Arts & Activities Magazine September 2016 by Arts & Activities

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CONTENTS V O L U ME 1 6 0 , No . 1

SEPTEMBER 2016

CREATIVE WAYS TO GET ART STARTED 20 PASSIONATE ABOUT PAINTING: START WITH SUNFLOWERS Suzanne Dionne 27 PLANTS ... ON WATERCOLOR BACKGROUNDS Sandi Pippin 28 ALIVE AND KICKING, TRIANGULATING WITH LIBS: CELEBRATING DIVERSITY

AND COMMUNITY Don Masse

Sonia Lowman

and Andrea Ackerly

30 STENCIL CHALK DESIGN Hugh Petersen 32 DISCOVER THE POWER TO CREATE POSITIVE CHANGE THROUGH ART 34 POSITIVE AFFIRMATIONS: GREAT FOR EVERYONE Kimberly J.B. Smith 36 MEET THE FACULTY Irv Osterer

YEARLONG ART II CURRICULUM SERIES 18 WHERE THE TECHNICAL MEETS THE CREATIVE: THE ART OF PORTRAITURE

Debi West

SPECIAL FEATURES AND COLUMNS 10 RANDOM THOUGHTS ABOUT ART AND EDUCATION: SOCIETY OF MIND

Jerome J. Hausman

Heidi O’Hanley

Carole Brown

Glenda Lubiner

12 STEPPING STONES ... MAPPING OUT YOUR TEACHING ENVIRONMENT 14 CHOICE-BASED ART: PURPOSE-INSPIRED ART Tom Burkle 17 FORUM, THOUGHTS TO SHARE: THE PROBLEM WITH THE WORD “PENCIL” 46 TRIED & TRUE TIPS FOR ART TEACHERS: BACK IN THE SWING OF THINGS

READY-TO-USE CLASSROOM RESOURCES 22 INTRODUCTION TO THE 2016–17 ART PRINT SERIES: MAKING CONNECTIONS 23 ARTS & ACTIVITIES ART PRINT: VINCENT VAN GOGH, WHEATFIELD AND CYPRESSES Tara Cady Sartorius 45 ARTS & ACTIVITIES STUDY PRINT: THE DRAWING LESSON Jan Steen

DEPARTMENTS 8 EDITOR’S NOTE 38 MEDIA REVIEWS 39 SHOP TALK 41 AD INDEX ON THE COVER

THE DRAWING LESSON, c. 1665. Oil on panel, 19.375" x 16.25". By Jan Steen (Dutch; 1626-1679). See “Arts & Activities Study Print,” page 45.

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

30 4

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

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Something to Say SucceSS PrinciPleS for AfterSchool ArtS ProgrAmS From urbAn Youth and other exPertS

Teens and tweens can be very demanding. Including when it comes to their arts programs. A national research report can help you succeed in attracting and retaining them.

Denise Montgomery • Peter Rogovin Neromanie Persaud

Something to Say: Success Principles for Afterschool Arts Programs From Urban Youth and Other Experts i

Something to Say: Success Principles for Afterschool Arts Programs From Urban Youth and Other Experts

Download this report and other resources on afterschool, summer, and arts learning, free of charge at www.wallacefoundation.org.

Photo: A young artist and an instructor at SAY Sí, a multidisciplinary arts program located in San Antonio, Texas, with a history of long-term participation by middle school and high school students. Photo courtesy of SAY Sí.

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e d i t o r ’s n o t e

Welcome back! Ready or not, here it comes ...

time to unpack supplies and get classrooms in order. If you are looking for

president

Thomas von Rosen

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

creative ways to get art started in your classroom, we’ve got you covered.

The indomitable Debi West returns, this time

EDITORIAL ADVISORY BOARD

with a Yearlong Curriculum Series for Art II students (page 18). “I am

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

excited ... to write another yearlong series of lessons for Arts & Activities

magazine this year,” writes Debi. “I believe that the next 10 articles will give teachers wonderful ideas of where to take their Art II students.”

A colorful project for breaking the ice with your students, “Stencil Chalk Design” (page 30), provided amazing moments in Hugh Petersen’s art room. He writes, “This high-success, low-stress project is a

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

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

CONTRIBUTING EDITORS

perfect way to get your new class of students excited about art class, and eager

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

to start the next assignment.”

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

In “Passionate About Painting: Start with Sunflowers,” Suzanne Dionne states, “...introducing artists at the beginning of the school year has many

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

benefits. Students start off with art appreciation and history. It helps boost

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

their confidence when they are working in a style like that of the artist. At

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

this age, they are interested in short stories about artists. When they are actively engaged in this manner, classroom management is not an issue.” Turn to page 20 for more of Suzanne’s wisdom. Sandi Pippin describes her high-school project, “Plants ... On Watercolor Backgrounds” (page 27) as “… a great way to start the year—creating your own background paper with watercolor, drawing from observation, creating a composition that features overlapping, and adding values to drawings. The students are off and running!”

Also in this issue is a fresh approach to our A&A Art Print series (page 23). In the form of streamlined text broken down into short, annotated, subject-area categories, we will be looking at arts integration, STEAM, and the National Visual Arts Standards—all gleaned from the featured artwork itself! Lesson ideas will also be presented

Don Masse Heidi O’Hanley

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

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

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in the section, “In the Studio: Create and Present.”

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

As is expected from Arts & Activities, this issue holds even more relevant advice and many more tips from fellow teachers. So, don't wait another moment. Jump right in and get art started!

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

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

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

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

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AA1609

THE SOCIETY OF MIND

BY JEROME J. HAUSMAN

ar vin Minsky, a pioneer of artificial intelligence, died in Januar y 2016. He, along with his colleague Seymour Papert, was at the Massachusetts Institute of Technology. They did much to develop our understanding of computers and their connections with the learning process. Technically speaking, they were not “art educators” but, fundamentally, they did much to orient understanding our fundamental ideas about science, mathematics, model-making, and arts.

Each section contained in a single page, can be seen as par t of a larger mosaic revealing a unified “theor y of mind.” The book ranges from “the significance of children’s drawings to the problem of self-knowledge, from the power of negative thinking to the role that humor plays in ordinary thought.” You need not read the book in linear sequence. Like a large abstract painting, it can be viewed from multiple points and traversed as the readers needs and interests dictate, like much in human experience. You put it together as good sense and understanding become apparent. SO MUCH IN OUR PRESENT-DAY edu-

I HAVE LONG ADMIRED and valued

Minsky’s book, The Society of Mind. Published in 1986, it can be characterized as an “intellectual puzzle.”

cational emphasis passes for a common core of understanding: standards, focused learning, testable outcomes, and measurable results. It is as if we are striv-

MAKE TRIMMING FUN! We believe that when students are having fun, they stay engaged. For years, ceramic educators have relied on the Giffin Grip to reduce frustration encountered in trimming. Giffin Grip keeps the creative fun flowing from clay to kiln! GiffinGrip.com 10

ing for a table of contents for Google. Minsky’s book has an incredible array of sections: wholes and par ts; conflict and compromise; the self; individuality; insight and introspection; problems and goals; a theor y of memor y; the shape of space; learning and meaning; seeing and believing; the mind and the world; and still more! It is a dif ferent way of thinking than is presently in vogue. I have long been impressed with Minsky's writing about “knowing and believing.” As he put it, “to comprehend what knowing is, we have to guard ourselves against that single-agent fallacy of thinking that the ‘I’ in ‘I believe’ is actually a simple stable thing. The truth is that a person’s mind holds different views in different realms ... “Then, if what we believe is so conditional, what makes us feel that our beliefs are much more definite? It is because whenever we commit ourselves to speak or act, we thereby have to force ourselves into clear-cut action-oriented states of mind in which most of our questions are suppressed” ... “I do not mean that such distinctions are not important, only that they do not justify the simplistic assumption that, among all the mind's activities, certain special kinds of thoughts are essentially more ‘genuine’ than others. All such distinctions seem less absolute when every deeper probe into beliefs reveals more ambiguities.” Art helps us to understand that there are multiple views of the realities we encounter. Seeing and understanding these multiple realities helps us to understand the truth. n A&A Editorial Advisor, Dr. Jerome J. Hausman, is a lecturer, consultant, and a visiting professor at The School of the Art Institute of Chicago.

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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.

MAPPING OUT YOUR TEACHING ENVIRONMENT

BY HEIDI O'HANLEY

his school year marks a first for me … I’m in my own classroom with a sink! It may not sound like that big of a deal, but many art educators struggle to find all the resources needed for their projects in their curriculum when they’re in alternate teaching spaces. Here are a few things to check off your list when setting up your space!

FIND YOUR WATER SOURCE. If you’re one of the lucky art teachers who have a room with a sink, you’re golden! Many of us do need to search other avenues to supply the element that cleans our paintbrushes. If you’re working from a room without a sink, I recommend finding the closest water source. When I was on a cart, I sur veyed the closest bathrooms, found the classrooms with the sinks, and carried 5-gallon jugs from room to room.

FIND YOUR ELECTRICITY. If you push a cart from room

to room and you need the projector or laptop, you need the outlets. Before starting the school year, I would walk through all the rooms I pushed a cart into and surveyed the space. If you’re in your own classroom, set up your projection or computer station that is convenient for you.

