. Matls. Daler-Rowney, USA D’Ambruoso Studios Delphi Discount School Supply Dry Creek Pottery Ed Hoy’s International Florida Clay Art Co. Geil Kilns Getty Trust Publications Great Lakes Clay Groovy Tools LLC Haystack Mountain School of Crafts Hemlocks Studio iLoveToCreate, Duncan Ent. Co. Imagination Int’l Inc. Interlochen Center For Arts Jack Richeson & Co, Inc. Jacquard Products KQED Public Television Krueger Pottery, Inc. Laguna College of Art & Design Lightfoot Ltd, Inc Martin/F. Weber Maryland Inst. College of Art Marywood University Mayco Colors Midwest Products Minn. Coll. Art/Des. Rm M105 Modern Art Museum of Ft. Worth Nantucket Island School New York University Ohio State University, Art Dept. Oregon College of Art & Craft Orton Ceramic Foundation Otis Coll. Art/Des. Cont. Ed/ Summer PCF Studios, Inc. Peninsula Art School The Pennsylvania State University Peters Valley Craft Center Picasso People Quinlan Visual Arts Center Rhode Island School of Design Ringling College/Art & Design j u n e 2 0 1 8 • 85 Y E A R S

Rocky Mtn. College of Art & Design Runyan Pottery Supply, Inc. Sakura of America Savannah College of Art & Design School of the Art Inst. of Chicago Sax/School Specialty Scottsdale Artists’ School Segmation Shimpo Ceramics Sierra Nevada College Skidmore College Summer 6 SUNY New Paltz Taos Art School Teachers College Columbia Univ. Teachers, Art Center College Texas Pottery Truro Center for the Arts Tulsa Stained Glass University of the Arts The Wallace Foundation Western Michigan University Women’s Studio Workshop Woodstock School of Art (SP) SCULPTURE Aardvark Clay & Supplies Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Aves Studio Axner Pottery Supply Bailey Ceramic Supply BigCeramicStore.com Bisque Imports Blick Art Materials Bluebird Mfg., Inc. Chavant, Inc. Clay Planet The Compleat Sculptor, Inc. Continental Clay Co. Crayola Creative Paperclay Co., Inc. Cress Mfg. Co. Earth Guild Ed Hoy’s International Evenheat Kiln Florida Clay Art Co. Great Lakes Clay Groovy Tools LLC Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Laguna Clay Co. Liquitex Artist Materials Madison Art Shop Minnesota Clay USA MKM Pottery Tools Molly Hawkins’ House Muddy Elbows Nasco Arts & Crafts New Century Arts New Mexico Clay Olsen Kiln Kits Olympic Kilns PCF Studios, Inc. Perfectone Mold Co. Polyform Products Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Smooth-On, Inc. Texas Pottery Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. Wikkistix Witzend Workshop, LLC www.ar tsandactivities.com

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volume index

In every January and June issue, Arts & Activities magazine publishes a Volume Index. The Index lists, by category and author, the articles that ran during a particular five-issue volume. We recommend keeping all of A&A’s Volume Indexes on your computer, in a binder or in a file for reference when looking for articles dealing with a particular topic, medium, artist, art technique, and so on.

VOLUME 163, FEBRUARY–JUNE 2018 A&A ART PRINTS Bingham, George Caleb, The Jolly Flatboatmen, June, p. 23 Degas, Edgar, Horses in a Meadow, Apr., p. 19 Larsson, Carl, Little Red Riding Hood and the Wolf in the Forest, Mar., p. 19 Pugh, John, Academe, May, p. 19 Zagar, Isaiah, Philadelphia’s Magic Gardens, Feb., p. 19 A&A STUDY PRINTS Beach, Rachel, Long Standing Installation, May, p. 37 Brooke, Leonard Leslie, Three Little Pigs: The wolf blows down the house of straw, Mar., p. 37 Monet, Claude, Impression, Sunrise, Apr., p. 37 Nymphalis Bernardus, June, p. 45 Plate with monkey and cacao pods, Feb., p. 37 ADVICE FOR ART TEACHERS Art is at the Core: Hans Hofmann, Feb., p. 11 Art is at the Core: Laurel Burch, Apr., p. 10 Art is at the Core: Yayoi Kusama, June, p. 8 Choice-Based Art: Studio Habits for Middles and Littles, Mar., p. 8 Choice-Based Art: Motivating Middle Schoolers, May, p. 8 Community Connections: So You Want to Have an Art Show?, Feb., p. 14 Stepping Stones: Celebrating Earth Day in the Art Class, Apr., p. 8 Stepping Stones: Courage with Clay, Feb., p. 8 Stepping Stones: Fitting Sculpture into your Art Classes, May, p. 6 Stepping Stones: Preparing for Seattle’s NAEA Convention, Mar., p. 6 Stepping Stones: How Art Educators Can Reconnect with Nature, June, p. 6 Tried & True Tips for Art Teachers: The Courage to Try, Mar., p. 38 Tried & True Tips for Art Teachers: Dream Big, Feb., p. 38 Tried & True Tips for Art Teachers: In the Flow, June, p. 46 Tried & True Tips for Art Teachers: What I’ve Learned, Apr., p. 46 Tried & True Tips for Art Teachers: What To Do ... , May, p. 38 ALIVE AND KICKING Marking & Mixing with Moe, Mar., p. 12 Sculpture That Fits in a Folder, May, p. 16 ART APPRECIATION/ART HISTORY Art Print: Bingham, George Caleb, The Jolly Flatboatmen, June, p. 23 Art Print: Degas, Edgar, Horses in a Meadow, Apr., p. 19 Art Print: Larsson, Carl, Little Red Riding Hood and the Wolf in the Forest, Mar., p. 19 Art Print: Pugh, John, Academe, May, p. 19 Art Print: Zagar, Isaiah, Philadelphia’s 42

Magic Gardens, Feb., p. 19 Study Print: Beach, Rachel, Long Standing Installation, May, p. 37 Study Print: Brooke, Leonard Leslie, Three Little Pigs: The wolf blows down the house of straw, Mar., p. 37 Study Print: Monet, Claude, Impression, Sunrise, Apr., p. 37 Study Print: Nymphalis Bernardus, June, p. 45 Study Print: Plate with monkey and cacao pods, Feb., p. 37 ART IS AT THE CORE Hans Hofmann, Feb., p. 11 Laurel Burch, Apr., p. 10 Yayoi Kusama, June, p. 8 CHOICE-BASED ART Motivating Middle Schoolers, May, p. 8 Studio Habits for Middles and Littles, Mar., p. 8 CLAY: EARTHEN AND AIR-DRY China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Clay Tips from the Gamble Studio: From Kitchen to Studio, Feb., p. 32 Creative Collaboration: Metallic Emoticon Mural, Feb., p. 26 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 Sesquicentennial Ceramic Summatives, Feb., p. 16 Simple and Successful Ceramic Wall Hangings, June, p. 22 COLLABORATIVE PROJECTS Alive and Kicking: Sculpture That Fits in a Folder, May, p. 16 Community Connections: So You Want to Have an Art Show?, Feb., p. 14 Creative Collaboration: Creative Genius Mini Murals, May, p. 23 Creative Collaboration: Metallic Emoticon Mural, Feb., p. 26 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 COMMUNITY CONNECTIONS So You Want to Have an Art Show?, Feb., p.14 COMPUTER/DIGITAL ART Alive and Kicking: Sculpture That Fits in a Folder, May, p. 16 On the Art Career Track: Design Thinkers, Mar., p. 23 Powered by STEAM: The Elements of Chemistry Meet the Elements of Art, Apr., p. 18 Powered by STEAM: The Vedic Square: Math Infusion in an Art-Based Curriculum, Apr., p. 14 “Valuing” Self-Portraits, Mar., p. 28

CREATIVE COLLABORATION Creative Genius Mini-Murals, May, p. 23 Metallic Emoticon Mural, Feb., p. 26 DRAWING AND PAINTING Abstract Cityscapes, Mar., p. 30 Aibrushed Butterfly Collages, June, p. 12 Alive and Kicking: Marking & Mixing with Moe, Mar., p. 12 Colorful van Gogh Landscapes, Mar., p. 26 Community Connections: So You Want to Have an Art Show?, Feb., p. 14 Creative Collaboration: Creative Genius Mini- Murals, May, p. 23 Jungle Paintings Inspired by Rousseau, Apr., p. 34 On the Art Career Track: Design Thinkers, Mar., p. 23 Painting and Thinking Like Monet, Apr., p. 27 Painting the Bright Colors of the Rainforest, Apr., p. 32 Personal Still Life in a Box, Mar., p. 14 Primary Painting: Mixing Colors with Confidence, Apr., p. 20 Recycling Renaissance, Drink Trays Can Be Beautiful, June, p. 18 Recycling Renaissance, In the Box: Mixed Media Portraits, June, p. 16 Scraping the Edge: Palette-Knife Paintings, Apr., p. 30 Taking Risks with the Anatomy of Art, Mar., p. 16 “Valuing” Self-Portraits, Mar., p. 28 ELEMENTARY (grades K-5) Abstract Cityscapes, Mar., p. 30 Alive and Kicking: Marking & Mixing with Moe, Mar., p. 12 Alive and Kicking: Sculpture That Fits in a Folder, May, p. 16 China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Colorful van Gogh Landscapes, Mar., p. 26 Community Connections: So You Want to Have an Art Show?, Feb., p. 14 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 Painting and Thinking Like Monet, Apr., p. 27 Painting the Bright Colors of the Rainforest, Apr., p. 32 Primary Painting: Mixing Colors with Confidence, Apr., p. 20 Recycling Renaissance, Drink Trays Can Be Beautiful, June, p. 18 Simple and Successful Ceramic Wall Hangings, June, p. 22 INTEGRATING THE CURRICULUM An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23