FIND YOUR STORAGE. If you’re on the cart, you can get creative with your storage. If you have a closet, plan a space to store your students’ flat projects in labeled portfolios (or folders) that are easy to change out. I recommend labeling boxes and bins to make it easier to find the materials you need to load the cart or switch out throughout the day. If you’re in your classroom, figure out a space that you can store projects. I use metal file holders to hold folders of student two-dimensional artworks and bins for the threedimensional sculptures. If you struggle to find space on the cart, talk with the classroom teachers to see if there can be a space above cabinets and out of the way of their instruction time.

FIND YOUR DISPLAY SPACE. Some schools have a dedicated space for art teachers to display, while others think outside of the box. In the past, I would set up a length of long paper on the wall and tape projects to it that can be changed out. A colleague of mine uses string and clothespins to hang the artworks, which makes it so much easier to change out. 12

You also need to find display space in your classes to show project examples. If you’re on the cart, check the boards in the rooms. I recommend getting your own magnets and labeling them. Even if you forget them in the rooms, students will still make sure they get back to you!

FIND YOUR METHOD OF ORGANIZATION. Being an art teacher means we are masters of organizing chaos. We have multiple classes, students with different accommodations, material adaptations, and more. Every teacher I know has their own method of organization that works for them. If you have a classroom, create seating charts, even if you have 20+ classes a week. Make sure those charts are written in pencil in case you need to move anyone around throughout the year. Do you have a list of IEPs? Organize your paperwork in files and make sure to highlight the adaptations you need to provide for your students. If you’re on the cart, get yourself a file system that works for your space. I had a small plastic file container that held all my paperwork in the space I had, which could also travel with me on the cart if I needed to!

FIND YOUR PRIVACY. Every teacher deserves his or her own space, which I refer to as your desk! If you are on a cart and do not have your own desk, I highly recommend you ask for one. Having your own space provides you with the comfort of having a place within the school to plan, plus, it’s much easier to do all the work you need to accomplish before and after your classes! If you have a classroom, it’s your choice where you position your desk space. Find what works best for you, but remember to take the time to sit and take a breather even for a few minutes during your time!

FIND YOUR CREATIVITY. Throughout the school year, you may go through lulls with your lessons, even if you pre-plan your curriculum. Most of you are aware of Pinterest supplying many pinned lessons created by art educator bloggers, but do not hesitate to turn to social media for ideas! There’s so many different ways to achieve the objectives of your lessons, but don’t lose your creative spark in teaching your lessons!

I hope you have a wonderful school year, and let your students’ creativity shine! n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Ill. Visit her blog at www.talesfromthetravellingartteacher.blogspot.com. s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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Choice-Based Art

Edited by Nan Hathaway

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

PURPOSE-INSPIRED ART BY TOM BURKLE

make art to persuade their families to purchase a certain toy or take them on a new experience. 5. CELEBRATORY Artists many times want their art to cel-

uring a required training on Writer’s Workshop, a light bulb burst in my brain. Teachers lead their students to write in the different purposes of writing; narrative, expository, persuasive, and so on. “Wait,” I thought, “this is the same as in art! Students can create narrative ar t, ar t that explains, persuasive ar t …” I began to consider all of the various purposes of art and how to explore these with my students. Together with my students, we looked into how artists usually begin with the purpose of the art in mind. Whether rationally, emotionally or intuitively, artists know why they are making the art. They then make all of their decisions based on that purpose. The idea of “Purpose-Inspired Art” was derived from this moment of understanding. The list of purposes below is constantly in flux. Minimalists will like to shorten the list down to just three basic purposes of art: narrative, expressive and functional. Maximalists will create even more. This list of seven different purposes is designed to work with students in an educational setting. 1. NARRATIVE One of the oldest purposes of art is to tell

a story. Kindergartners create art that tell fiction and nonfiction stories all year long. Seniors in high school continue to tell stories of their own lives, their heroes and the world’s triumphs and tribulations. A child might tell a story with their favorite toy as the protagonist. 2. EXPRESSIVE When artists are in the midst of feeling a

strong emotion, they sometimes put that emotion into their artwork and create expressively. Other times an artist might work to illicit a specific emotion in the viewer. A child may create an artwork that expresses their feelings about their favorite toy or a vivid memory of people in their lives. 3. FUNCTIONAL This is artwork that has a job. It could be

a chair or a bowl, but could also be an informative poster. Children enjoy making art that functions as part of a costume, mask, hat, or a toy ready to take home and play with right away. 4. PERSUASIVE Art that convinces people to act is persua-

sive. Students are able to make art that attempts to persuade principals for more recess, art class or tablets. Children 14

ebrate. This can include holidays and special occasions, but it is not limited to that. They might decide to have their art celebrate a movie, sport, or action figure. Children many times wish to celebrate their favorite toy by drawing it on the largest piece of paper they can find. 6. CREATE CURIOSITY Sometimes the artist’s intent is to set

the viewer askew; to make the viewer curious, uncomfortable, doubtful or interested in the impossible. Creating artworks that have the purpose of creating curiosity tends to be fun for the artist and very interesting to the viewer. A student might construct an artwork that is designed to get others curious about their favorite toy. 7. EXPLORATORY Artists sometimes start an artwork with-

out a purpose other than to explore. They might be exploring drawing horses. They might be exploring watercolor techniques. They might be doing an experiment to see what happens when oil pastels are drawn on wet tempera paint. Exploratory work may go no further than creative play, or transform into one of the other purposes of art. The art teacher in a Purpose-Inspired Art classroom asks questions that lead students through the artistic process. Does the purpose of your art lead you to make a drawing, painting or sculpture? What art materials will work best for your purpose? What size will work out well? What cultural or historical styles might you use as a reference to create your art? What textures might support the purpose of your work? What is the best location and media for display that supports your purpose? How may I, the art teacher, support you in your pursuit of the purpose of your art? Leading students to define their purpose first creates a natural artistic progression or authentic artistic process for their work as artists. Lead students in the practice of choosing the purpose of their art, at first with assistance and later on their own. Once the student’s purpose is defined, the teacher may function as a consultant, guide or coach. n Tom Burkle is an elementary art teacher in Colorado Springs, Colo. He is in his 24th year of teaching art in public schools, and has a master’s degree in education. Tom presented “Defining and Using the Choice Continuum” at the Colorado and Wyoming state conferences, the TAB conference in Denver, and at the 2016 NAEA conference in Chicago. s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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FORUM thoughts to share

I image courtesy of pexels.com

CREATE CHANGE

The problem with the word “pencil”

by Carole Brown

t just happened one day. I wish I could say that I thought of it, but I didn’t. Yet it happened anyway—and it was wondrous. Pencils. I abhor the word. For, upon its utterance, children dive for the supply caddy and begin to sharpen … or look for the sharpener … or argue over the longest one … or shortest … or any number of things that can become a combat point (pardon the pun) over an ordinary writing implement. For years, “pencils” have plagued my art-life. Trying to keep ahead of them myself was impossible. Trying to keep them in proper supply and form, insurmountable. Then, one day, a table of secondgraders, eager to employ the good deeds of service spoken of at our school assemblies and in our classrooms every day, solved the problem. Ever yone was lined up for the hallway when I noticed one table hadn’t cleaned up properly—or so I thought. I studied the scene for a while before speaking. On the table, a sharpened pencil and an eraser had been neatly placed in front of each seat, ready and waiting for the next class. The children did not know who would sit there next. That did not matwww.ar tsandactivities.com

ter to them. What they sincerely cared about was extending a courtesy to the next group of young artists who would be sitting at that table. “Table two,” I said, “did you get pencils ready for the next class?” Smiling, they all nodded. Honestly, I almost shed tears of joy. That simple, goodwill gesture from the heart not only was destined to serve the student body and alleviate my years of torturous pencil-related grief, it also whispered of the small kindnesses (and greatness) that can come only from the hearts of children. So, in an instant, my pencil problem was solved. Every class gets a pencil ready for the next, frustration levels are all at an all-time low and, at the end of the day, students make sure that all pencils are sharpened for the first art class in the morning. Simple. Sweet. If you try it at your school, my guess is that you, too, will have joyful success. Just remember to mentally thank those courteous artists thinking of those other than themselves … a good lesson for all. n

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84 Y E A R S •

september 2016

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

LESSON 1 OF 10

The Art of Portraiture by Debi West

am excited to have the opportunity to write another yearlong series of lessons for Arts & Activities magazine this year. I believe that the next 10 articles will give teachers wonderful ideas of where to take their Art II students. I currently teach about 180 visual art students at North Gwinnett High School in Suwanee, Ga. I teach Intro Art, Art II and AP Art and, I have to say, I really love my Art II students. They are on their way to building up strong por tfolios while continuing to master the technical and creative aspects necessar y to reaching the AP level. I think this level of ar t requires experimenting, playing, creating and makes for authentic learning at its best! The first lesson I teach these students is my “Art of Portraiture” lesson. This lesson helps my students better understand the difference between drawing from life and drawing from a photograph.

mirror. These lines and shapes and values are the elements that make their faces, their faces! My Art II students spend two class periods working on their direct-observation self-portraits.

ON DAY 3, I have them stop and open

their paper up to begin drawing on the next rectangle but, this time, I hand them each a high-contrast photograph of themselves that I have taken off

ON THE FIRST DAY OF SCHOOL, stu-

dents are given a mirror, a 4B graphite pencil and a piece of 12" x 18" white drawing paper. They fold their papers horizontally, giving them two 9" x 12" rectangles to work on. I have them keep one side of the paper folded in and simply tell them to look in the mirror and draw what they see. Well, the moans and groans begin early on and they all realize that Art II is going to be a bit more challenging. After about 10 minutes of students really concentrating on drawing what they see, I remind them to consider the elements of art, the lines, shapes and values that they are seeing in the Go to artsandactivities.com and click on this button for resources related to this article.