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MIDDLE AND SECONDARY (grades 6-12) An AMPed Up Curriculum, Article 6: What’s Cookin’, Feb., p. 12 An AMPed Up Curriculum, Article 7: A Day in the Life, Mar., p. 10 An AMPed Up Curriculum, Article 10: Performance Final / Capstone, June, p. 10 An AMPed Up Curriculum, Article 9: Poetry & Song Lyrics, May, p. 12 An AMPed Up Curriculum, Article 8: Verbs and Nouns: The Art of Storytelling, Apr., p. 12 Creative Collaboration: Creative Genius Mini Murals, May, p. 23 Creative Collaboration: Metallic Emoticon Mural, Feb., p. 26 Foam Fossils, May, p. 18 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco Culture” Totem Poles, Feb., p. 23 Jungle Paintings Inspired by Rousseau, Apr., p. 34 On the Art Career Track: Design Thinkers, Mar., p. 23 Personal Still Life in a Box, Mar., p. 14 Powered by STEAM: The Elements of Chemistry Meet the Elements of Art, Apr., p. 18 Powered by STEAM: STEAMing it Up, Apr., p. 16 Powered by STEAM: The Vedic Square: Math Infusion in an Art-Based Curriculum, Apr., p. 14 Recycling Renaissance, Abstract Relief Sculptures, May, p. 14 Scraping the Edge: Palette-Knife Paintings, Apr., p. 30 Summertime Sculpture: Squeaky-Clean Tikis, June, p. 14 Taking Risks with the Anatomy of Art, Mar., p. 16 “Valuing” Self-Portraits, Mar., p. 28

Recycling Renaissance, Abstract Relief Sculptures, May, p. 14 Recycling Renaissance, In the Box: Mixed Media Portraits, June, p. 16 “Valuing” Self-Portraits, Mar., p. 28 MULTICULTURAL China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 Summertime Sculpture: Squeaky-Clean Tikis, June, p. 14 ON THE ART CAREER TRACK Design Thinkers, Mar., p. 23 PAPER/PAPIER-MACHE/COLLAGE Aibrushed Butterfly Collages, June, p. 12 Alive and Kicking: Marking & Mixing with Moe, Mar., p. 12 Creative Collaboration: Creative Genius Mini-Murals, May, p. 23 On the Art Career Track: Design Thinkers, Mar., p. 23 Painting the Bright Colors of the Rainforest, Apr., p. 32 Recycling Renaissance: Abstract Relief Sculptures, May, p. 14 POWERED BY STEAM The Elements of Chemistry Meet the Elements of Art, Apr., p. 18

STEAMing it Up, Apr., p. 16 The Vedic Square: Math Infusion in an Art-Based Curriculum, Apr., p. 14 READY-TO-USE RESOURCES Art Print: Bingham, George Caleb, The Jolly Flatboatmen, June, p. 23 Art Print: Degas, Edgar, Horses in a Meadow, Apr., p. 19 Art Print: Larsson, Carl, Little Red Riding Hood and the Wolf in the Forest, Mar., p. 19 continued on next page

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MIXED MEDIA Airbrushed Butterfly Collages, June, p. 12 Alive and Kicking: Sculpture That Fits in a Folder, May, p. 16 China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Creative Collaboration: Metallic Emoticon Mural, Feb., p. 26 Creative Collaboration: Creative Genius Mini-Murals, May, p. 23 Community Connections: So You Want to Have an Art Show?, Feb., p. 14 Foam Fossils, May, p. 18 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 On the Art Career Track: Design Thinkers, Mar., p. 23 Painting the Bright Colors of the Rainforest, Apr., p. 32 Powered by STEAM: STEAMing it Up, Apr., p. 16 www.ar tsandactivities.com