On the first day of school, students draw what they see while looking in the mirror. Day three, they create self-portraits from high-contrast black-and-white photographs.

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LESSON 1 OF 10

ART II CURRICULUM SERIES

The Art of Portraiture

of their attendance sheets. They now have a few days to draw their self-portraits by looking at a photograph and they are all amazed at how easy it is. Of course, they are using techniques they were taught in their Intro Art course, but they are seeing the importance of understanding how line, shape and value work together. AFTER ANOTHER FEW DAYS, I have them open up their papers and we conduct a compare/contrast critique of the two drawn self-portraits. Students suddenly understand why most scholarship and award programs (including AP and Scholastic) prefer direct obser vation works, as they are most challenging and require a bit more skill. Our conversations continue over the next few days as I give students the opportunity to clean up and complete both works and we then use these pieces to gauge the growth and learning that continues throughout the school year. This is truly one of my favorite lessons because it pushes students out of their comfort zone, it has them thinking about elements, processes and techniques, and it moves them into the next phase of thinking and working like an Art II artist! Up next…”Left Brain/Right Brain” Art Works! n

LEARNING OBJECTIVES

MATERIALS

High-school Art II students will ... • understand the difference between drawing from life and drawing from a photograph. • apply line, shape, and value to a portrait piece and utilize measuring skills to create a proportionate portrait. • compare and contrast their two drawings and discuss the differences seen.

• 12" x 18" white drawing paper • 4B graphite pencils • Mirrors • High-contrast black-and-white photographs

PROCEDURES 1. Introduce the lesson by having students look in a mirror and begin to draw what they see on half of their 12" x 18" white drawing paper, folding it in half. Remind them to measure with their fingers, using the eye as the constant. Have students look closely at each area of their face, and draw what they actually see. 2. After three days of drawing from a mirror, have students turn their paper and begin to draw from a high-contrast photograph of their face.

3. Students will again draw what they see, but they will understand that drawing from a photo is different than drawing from life. 4. Students will use value and shading in their portraits and, over the next few days, can go back and forth between the directobservation study and the photo study, comparing and contrasting as they go. 5. Final artworks will be used as a critique and discussion model for drawing techniques.

ASSESSMENT We do in-process critiques using my “2 Glows and a Grow” model: Each student selects a classmate’s work that speaks to him/her and attaches three notes—two with what works, and one with what the artist might want to consider or change. There is also an evaluation form that prompts students to appropriately reflect on the learning at hand and provides space for them to comment on the process and how they feel their final piece turned out. There is also space for me to comment and give them a grade based on their learning and the final work.

Debi West, Ed.S, NBCT, is Art Department Chair at North Gwinnett High School in Suwanee, Georgia. She is also an Arts & Activities Contributing Editor. This lesson pushes students out of their comfort zone, gets them thinking about elements, processes and techniques, and it moves them into the next phase of thinking and working like an Art II artist.

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Amber L.

Hannah

Breanna

n almost 30 years of teaching, I have never had a student that did not want to paint. It is usually one of those engaging art activities during which you can hear a pin drop on the floor. I like to think that my own love for painting is “brushed off” onto my students. A FAVORITE BACK-TO-SCHOOL ART LESSON of mine is drawing and paint-

by Suzanne Dionne

ing sunflowers with second-grade classes. It is a fun project to begin with, because students do not find it too difficult, and are eager and excited to participate when shown samples of previously completed paintings. Many comment that they like the bright, bold colors and how the colors blend together. I find that introducing artists at the beginning of the school year has many

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LEARNING OBJECTIVES Elementary students will ... • learn about the artist, Vincent van Gogh. • understand how to use and care for watercolor pencils. • create a painting of sunflowers made with watercolor pencils. • use elements of art and principles of design in their art work.

NATIONAL ART STANDARDS

•

CREATING: Make art or design with various materials and tools to explore personal interests, questions, and curiosity. • CREATING: Experiment with various materials and tools to explore personal interests in a work of art or design. • RESPONDING: Perceive and describe aesthetic characteristics of one’s natural world and constructed environments.

MATERIALS

• • •

Watercolor pencils 9" x 12" white paper Pencils, erasers

• •

Water cups, brushes Black markers

Domenic

Aurelia

benefits. Students start off with art appreciation and history. It helps boost their confidence when they are working in a style like that of the artist. At this age, they are interested in short stories about artists. When they are actively engaged in this manner, classroom management is not an issue. I INITIATE THIS LESSON by reading aloud Camille and the Sunflowers, by Laurence Anholt and/or showing the video, Vincent van Gogh, from Mike Venezia’s Getting to Know the World’s Greatest Artists series Students enjoy the story, because it embraces friendship and acceptance, which is important in school, especially at the beginning of the year. Also, students enjoy the movie on van Gogh’s life. Of course, there are plenty of questions about “his ear.” Whenever possible, I bring in live flowers that can be passed around and examined. This is a great opportunity to include a discussion on texture. We discuss how a real sunflower is both similar and different from the sunflowers that Van Gogh painted. Venn diagrams can be used for this compare and contrast exercise. Another reason why I teach this particular lesson at the beginning of the school year is that the elements of art that I introduce first are line and shape. www.ar tsandactivities.com

the size, shapes, and placement of the petals in the “space” that is remaining. I explain to the students that it is acceptable if the petals do not fully fit on their paper, and that it looks much neater and realistic when not trying to squeeze things in.

TIME TO START DRAWING Students

are given a guided drawing lesson on the Smart Board, in which a small pot or vase is sketched. They are told that, later, they can put their name on the vase, as Vincent van Gogh did. The next step is to trace two or three circles, using small paint cups or lids, which will become the centers of the flowers. But, before these circles are traced, we discuss spacing and placement. This is also a good time to discuss balance. Students understand that the flowers need to go into the vase, so they draw lines for stems and leaves and connect them to the circles. Next, we consider

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STUDENTS OBSERVE PICTURES from Rebecca Briccetti’s beautiful book, Sunflowers (Metro Bools; 1997), and on display throughout the classroom are photographs of sunflowers pulled from calendars and other sources. At this time, flowers are introduced as free-form or “organic” shapes. Students are given the choice of making their sunflowers in the style of van Gogh or according to their own personal preferences. They are asked to plan out what colors they are going to use, if there will be blending of colors on the petals, and to consider different colors for the vase/pot. It is important for students to see that plain yellow is not the only color of sunflowers. MY FAVORITE MEDIUM for this proj-

ect is watercolor pencil. For many students, this is their first time working with them. Color must be applied see

START

on page 42 21

introduction to the 2016-17

A&A ART PRINT

series

Making CONNECTIONS L

ooking at ar t and helping others see relevance in it is a joy to art teachers. If not for making connections, what is art about? We are delighted to introduce a new look and experience for our A&A Art Prints, and hope you will find ways to use them to help in your teaching. Our “new” writer for this series is actually an old friend of the magazine: Tara Cady Sartorius. Tara wrote our “Art Across the Curriculum” series for 14 years (1996–2010), when she was the Curator of Education at the Mont- In the Studio: Create and Present gomery (Alabama) Museum of Fine Arts. We’re pleased she’s back with this fresh approach to one of most popular features.

A&A Art Print: Respond and Connect

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

Vincent van Gogh. Wheatfield with Cypresses, 1889. Oil on canvas; 28.75" × 36.75".

THE ART REPRODUCTION What has not changed is

the familiar full-color art reproduction at the center of each issue of the magazine. These reproductions are designed to be removed from the magazine and laminated for use in the classroom. To do this, carefully unbend the staples at the center of the magazine, and pull the Art Print up and out of the magazine. Rebend the staples back into place to keep the magazine intact. Laminate the pulled-out section and use it as a resource in your art room. ONLINE POINTS OF ENTRY Each print will include links to support further research at artsandactivities.com/ editorial/aa-online. In this way, we are bridging two methods of interpreting works of art: the tried-and-true printed word and the digital diving board, so to speak, where readers can jump into deeper research. We encourage those who try these lessons to share their results with us by emailing photos and comments to ed@ artsandactivities.com. We hope you will find this fresh approach to the A&A Art Prints as relevant as we do. n

Within those instructions, students were never asked to copy van Gogh’s work. They were asked to observe patterns and rhythms in van Gogh’s work, and then create their own landscapes. Using this approach, students will be able to recognize and identify patterns and rhythms in other works of art, and will gain a better understanding of compositional devices in visual art.

NATIONAL ART STANDARDS: Grades K–6

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

•

NATIONAL ART STANDARDS: Grades 7–12 CREATE: Generate and conceptualize artistic ideas and work. Develop criteria to guide making a work of art or design to meet an identified goal. RESPOND: Interpret intent and meaning in artistic work. Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts. RESPOND: Perceive and analyze artistic work. Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments.

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•

GEOGRAPHY: Arles, France, is situated on the banks of the Grand Rhône river, just west of the minor mountain range of Les Alpilles.

AGRICULTURE: The area between Arles and Tarascon was once the center for growing wheat in Provence.

•

BOTANY: Cypress is the name applied to many plants in the cypress family “Cupressaceae,” which is a conifer of northern temperate regions.

•

LANGUAGE ARTS: The wheatfields depicted by Vincent van Gogh have a mottled yellow-gold color. In her 1893 poem, Pike’s Peak, Katharine Lee Bates described the wheat fields of Colorado as “amber waves of grain.” That poem later became the lyrics to the song, America the Beautiful.

•

ART TECHNIQUE: The paint on this work is some of the thickest of any of van Gogh’s paintings. Another word for textured paint—almost sculptural in nature—is “impasto.”

• •

•

ART HISTORY: Vincent van Gogh was born in the small town of Zundert, in the Netherlands, and considered Dutch. Many of his most famous works, however, were created in France, particularly in Paris, Arles, Saint-Rémy and Auvers-sur-Oise.

DESIGN THINKING: Shape, Pattern and Abstraction. The pattern from the head of the wheat plant offers many options for interpretation. Try creating your own abstract wheat pattern.

•

Visit artsandactivities.com and click on the A&A Online button for resources mentioned in and related to this article.

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OBSERVATION AND INQUIRY: Some people view Wheatfield with Cypresses as a daylight version of The Starry Night (above), which was painted in the same year (1889) while van Gogh was in residence at the Saint-Paul asylum in Saint-Rémy, in southern France. Compare similarities and differences in the two paintings with your students.

september 2016

RIGHT SIDE Vincent van Gogh. Wheatfield with Cypresses, 1889. Oil on canvas; 28.75" × 36.75".

GRADES 7–12

“I am getting well acquainted with nature. I exaggerate, sometimes I make a change in motif; but for all that, I do not invent the whole picture; on the contrary, I find it already in nature, only it must be disentangled.” Vincent van Gogh

MAIN VISUAL ART CONCEPTS: Landscape

•

Bruce Bodden (American; b. 1971). After Van Gogh – Wheat Fields with Cypress Tree, c. 2010. Acrylic on canvas; 28.875" x 36.75". Collection of Steve and Julie Newlun. Reproduced with permission by the artist. www.brucebodden.com

BRUCE BODDEN, the artist who created the image shown above, is a contemporary artist from Wisconsin who has a college degree in drawing and functional design from the University of Wisconsin, Oshkosh. His interpretation of van Gogh’s piece could be a great stepping-off point for students learning how to block in basic shapes of a landscape. • Working from a familiar scene, either starting from a sketch or a photograph, ask your students to draw areas of shape and line that are most dominant. • As drawings are refined, add color in repetition, varying the values within each section. The color changes, along with the lines and shapes, serve to activate Bruce’s work. Bodden has simplified van Gogh’s scene and reduced it to distinct, near-horizontal layers. Interestingly, Bodden says something similar to what van Gogh said about his work, “Sometimes art imitates what life wants to be.” Van Gogh also strived to “disentangle” nature.

Art created by grade 5 students at Mount Olive Intermediate School in Fort Mitchell, Ala., with the Alabama Alliance for Arts Education. Funding provided by the Alabama State Department of Education.

A&A Art Print: Respond and Connect

THE LESSON IDEAS that generated these works of art by fifthgrade students (below) were conceptually based on pattern and rhythm. Students were given some basic parameters: • Divide the horizontal spaces of your paper into three areas that will become the foreground, middle ground and background • Observe that the landscape has many varieties of wavy and undulating lines • Note that van Gogh used line patterns of swirls, triangles and curved diagonals • Create your own interpretation of the patterns and rhythms that are inspired by the energy in van Gogh’s painting • Use colors that reflect your mood. • Mix colors by blending oil pastels on the paper • Add richness by applying a layer of thin black ink or watercolor that will be resisted by the oil-based media already on the paper. Within those instructions, students were never asked to copy van Gogh’s work. They were asked to observe patterns and rhythms in van Gogh’s work, and then create their own landscapes. Using this approach, students will be able to recognize and identify patterns and rhythms in other works of art, and will gain a better understanding of compositional devices in visual art.

Back side of Art Print.

LEFT SIDE

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

EARTH SCIENCE: In both The Starry Night and Wheatfield with Cypresses, more than half the canvasses are areas of sky. The swirls of light, the clouds, the stars have some basis in science, even though it is not known that van Gogh was making a deliberate scientific study. Check out the astronomy, meteorology, and more as identified in a TED Video accessable through A&A Online.

s e p t e m b e r 2 0 1 6 • 84 Y E A R S

* Every Student Succeeds Act (ESSA), signed into law in December 2015. Learn more at www. americansforthearts.org/news-room/americans-for-the-arts-news/in-essa-arts-are-part-of-well-rounded-education

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• Line • Shape • Rhythm • Movement • Pattern

•

GEOGRAPHY: Arles, France, is situated on the banks of the Grand Rhône river, just west of the minor mountain range of Les Alpilles.

AGRICULTURE: The area between Arles and Tarascon was once the center for growing wheat in Provence.

•

• •

ART TECHNIQUE: The paint on this work is some of the thickest of any of van Gogh’s paintings. Another word for textured paint—almost sculptural in nature—is “impasto.”

• •

RESPOND: Perceive and analyze artistic work. Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments.

We know our readers are always looking for ways to apply new ideas to their studio teaching. To facilitate this, on the LEFT side of the back of the pulled-out Art Print is “In the Studio: Create and Present.” Here, there will be lesson ideas with applicable National Visual Arts Standards. These studio “sparks” are meant to allow for inspiration, without providing an exact recipe. Everyone will find his or her own ways to adapt and adjust these lessons to fit his or her particular classroom and teaching style.

In the Studio: Create and Present

GRADES K–6

Vincent van Gogh (Dutch; 1853– 1890). Wheatfield with Cypresses, 1889. Oil on canvas; 28.75" × 36.75". Metropolitan Museum of Art, New York. Purchase, The Annenberg Foundation Gift, 1993. Artwork is in the Public Domain.

MAIN VISUAL ART CONCEPTS: Landscape • Line • Shape • Rhythm • Movement • Pattern

•

Art created by grade 5 students at Mount Olive Intermediate School in Fort Mitchell, Ala., with the Alabama Alliance for Arts Education. Funding provided by the Alabama State Department of Education.

RESPOND: Perceive and analyze artistic work. Compare one’s own interpretation of a work of art with the interpretation of others.

The color changes, along with the lines and shapes, serve to activate Bruce’s work. Bodden has simplified van Gogh’s scene and reduced it to distinct, near-horizontal layers. Interestingly, Bodden says something similar to what van Gogh said about his work, “Sometimes art imitates what life wants to be.” Van Gogh also strived to “disentangle” nature.

CREATE: Organize and develop artistic ideas and work. People create and interact with objects, places, and design that define, shape, enhance, and empower their lives.

SEPTEMBER 2016

GRADES 7–12

GRADES K–6

DESIGN THINKING: Shape, Pattern and Abstraction. The pattern from the head of the wheat plant offers many options for interpretation. Try creating your own abstract wheat pattern.

Visit artsandactivities.com and click on the A&A Online button for resources mentioned in and related to this article.

www.ar tsandactivities.com

❘

84 Y E A R S •

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•

BOTANY: Cypress is the name applied to many plants in the cypress family “Cupressaceae,” which is a conifer of northern temperate regions.

•

On the RIGHT side of the back of the pulled-out Art Print is something we are quite excited about. Here, you will find a more streamlined printed text, broken down into short, annotated, subject-area categories. We will be looking at arts integration, STEAM, and the National Visual Arts Standards—all to assist in providing a well-rounded education* for students.

s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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A&A Art Print: Respond and Connect Vincent van Gogh. Wheatfield with Cypresses, 1889. Oil on canvas; 28.75" × 36.75".

MAIN VISUAL ART CONCEPTS: Landscape

•

• Line • Shape • Rhythm • Movement • Pattern

•

GEOGRAPHY: Arles, France, is situated on the banks of the Grand Rhône river, just west of the minor mountain range of Les Alpilles.

AGRICULTURE: The area between Arles and Tarascon was once the center for growing wheat in Provence.

•

• •

ART TECHNIQUE: The paint on this work is some of the thickest of any of van Gogh’s paintings. Another word for textured paint—almost sculptural in nature—is “impasto.”

• •

DESIGN THINKING: Shape, Pattern and Abstraction. The pattern from the head of the wheat plant offers many options for interpretation. Try creating your own abstract wheat pattern.

Visit artsandactivities.com and click on the A&A Online button for resources related to this article.

www.ar tsandactivities.com

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•

BOTANY: Cypress is the name applied to many plants in the cypress family “Cupressaceae,” which is a conifer of northern temperate regions.

•

LANGUAGE ARTS: The wheat fields depicted by Vincent van Gogh have a mottled yellow-gold color. In her 1893 poem, Pike’s Peak, Katharine Lee Bates described the wheat fields of Colorado as “amber waves of grain.” That poem later became the lyrics to the song, America the Beautiful.

SEPTEMBER 2016

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

GRADES K–6

GRADES 7–12

Art created by grade 5 students at Mount Olive Intermediate School in Fort Mitchell, Ala., with the Alabama Alliance for Arts Education. Funding provided by the Alabama State Department of Education.

NATIONAL ART STANDARDS: Grades K–6 CREATE: Organize and develop artistic ideas and work. People create and interact with objects, places, and design that define, shape, enhance, and empower their lives. RESPOND: Perceive and analyze artistic work. Compare one’s own interpretation of a work of art with the interpretation of others. 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

s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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LEARNING OBJECTIVES High-school students will ... • draw from observation using contour line. • understand the difference between warm and cool colors. • create a composition with plants using overlapping and height on picture plane. • add values based on the light source in the room to the composition.