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Art Print: Pugh, John, Academe, May, p. 19 Art Print: Zagar, Isaiah, Philadelphia’s Magic Gardens, Feb., p. 19 Study Print: Beach, Rachel, Long Standing Installation, May, p. 37 Study Print: Brooke, Leonard Leslie, Three Little Pigs: The wolf blows down the house of straw, Mar., p. 37 Study Print: Monet, Claude, Impression, Sunrise, Apr., p. 37 Study Print: Nymphalis Bernardus, June, p. 45 Study Print: Plate with monkey and cacao pods, Feb., p. 37

The Vedic Square: Math Infusion in an Art Based Curriculum, Apr., p. 14

RECYCLING/USING FOUND OBJECTS China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 Personal Still Life in a Box, Mar., p. 14 Recycling Renaissance: Abstract Relief Sculptures, May, p. 14 Recycling Renaissance, Drink Trays Can Be Beautiful, June, p. 18 Recycling Renaissance, In the Box: Mixed Media Portraits, June, p. 16 Recycling Renaissance, Little People: Sculpture from Found Materials, June, p. 20

THREE-DIMENSIONAL DESIGN Alive and Kicking: Sculpture That Fits in a Folder, May, p. 16 China’s Terracotta Warriors: Uniquely Represented through Form and Texture, Feb., p. 28 Creative Collaboration: Metallic Emoticon Mural, Feb., p. 26 Integrating the Curriculum: An Interdisciplinary Unit that Brings the World Together: “Eco-Culture” Totem Poles, Feb., p. 23 Foam Fossils, May, p. 18 Powered by STEAM: STEAMing it Up, Apr., p. 16 Recycling Renaissance, Drink Trays Can Be Beautiful!, June, p. 18 Recycling Renaissance, In the Box: Mixed Media Portraits, June, p. 16 Recycling Renaissance, Little People: Sculpture From Found Materials, June, p. 20 Simple and Successful Ceramic Wall

S.T.E.A.M. The Elements of Chemistry Meet the Elements of Art, Apr., p. 18 STEAMing It Up, Apr., p. 16

STEPPING STONES Celebrating Earth Day in the Art Class, Apr., p. 8 Courage with Clay, Feb., p. 8 Fitting Sculpture into your Art Classes, May, p. 6 How Art Educators Can Reconnect with Nature, June, p. 6 Preparing for Seattle’s NAEA Convention, Mar., p. 6

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Hangings, June, p. 22 Summertime Sculpture: Squeaky-Clean Tikis, June. p. 14 TRIED & TRUE TIPS FOR ART TEACHERS The Courage to Try, Mar., p. 38 Dream Big, Feb., p. 38 In the Flow, June, p. 46 What I’ve Learned, Apr., p. 46 What To Do ... , May, p. 38 YEARLONG SECONDARY ADVANCED ART SERIES An AMPed Up Curriculum, Article 6: What’s Cookin’, Feb., p. 12 An AMPed Up Curriculum, Article 7: A Day in the Life, Mar., p. 10 An AMPed Up Curriculum, Article 10: Performance Final / Capstone, June, p. 10 An AMPed Up Curriculum, Article 9: Poetry & Song Lyrics, May, p. 12 An AMPed Up Curriculum, Article 8: Verbs and Nouns: The Art of Storytelling, Apr., p. 12 YOUNG ARTISTS Olivieri, Janell, June, p. 27 AUTHORS Achatz, Kari, Apr. p. 18 Anderson, Amy, June, p. 12 Brouwer, Josey M., Mar., p. 26 Carpenter, Elizabeth, May, p. 23 Cline, Debra, Apr., p. 14 Crosby, Carol, May, p. 8 D’Ambrosio, Gigi, Apr., p. 27 Delmas, Peggy, Feb., p. 28 Dionne, Suzanne, Apr., p. 32; June, pp. 22, 27 Felice, Cathy, Apr., p. 20 Fortune, Tracy, Feb., p. 26 Gamble, Shelagh, Apr., p. 30 Gamble, Tracy P., Feb., p. 32 Goldade, Larry, June, p. 20 Hemendinger, Sarah, Mar., p. 30 Hoffman, Anne M., June, p. 18 Keene, Carrie, Apr., p. 34 Kohl, Gary, May, p. 18 Koonlaba, Amanda, Feb., p. 11; Apr., p. 10; June, p. 8 Lubiner, Glenda, Feb., p. 38; Mar., p. 38; Apr., p. 46; May, p. 38; June, p. 46 Masse, Don, Feb., p. 14; Mar., p. 12; May, p. 16 O’Connell, Kenneth, June, p. 20 O’Hanley, Heidi, Feb., p. 8; Mar., p. 6; Apr., p. 8; May, p. 6; June, p. 6 Osterer, Irv, Feb., p. 16; Mar., p. 23 Petka, Kathleen, Mar., p. 16 Petersen, Hugh, Mar., p. 28 Pippin, Sandi, Mar., p. 14 Richards, Katherine, June, p. 14 Sartorius, Tara Cady, Feb., p. 19; Mar., p. 19; Apr., p. 19; May, p. 19; June, p. 23 Steller, Carlon, Feb., p. 23 Vitulli, Paige, Feb., p. 28 Wade, Michael, May, p. 14 Waller, Kerri, Apr., p. 16; June, p. 16 West, Debi, Feb., p. 12; Mar., p. 10; Apr., p. 12; May, p. 12; June, p. 10 n