NATIONAL ART STANDARDS

• • •

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

MATERIALS

• Sketchbooks, No. 2 pencils (HB), ebony pencils, erasers • 12" x 18" watercolor paper • Newspaper • Plastic wrap, masking tape

by Sandi Pippin

lants. They come in many shapes and sizes. Some are lush with leaves, or have just a few, while others have none, like a cactus. At the start of the school year, I bring an assortment of plants to class and set them up on a large counter with plenty of light, arranging them on a variety of pedestals—boxes, books, plant stands, etc. WE BEGIN WITH STUDENTS slowly tracing the

outer edge of one of the plants with their eyes. Next, they each create in his or her sketchbook, a blind-contour pencil drawing of the plant and its pedestal, using the same eye-tracing technique we practiced earlier. Students are asked to draw the plant large, filling the sketchbook page. When one plant is complete, the student chooses a second plant to draw, and then a third. If the student has www.ar tsandactivities.com

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•

8.5" x 11" copy paper (cover sheet) • Pan watercolors, brushes, water bowls

Nebulous watercolor paintings made interesting backgrounds for students’ still-life drawings. The drawings emphasized foreground, middle ground and background through the smart use of overlapping.

drawn small, they are encouraged to make more drawings. Personally, I like to draw on unusual colored backgrounds. So, we take one class period to prepare backgrounds for our final drawings. We cover the desks with newspaper, and then I demonstrate the technique for preparing the backgrounds. I emphasize using a lot of water with the watercolor for a muted look. We thoroughly wet a small section of the watercolor paper and apply either warm or cool colors to it. While the paint is still flowing, a small piece of plastic wrap is torn off a roll and placed directly on top of the painted surface. The students continue this process until the entire sheet of paper is covered with paint and plastic wrap. The background papers are then allowed to dry overnight. THE NEXT DAY, students remove their drawings from their see PLANTS on page 43 27

ALIVE

and kicking Libs Elliott quilts are designed randomly using a programming language, then made by hand into physical quilts. More of her work can be found at www.libselliott.com Seen here is “Rebel Quilt,” 72" x 72".

using a programming language called Processing. The project began in 2012 as a collaboration with designer and technologist, Joshua Davis (joshuadavis. com), who provided the original code framework. Using Processing allows me to quickly edit the code and generate random compositions from simple geometric and traditional quilt block shapes.” I don’t know about you, but I don’t have those programming capabilities at school, but my kids are random generators! They have parameters to follow, but each student does things differently and will place their shapes in different spots on their quilt square. They will also put their quilt squares on the larger sheet in a random way too! :) STUDENTS HAVE 30 MINUTES TO COMPLETE their part of this collaborative

by Don Masse

re you looking for a beginning-ofthe-year project that brings your school community together while celebrating the diversity of your student population as well? If the answer is no, then don’t read any further … just kidding! If you are, then you may want to check out the work of Libs Elliott. Libs is a quilt maker and textile designer who creates wonderfully varied designs while working mainly with an economic vocabulary of triangles, squares and diagonal lines. The visual unity and variety in her work can be used to speak to the duality necessary in a strong community. The repetition of triangles and diagonals mirrors the commonalities 28

and appreciation for the whole school community, while the changes in direction and composition of her motifs addresses the diversity that a community needs to celebrate for everyone to feel appreciated and valued. These are great aspects to emphasize anytime, especially at the beginning of the school year when kids are coming back together after a summer apart. Her quilts, alone, are visually engaging and the compositional process she incorporates is fascinating, too. She explains it way better than I ever could: “All the quilts are randomly designed

project at the beginning of the year. Everyone starts with a 6" x 6" square, a large pre-cut triangle, and two 3" x 3" squares. I exerted some control by having each class work with certain colors, so that when we put the pieces together, we had a subtle change of color over the length of the paper quilt. You could give the students more control and choice by offering a wider array of colors for them to choose from, if you wish. The children may keep the large triangle intact, or fold it in half and cut on the fold. They fold each of the small squares corner to corner to make triangles and cut on the fold: four triangles total. Then they take at least one

The final installation of the community quilt in our auditorium. s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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The colors change throughout the week, but the shapes students start with remain the same.

Students add their pieces to their class quilt section and respond to choices already made by their peers.

A couple of our “random generators” hard at work. Students are encouraged to play with their compositions before gluing the pieces down.

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LEARNING OBJECTIVES Elementary students will … • use play and experimentation to create an interesting composition. • work well with others as they engage in collaborative projects

NATIONAL ART STANDARDS

Once students have experimented with different arrangements, they can glue down their pieces.

•

MATERIALS

• • •

Tons of construction paper: 6" x 6" and 3" x 3" squares in a variety of colors Larger backing paper: 18" x 24" sheets or roll of butcher paper Glue sticks, scissors

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CREATING: Conceiving and developing new artistic ideas and work. Brainstorming multiple approaches to a creative art or design problem. • 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.

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The paper quilt coming together on the classroom floor. We progressed through the spectrum of colors as the week went by.

of their small triangles and fold in half and cut. I emphasize to not do this to all of them because they will lose some variety in size. Students may cut one of those smaller triangles even smaller if they choose. Students are then encouraged to play with the arrangement of shapes. They can layer and overlap, or not. The only requirement is that their composition cannot go outside the larger squarebase shape. When they are satisfied with their design, they glue it in place. I show them how to leave things where they are and do the gluing on the paper square: Glue the small onto the medium, then medium onto the big. This way, the tables don’t get too funky with glue. The final step is for the students to put glue on the back of their quilt squares and bring them over to the see

LIBS

on page 44

Stencil

Daniel Pablo Kennedy

> >

his is what I call a high-success, low-stress project. The students love it. And, it is a perfect icebreaker at the beginning of the year. Back in the day, when I first started teaching art, representatives from the art supply catalogs would visit your school. They would bring free samples and, on occasion, demonstrate an art lesson with some of their samples. Today, the art supply catalogs have wonderful websites filled with lesson plans and video demonstration on just about all the art products they carry. This is one of those projects that was demonstrated way back when. What I liked about it at the time (besides thinking it is fun), was the fact that I had all the materials needed to do it right away with my students. All you need are 12" x 12" white drawing paper and 12" x 12" construction paper in any color, color chalk, scissors, and paper towels. TO START THE LESSON, fold the square piece of colored construction paper in half twice back into a square. This construction paper will serve as the stencil for this chalk-design project. The next step is the trickiest: Explain 30

to students that the folded square paper has two edges that are folded and two edges that do not have folds—they are open. To make the stencil and give it more interest, they will need to trim down the two open edges no more than a half-inch, cutting a fancy edge such as a zigzag, curvy or whatever else your imagination can come up with. When they finish cutting the edges, ask them to open up their cut paper squares and voilà, they will have a fancy edge square stencil (see diagram). TIME

USE

THE

CHALK.

Because chalk can get messy, caution students that they need to protect their white drawing paper from chalk smudges or fingerprints. They may select any color chalk they want, except white or black. White will not show up on white paper and black overpowers the rest of the colors. Next, take the color chalk and lay in the color, nice and dark, on all four edges of your fancy square stencil. You just need to color a half-inch deep

around each edge. Then, place your stencil chalk-side-up in the middle of the white square paper, take a paper towel and rub off the chalk dust from the fancy edges onto the white paper. CAREFULLY LIFT THE STENCIL OFF to

reveal the start of your chalk stencil design. Now, continue the process by folding the stencil paper back up again, and cutting a new fancy edge (basically,

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Chalk Design by Hugh Petersen

Kody Logan Jesse

> >

Go to artsandactivities.com and click on this button to download diagram shown.

Cut fancy edge

OPEN EDGE

LEARNING OBJECTIVES

OPEN EDGE

FOLDED EDGE

Middle-school students will … • understand the art medium of chalk. • create a stencil chalk design. • use scissors to make creative cuts to enhance their individual designs. • use art materials and tools in a safe and responsible manner.

THE STUDENTS’ EYES LIGHT UP each FOLDED EDGE

NATIONAL ART STANDARDS

Diagram indicating the two edges to be cut.

•

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

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you’re cutting off the chalk). Open and then place on the white paper and color it with a different chalk color to rub on the white paper. What is going to make the students’ designs interesting and unique are the colors of chalk they pick, how fancy they cut the edges, and how well they protect their project from smudges. When the stencil gets cut down to about the size of a quarter, it’s time to finish the center of the design. To do this, apply your final chalk color onto a piece of scrap paper, then take a paper towel and rub off the chalk dust from the scrap, into the center of the design.

MATERIALS

• 12" x 12" white drawing paper • 12" x 12" any color construction paper • Scissors • Color chalk • Paper towels

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time they pull away their freshly rubbed stencil, anticipating what their new color creation will look like. This high-success, low-stress project is a perfect way to get your new class of students excited about art class, and eager to start the next assignment. n Hugh Peterson recently retired after 35 years as an art teacher, most recently at Phoenix Middle School in Delavan, Wis. 31

Discover the Power to Create Positive Change through Art by Sonia Lowman

s any teacher will tell you, students learn better when they are actively engaged, drawing personal relevance and meaning from their subject matter. Art teachers spend a lot of time on technique. What if they could integrate that technical knowledge into an emotional, reflective, and exciting discovery process that emphasizes visual storytelling and community engagement? The ArtEffect Project, an initiative of the Lowell Milken Center for Unsung Heroes (LMC), does just that. An international student art competition with financial prizes up to $7,500, The ArtEffect Project teaches students the power they have to create positive change in their classrooms, communities and the world through art. In the competition’s inaugural year (2015–16), over 300 students submitted art projects celebrating Unsung Heroes: positive role models from history who took extraordinary actions to benefit others and have yet to be recognized. From 41 finalists, LMC selected five winners.

LIRAN HU, a ninth-grader at Chattahoochee High in Johns Creek, Ga., won the $7,500 grand prize. His stunning 30" x 40" painting depicts environmental activist Jacob Valentine, who saved the Mississippi Mollie Probst, grade 12. Unsung Hero: Meva Mikusz. Mixed media; 25" x 18" x 3".

THE ART EFFECT PROJECT WINNERS

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

CALL FOR SUBMISSIONS

Liran Hu (left), Mollie Probst (below) and Maia Castro-Santos (lower left) accepting their prizes. An international student art competition, The ArtEffect Project teaches students the power they have to create positive change through art.

Entries are being accepted Sept. 1, 2016 through Feb. 15, 2017 for the Lowell Milken Center’s Unsung Heroes Art Competition. With financial prizes up to $7,500, this art competition is open to U.S. and international students, grades 6-12. Learn more at: www.LowellMilkenCenter.org/ arteffectproject Facebook: @LowellMilkenCenter Twitter: @LowellMilkenCtr Instagram: LowellMilkenCtr

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Liran Hu, grade 9. Unsung Hero: Jacob Valentine. Oil; 30" x 40".

Jewish girl, Inka, from the Czortkow Ghetto during World War II. Probst personally related to Mikusz’s story, as she has spent much time caring for her young niece due to complicated family circumstances. Probst says she chose to work with mixed media because she felt it would help her include more symbolism and better convey the idea that although Mikusz’s and Inka’s circumstances were difficult and messy, Mikusz was able to make a life of hope for the young girl. “The more I researched Mikusz and her incredible bravery and compassion, the more connected I felt to her,” says Probst. “The lessons I learned from her story are ones that I believe will last a lifetime.” EIGHTH-GRADER MAIA CASTROSANTOS of Stoneleigh Burnham

sandhill crane from extinction when construction of Interstate 10 threatened its natural habitat during the 1970s. The extensive research skills and imagination Hu utilized in bringing a largely unknown story to life taught him the importance of deeply connecting with the subject matter of his art: “I learned that an artist must find out more about an individual before putting one’s brush on the canvas in order to work on the piece with serious intention and commitment,” he said. While he acknowledges that winning the competition has given him greater confidence in his artistic skills, his main takeaway was more universal: “The ArtEffect Project has solidified my belief that an individual who made a tremendous sacrifice to deliver something beneficial and inspirational to humanity should never be ignored or go unrecognized.”

THESE THREE STUDENT ART PROJECTS, along with the other

Christian School in Covington, La., for her project “Bound Together.” Probst’s mixed-media piece visually interprets the legacy of Meva Mikusz, a 15-year-old Polish teenager who rescued a 2-year-old

two winning projects (by John Crittendon of Delcambre, La., for the senior division and a student group in Poland for the international prize), are being displayed in LMC’s Hall of Unsung Heroes, a state-of-art museum in Fort Scott, Kansas. LMC’s second annual art competition commences on Sept. 1, 2016 and is open to U.S. and international students in grades 6–12. All guidelines and a free art lesson plan for teachers can be found at www.LowellMilkenCenter. org/arteffectproject. Established in 2007, the Lowell Milken Center for Unsung Heroes works to transform classrooms and communities through student-driven project-based learning that discover Unsung Heroes from history and teach the power of one to create positive change. n

Maia Castro-Santos, grade 8. Unsung Hero: Sylvia Mendez. Paper collage; 14" x 11".

Sonia Lowman is director of communications and partnerships for the Lowell Milken Center for Unsung Heroes. Milken Family Foundation.

THE $3,500 SECONDPLACE PRIZE WENT TO 12TH-GRADER MOLLIE PROBST of Northlake

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School in Greenfield, Mass., won the $2,000 junior division prize for her paper collage on civil rights pioneer Sylvia Mendez. The collage portrays a young Mendez surrounded by words that defined the racism and discrimination of her time. Castro-Santos says it was “really eye-opening” to learn about Mendez’s critical role in advancing school de-segregation efforts in the U.S., and “shocking” to realize that more people do not know her legacy. While she feels the experience would have been rewarding regardless of whether she won, Castro-Santos is happy to know that more people will hear of Mendez’s unsung heroism because of her art. “This project got me thinking more about the subject matter of my art and how I can actually use it to tell people’s stories and share my opinions,” says Castro-Santos. “I think that’s a beautiful thing.”

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Positive Affirmations Great by Kimberly J.B. Smith and Andrea Ackerly

how the words make them feel. They repeat the affirmations back to us after we read each one aloud. Through this exercise, students can experience a sense of empowerment first-hand. Our goal: For students to practice an affirmation until it becomes a habit. Their focus should be on the shift in their perception that occurs as a result of this practice. With a sense of excitement, we share with the children that information can change lives. Students also learn about the brain and how, by focusing on positive perspectives—like gratitude, kindness and bucket-filling—it is possible to change a brain’s chemistr y. The message that, no matter what, we are in charge of our own thoughts, despite what’s going on around us, can be profound for students who

an you change the way you think? Our rural school of K–3 students has a large low socioeconomic population and, as a team, we often combine guidance and art to the benefit of our students. For this project, we borrowed the idea of those kitschy cut-out photo props seen at fairs and amusement parks, and added positive affirmations. Boy, were they a hit! HERE’S HOW IT WORKED:

We started with the book, I Think I Am: Teaching Children the Power of Affirmations, by Louise Hay, to introduce affirmations. The power of one’s words can make a huge difference in people’s lives. With affirmations like “I happily help wherever I can” and “I am grateful for what I have,” students begin to perceive the power of

LEARNING OBJECTIVES Elementary students will ... • learn positive strategies for life through art and bibliotherapy.

NATIONAL ART STANDARDS

• CREATING: Discuss and reflect with peers about choices made in creating artwork. • CREATING: Elaborate visual information by adding details in an artwork to enhance emerging meaning.

• •

Sketch paper, pencils 18" x 24" oaktag or colored posterboard • Colored pencils, crayons, markers • Watercolor or tempera paint, paintbrushes • Scissors • Camera

SUGGESTED READING

•

VOCABULARY

• Affirmations • Bucket filling • Gratitude • Growth mindset 34

• Kindness • Meaning in Life • Resilience • Strategies and Grit

RESOURCES: ESSENTIAL CONCEPTS

MATERIALS

Hay, Louise. I Think I Am: Teaching Children the Power of Affirmations Hay House, 2008. • Quaggin, Jennifer. The Law of Attraction for Kids Using Affirmations to Build Self Esteem. CreateSpace Independent Publishing Platform, 2012.

• Bucket Filling: bucketfillers101.com/team cmccloud.php • Grit: ted.com/talks/angela_lee_ duckworth_grit_the_power_of_passion_ and_perseverance • Human Behavior/New Habits: jamesclear.com/new-habit • The Kindness Center: www.michaeljchase. com/the-kindness-center • Logotherapy/Man’s Search for Meaning: www.logotherapyinstitute.org/About_ Viktor_Frankl.html • Mindset: mindsetonline.com/ abouttheauthor/ • “Raktivists” (Random Acts of Kindness): www.randomactsofkindness.org/about-us Hyperlinks are available at A&A Online.

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... for Everyone! BENEFITS AND BIG IDEAS

•

Students learn to replace their own fight-or-flight responses with positive affirmations. • Daily use of affirmations creates a habit of personal wellness. • Positive affirmations offer students a way to calm themselves and self-regulate. • Affirmations help students shift from negative patterns like blaming and feeling like a victim to positive, happier feelings.

• • • •

Daily gratitude can instantly lift one’s mood = a happier life. Students focusing on others’ strengths = bullying issues decrease. Circle of Control: you have control and choice over how you treat others. Positive affirmations give students a sense of control when aspects of their lives seems out of control.

feel powerless about their lives. For other students, this activity can positively af fect their ability to take risks. For others, seeking the strength to go after long-term goals can be a benefit as they develop resilience.

done, the ar t teacher incorporates and enlarges elements of the children’s drawings onto poster board. (Each class produces two af firmation posters.) The whole class then takes turns adding details. The children are amazed when they see the final product and proud of the way DRAW, DISCUSS, SYNERGIZE! In the art studio, students sketch their affir- they were able to synergize to create mation designs, as we discuss how the work. To be clear, this lesson does not what you focus on grows (i.e. focus on what you have vs. what you don’t), and discuss the specifics of students’ potento view ever y situation as a possibility tially negative and volatile home lives. for learning. It does help students know that they When the children’s drawings are can be in charge of their own thoughts. Positive affirmations are a powerful tool not only for students, but everyone Go to artsandactivities.com and click on can benefit from them. this button for related resources, links, While we did this activity with suggested reading and more. grades 2–3, older students can develop specific personalized affirmations about the future. Students EXAMPLES OF might make self-portrait affirmaAFFIRMATIONS tions in clay, an affirmation box that • I will make today great! holds successes along the way or • I happily help wherever I can. create an affirmation journal. Check • I love myself just the way I am. the resources list on A&A Online for • I am grateful for what I have. Activa_6-22-16_4c.indd 1 • I love to learn new things. inspiration and tr y it today! n

• • • • • •

I I I I I I

learn from my mistakes and move on. was born to have a happy life. am kind to animals. see the best in everyone. am filled with creative ideas. am surrounded by love. Encourage students to create their own affirmations, as well.