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Nymphalis Bernardus (Festoon Orange Butterfly). Plate 34 from the book, Natural History

STUDY PRINT

“There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners.” — Antoni Gaudi

e have almost made it through another school year with many highs and lows, celebrations, and tragic events. We have learned, shared, and experimented. And now we must say good-bye to another school year and another great group of kids! In the month of June we celebrate World Environment Day on June 5, which brings us to our focus for this month. The end of the year brings to this column: recycling tips, art projects about the environment, animals and life in and around the water.

tip #1

COLORFUL CLAY CORAL REEFS. Thirdgrade students in Emily Deacon’s art class at Franklin Academy Pembroke

bilities. You can even create totems as abstract as Louise Nevelson’s. You can make them stand or even hang them from the ceiling.

tip #3

GOT WATER? Well, how about water

bottles? Chihuly-inspired centerpieces can be made from water or soda bottles. To make flowers just take a plastic bottle, cut off the bottom, and paint the outside with bright colored acrylic paint (remember that the neck of the bottle will be the center of the flower). I sometimes have my students add polka dots or a gradation of colors. When the paint is dry, cut strips about 1.5 inches wide from the bottom to about a half-inch from the neck— you should have about five or six “petals.” My students then round off the edges and pull the petals to make them curve outward. I usually have them put two bottles together, one inside the other. We hot glue them together.

Glenda L

ubiner

Have the students draw their designs on corrugated cardboard or cut-up boxes. The students will then add pieces of cardboard to give it the 3D look. I would suggest no more than four layers of cardboard. When the glue is dry, have them paint it with acrylic paint. The result is beautiful.

tip #5

GONE FISHIN’. Another great recycle

In the Flow Pines have been learning about coral reefs and ceramics. They have created their own 3D reef sculpture while learning about the importance of coral reefs in the ecosystem and why it important to keep the oceans of the world healthy and clean.

tip #2

TOTALLY TOTEMS. Totem poles can

be made in a variety of ways, from recycled materials to paper towel rolls, clay to cardboard, two-dimensional or three. Not only can this be a great recycling lesson, but also you can teach histor y, sculpture, social studies, and of course art. And, when you add animal faces you are also teaching science. Think of the endless possiATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

To make the inside part of the flower (the ovary, stigma, stamens, etc.), I have the students paint the bottom of the bottle and trim the edges a bit to make it look more organic. I drill holes in the center of the bottom of the bottles and the students add colored pipe cleaners. We have used them as centerpieces by gluing the neck of the bottle on to a cardboard or plastic cone. The cones can be decorated as well. To hang them from the ceiling, just use monofilament to attach the bottles. Other organic shapes can be incorporated into the design as well.

tip #4

IN THE FLOW WITH H2O. Have stu-

dents do research on artists who use a water theme within their artwork. In their sketchbooks, have them reinvent a piece of art that their artist has created. Once the sketch is completed, one great way for the students to create a painting is to make the artwork three-dimensional.

project I did many years ago was 3D fish made from recycled 2-liter soda bottles. The neck of the bottle becomes the fish mouth. All you do is cut off the bottom of the bottle, then cut and shape the tail. Once that was done, I had my kids use black Sharpie® markers on the outside to add details, eyes, scales, gills or just some great designs … some even added some Zentangle designs. They then painted the inside of the bottles with acrylic paint. If you want these to be sun catchers, the students can use colored Sharpies to paint the inside. When all the paint was dry, we stapled the back of the body by the tail and hung them from the ceiling with monofilament. HAPPY BIRTHDAY to Maurice Sendak (June 10, 1928), Julia Margaret Cameron (June 11, 1815), Nicolas Poussin (June 15, 1594), Magdalena Abakanowicz (June 20, 1930) and Antonio Gaudi (June 25, 1852). Thank you Emily for your great tip.n

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

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