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Kimberly J.B. Smith teaches art and Andrea Ackerly is the school counselor (K–3) at Valley View Community School in Farmington, N.H. The two often team up to create positive learning experiences for their students.

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Paper & Collage

Meet the Faculty by Irv Osterer

past issue of the Vassar Quarterly featured cartoon character Lisa Simpson contemplating her post-secondary future. This prompted many fans of the long-running TV series to look for other references to educational institutions. I just knew “Simpson-izing” Merivale High’s school staff would be a hit. I challenged my grade 11 visual art classes to create a cast of cartoon characters that could fit nicely into the Simpson’s Springfield universe. Being fans of the show, many of them were already familiar with Springfield’s Principal Skinner, and teachers Edna Krabappel and Miss Hoover. For this assignment, they were asked to render one of their teachers at Merival High School in the style of artist Matt Groening’s Simpsons characters. For reference, students were provided with photos from the school’s image bank of each teacher they wished to draw. The project followed a unit in animation. It was noted that all of the Simpson characters are simple, stylized figures, making them easy to animate. Features are often exaggerated, and clothing and props always play a role in defining each character’s profile. After a series of rough pencil sketches to finalize Sheri Walker their designs, students enlarged their drawings to fill large boards. The drawings were painted using a highquality student-grade acrylic paint. The finished portraits were displayed in the annual Arts and Technology Show, where they were well received. Teachers were especially delighted with their cartoon alter egos, and were amused at the details students chose to include, such as our Mr. Jakubinek’s collection of pens in his breast pocket and Ms. Walker’s ever-present turtlenecks. n

Ferg O’Connor

Karl Van Dusen

Irv Osterer is Department Head – Fine Arts and Technology, at Merivale High School in Ottawa, Ontario, Canada, and an Arts & Activities Contributing Editor. LEARNING OBJECTIVES Henry Jakubenik

NATIONAL ART STANDARDS Carol O’Connor

•

High-school students will … • be inspired by The Simpsons cartoon characters to render a teacher in that particular style. • enlarge their design to fit a large-format drawing board. • take note of each teacher’s personality and defining characteristics and how these should be incorporated into their cartoon re-creations.

MATERIALS

• • • •

Sketchbooks and pencils Large-format drawing board Acrylic paint, brushes Resource photos of teachers

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84 Y E A R S •

september 2016

THE ORIGINAL

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

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

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YOU CAN DRAW! Simple Techniques For Realistic Drawing, by Leonardo Pereznieto. Sixth and Spring Books; $19.95. Leonardo Pereznieto wants you to mark up his fine book, fold the pages, and get it dirty with use. And buyers will use it over and over. Not only are his illustrations terrific, but the author is also a natural as an educator. The popularity of his instructional YouTube channel attests to that. In an example of his attention to detail, Pereznieto carefully spells out and poses the five main pencil grips. Novice artists and pros alike can broaden their skills, reading from start to finish or choosing chapters as needed. They’ll learn how to reproduce an extensive variety of convincing grains and materials: liquids, marble, faceted gems, and many others. Flowers and other finished examples are shown in color and, often, full-page. Still not convinced that you need this book? Preview many of its pages on the publisher’s website: www. sixthandspring.com.–P. G. INSIDE ACRYLICS: STUDIO SECRETS FROM TODAY’S TOP ARTISTS, by Phil Garrett. North Light Books, $29.99. The author of this spiral-bound hardcover intends that his book serve as a guide for painters of all levels. Then he goes on to single out those who wish for the “finesse that has traditionally been the domain of oil paints.” That said, the two demonstrations on making acrylic skins—especially digital ones—are refreshingly nontraditional. Garrett enlisted eight artists to explain their working processes, a few quite briefly. The distinctive approaches of some of these artists will not appeal to everyone, of course. Too, most highschool students don’t often stretch their own canvas or remove a varnish, both of which Garrett includes. Profuse demos (17, to be exact)

involve good-sized photos and plentiful white space. One chapter concerns portraiture and grisaille; another plein air. The final section, Framing, Shipping & Storage, is not for the dabbler, while the chapter of six techniques would be best for the mere beginner. But anyone, no matter their expertise, can appreciate the array of beautiful paintings awash with brilliant color. As a member of the Working Artist Team sponsored by Golden, Garrett not surprisingly promotes the use of that company’s product.–P.G. DRAWING TREES, by Denis JohnNaylor. Search Press Ltd., $7.95. The paperback is slim and nearly pocket-sized, but it’s long on information. John-Naylor has written an instructive guide to rendering not only entire trees but also texture, leaves, seeds, fungus, and roots. He includes bare trees and branches as well as stumps. His aptitude for the subject is clearly shown in his drawings and sketches of a wide variety of species. The publisher has released many other titles in their “Art Handbook” Series: Perspective, Basic Drawing, and a number of books on painting. A major plus is that the author illustrates the tips and techniques. In fact, there are numerous photographs and reproductions of his work. And the book is not without hues. Spots of bright color enliven the prevalence of black and white. Another benefit is the author’s suggestion to the beginner to use economical substitutions, at least initially, including ballpoint pen (a medium that’s not always held in the highest regard). John-Naylor works magic with it.–P.G.

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TAKE THE WYLAND NATIONAL ART CHALLENGE Enter your classroom in the annual Wyland National Art Challenge. Don’t miss this chance to share the experience of science and conservation through art with your students. Includes an individual art contest, classroom mural contest, and photography contest for all grades. Submissions must be received by Dec. 1, 2016. Enter by Aug. 25 to win one of 100 free mural canvases for your class. Thousands of dollars in prizes to give away. Sign up today at www.wylandfoundation.org/artchallenge or call 1 800 WYLAND-0. See complete rule online. PRESENTED BY Founded by famed muralist and conservationist Wyland, the foundation is a 501(c)3 non-profit organization that supports the arts, science, and our environment. AandA_WYFO_halfpgads_5x7_r1.indd 1 www.ar tsandactivities.com

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7/15/16 3:02 PM

by Kathy Cunningham

from GRAY to

ne of the joys of retirement is the new-found time to visit museums and leisurely explore the exhibits. One show at New York’s Metropolitan Museum of Art featured masterpieces of pietre dure, or “hard stone,” with stone inlays in stunning colors. While viewing the gorgeous boxes, cabinets, pictures and tables, a great idea for a class project popped into my head. I was so excited! But then, I remembered I was retired and had no classes! Old habits die hard, and my idea wouldn’t let go. One of the great things about being an art teacher is the many friends made along the way. I had recently substituted for Robert Graff, a gifted art teacher in my area. When I told him about my project idea, he invited me to come introduce it to his fourth-grade REQUIREMENTS WEAVING classes. We then discussed materials, samples MATERIALS “1/under 1” with accupattern of over and Basic 1: the necessary Grade preparation. yarn. tape of textures and sweater • Cardboard and masking variety Atalocal racy, using wallpaper the in a variety of colors, stores, I collected one being expired • Rug warp and yarn more weaving patterns, 2: Two orbooks wallpaper Grade containing marble-like of their choice, textures and widths and 1 pattern and another over 1/under and embellishments basicstone-like papers (most wallpaper yarn colors. stores are • Strips of old sweaters feathers, etc. a variety of textures and and add happy choose a such as raffia, ribbons, to part with and patterns expired books, as they needles 3: Three or more weaving Grade usually • Child-safe weaving get thrown out). Rob weaving. and I then cut or free-form abstract tapestry-type plan out and the wallpaperfour patterns samples weaving and various stoneGrade 4: At least colored papers from stockroom tapestry picture or free-form.his schooland > John, make weavings patterns into squares ve weaving the students to work with. grade 4. Grade 5: At least fifor purse/pouch as a final project. Because pillowoforpietre Pillow. much picture, dure is done on into a framed a dark background, to identify and be able students shouldwe agreed toonuse black them (Note: At grades 3–5, patterns on paper or draw

ELEPHAN

Flynt by Deborah

al and person own ideas They added their elephant. to their ant roles books for touches to their sketch also play import ism the Elephants referred back ed from the In Buddh they had record rain and good in world religions. mind and their ideas bringers of lizes a strong sidered the emphasized presentation. esses elephant symbo PowerPoint god Ganesh this is further ts added headdr luck and of Indra and and the Hindu Several studen mythology calmness, nt. on the backs s and fuzzy varietancient elepha defeatan the carrier of in in beads and soft, hairy ts are a. After studen has the head and figures restrictions and proelephants nt, Airavat budget can become landiththe d down nts. All of honoring his elepha ies, these weavings animals decora Festivals Airavata reache water is a of their elepha backs affecting most cut gram in India. The simply textural adventures son,” which ing an enemy, sucked up y colcreating scapes or used for still held today added a “capari ground and with brightl cloth mainly art programs, It also becomes a hands-on under the d it into the decorated g orpublic-school art les- in weaving. and spraye e patterns are lavishly tive coverin and princinies. and culturally sound artistically es and intricat with his trunk ceremo a were known discovery of art elements completed, ored costum parades and and Airavat on them too. challenging. shape, texture, pattern rain.” sonstsiswere clouds. Indra mes painted body made out of ples using color, eristics brought cool Once the elephan bottom ofonthelooms are someti who charact so the ones red ing in theWeaving as “the and rhythm. After discuss t was conside many holes with s began by we cut a hole boxes fits the cirsweatcardboard more small The elephan for , the student a fewrecycled Strips cut from “retired” in the ooks. A and poked and it was a vehicle ts were of the project at the three elementary air to escape their sketchb cumstances used to create lumpy majestic that to allow elephan ng ideas in skewer so many ers can be a pin tool logy and techthought that weavings that 1100 sketchi . A wooden where I teach. With schools kings. It is process of clay termino . bulky sections in the far back as ring fi as supreview bottom started art for the got brief battle bisquebudget shapes we and a slim first used in the legs from d and then part of warbecome hillsides, abstract d up students another an integral two threeniques followe was inserte recycling efforts can weavcreate creativity, took B.C. and were bodyitto by making plies, gunpowder and more. Mixing thicknesses, with in the We began invention of a into the hollow we stuffed for yarn and fabric-scrap This assisted fare until the and textures with raffi and soliciting . Alexander pots, which to escape. 16th century school-wide ing patterns the shape. inch pinch way for air create around the process. to support this donations ribbons and feathers to help hold Porus on his ring satin fi straw, per King and create weeks to newspa drying several the Great battled were joined weaving nts took activity. interesting sections. from The elepha 325 B.C. The two pots elephant. A hole was t them to the University of Pennpreven eld trip elephant in A fi the so to the body of to complete, periodsof, we Archeology and the head was K–1 stuAustin Museum n class sylvania body where betwee PaTTerNs aND CONCePTs they another cut in the drying out bags. Once in Philadelphia sparked head was and concentrate The looms plastic Anthropology d. small in use of dents r couple with paper to be attache placed them illustrated the vast alternatanotheand activity, pot stuffed it took ,this over one/under one, of a weav- on an smaller pinch were finished my glazes, over the hole. for accuracy. to dry out. connections multicultural inventory of d to the body them ing pattern that I check was fter taking legs were and attache weeks for abunpattern, aesthetic as well as bisque firing lesson—for coils for the ingafter had an over is the most basic weaving to the I realized I Four large The last step the to gray and While only third This size and cut pay close attention functional Faced with elephants reasons. Once to the same then trip, but they must rolled out to glaze the dance of gray. legs were with grades went on the fifthcolors. bright making sure to include through with what to do length. The finished. in the weav- their edges, the same decorations dilemma of were included of of the body. it in the ntswere grades the bottom warp thread and count with the idea theallelepha of attached to a wonderful the last glaze-fired trunk were it, I came up proud created ian Indian were which coming back the ears and ts—Ind ingtsproject, next line of weaving, how to Next, the ’t My studen making elephan choose at one couldn decmissed is corps. and it could de If ts esprit nts The bright opposite direction. turned the added. Studen their elepha elephants. ts on distrunk. Some skip several warp threads the elephan to put them it down. rug warp end, it can position the wait of orations on the ecIf curled spools Five self-refl other direction. MaTerIaLs the neuand some in coming back the trunk up play. In their would offset it in place, tusks project to prepare the looms alternating each row, the enough were trunk was and offer were pattern is not Once the tion about tral gray tone looms schools, and students sed how all three out completely. The possibilities were added. completed, they all expres d bring in small bolts of yarn, can pull endless even number basic shape asked to ts to be enjoye have either an odd or student With the much they for my studen “school collection.” student’s began. Each which about became the advanced of warp threads, so each the fun really learning creative. My them in a shelving system, . I organized students pattern is different. India’s culture easily keep weaving 8th grade OBJECTIVES about order of color, so I could inmost LEARNING A variety One of the were excited on the yarn inventory. tabslesaND FINIsHING ts will … our annual ant for WarPING studen disof idea our import at the is Middle-school historical importance colors and textures were of d while the The number of notches sons learne clay unit. • learn about is students could use any yarn because and clay the Indian culture.of clay using posal, tion, we approximate and, elephants in out For motiva working with process. Indian elephant es. a Powthey liked. zation varying sizes of cardglaze Hannah • create an of hand-building techniqu graycan the visuali started with be adapted to of the looms an exact a of too much Cardboard a variety presentation and board, there is not My dilemm s. erPoint terms. inform al information dexterity level, for and ative age anyle, enjoyab most d historic • learn clay glazing and firing processe of warp threads. The ■ nts in the led us to an that include those with chal- number • learn about ance of elepha project.in IEPs and students made from one continSTANDARDS colorful clay ts learned and the import notches and warp is NATIONAL . The studen lenged motor-skills. Large at a applying media, teacher MATERIALS Indian culture elephant has been art well for primary nding and an work is yarns Understa thicker s. nDeborah Flynt thousands • techniques and processe that the Indian notches and fine functions. School in Germa oks and pencils taryNarrower identity for students. structures and • Sketchbo for storage Riverdale Elemen part of India’s exact time of human • Using knowledge of relation to be used for visual arts in sturdy warp string can the butsee. • Plastic bags y 2014 g rock • Understanding the town, Tennes februar of years and applications, By studyin EARS • • Clay tools cultures. more advanced is unclear. ❘ 81 Y m g the and brushes history and ties.co interaction humans began and assessin a c t i v i in • Glazes white clay a tighter weava n d result t s and it seems that www.ar ago • Reflecting uponand merits of their work paintings, • Low-fire for nts as long com characteristics others. ing base appropriate with elepha vities. of ndacti interacting .artsa patand the work tapestry-like ❘ www EARS are con• 81 Y as 6000 B.C. y 2014 pachyderms februar terns and images. These beloved Using a variety of textures, 14 yarns, boucle sparkly colors,

Elizabeth

Reese

Luther, grade 1. Loom with last initial.

see

WEAVES

> Vinh,

grade 4. Pillow.

on page 26

Gretchen, grade 2. Purse.

• •

•

NATIONAL ART STANDARDS Understanding and applying media, techniques and processes. Understanding the visual arts in relation to history and cultures. Reflecting

upon and assessing the ast summer, I attended a course in whichcharacteristics and merits of their work create beautiful I learned and the work to handmade books. of others. fun adapting their With great excitement, I introduced images in Photosho this project to my p Elements. I was amazed at the craft design class, creativity and example of an accessible excitement they as an when allowed , useful and interesting showed to spend some in cultures all over MATERIALS skill found time exploring the world. freely. I guided the program them in this process, Unfortunately, the • 9" x 12" black background and answered spepaper cific questions basic book design , but mostly I wanted lesson vate my students Scissors, • didn’t glue envelopes moti-sticks,themselve as I’d intended— them to find out the many possibiliti and as it•had Tracing for paper, assorted coloredspapers me over the summer. motivated es inherent in Photosho Unwilling to give • Faux stone papers (available from p. up on however, I told the concept, aFTer each of my students wallpaper sample books orTHe sTUDeNTs MaNIPULa paper to choose favorite book from his companies) or her their satisfactio TeD their digital supply a photo collection pictures n, to the class began books. Each student of • 500Visuals handmade of pietre dure the biggest stage inlaid works was then given project—c and reating of the the the books themselve assignment to personaliz of birds, fruit and flowers s. With my different students all having e and re-create their chosen different chosen book designs, often became rather class book’s style, hectic during this Megan with process. Because Go to artsandactivities.com and clickmy students experience our high school on this as d entirely different button for resourcescraftsman related to this ship article. issues, I worked their books’ with each student ually to figure out individhow to create his Inspired bytheme. the work of artisans, students or her particular as beautifully paper as our background book were excited to create their as well. as possible. And, many pietre faux pietreThis beak and the wing, and then traced was, dure of course, works feature a bird given thatso dure art works out of paper. the pieces on our “stone” necessary motif, wewe had used no templates THe FIrsT sTeP student sketches of topapers. Students cut one piece from which birds from a recently various work, and the at a time, and glued them on book class completed designs project. in the process were as new to their was for me as with a glue stick. Envelopes were Rob asked me to introduce the students. theyblack werepaper the lesson provided to This variety each student to his and first experimen group of for pieces to take were not glued down at the end fourth-graders, with him tation madethat many wonderful continuing of class. for thelessons digital pictures lesson and introducon the the birds were finished, students importanceWhen of the ing it to his other fourth-grade in the classes. of process were encouraged creation of art. school, including to add tree limbs, flowers and leaves the To class, I brought in a book of from their paper scraps. pietre dure masterpieces This students, the not only helped fill up the page, faculty and a sample I had made. There they added more color. are several and books eVery on pietre the CLass structure I returned two weeks later to PerIOD INVOLVeD dure, which should be available photograph the students’ a at your new itself. I chose localseries library. You final work and was pleased of attempts this can also find many fine examples to see a high rate of student sucto determine online.what theme because I explained did and how cess with this project. Rob had at the didn’t work artisans would trace a drawing done such a fine job, consisfor each and carefully time of the lesson, book.cut Foreach tently carrying out our goals. eachpiece difficulty of stone until the work was put we were we encountogether, preparing to leave piecewe tered, by would piece, like project was a success for both our 40-year-old constantlyThe a puzzle. I told the children this undo of us—Rob featured the was aunsuccessf school building difficult skill because the beautiful ul elements for a brand-new unlike mosaics, which are made and try a differentstudent art work from this new project , from at the approach. beautiful high school. chips,Books the pieces of school’s art show and, even were created This gave the pietre dure had to fit together exactly. though it was for a short time, out of paper andThis books a personal, cardboard, form ofout artofiswood, still I was happy to be back nostalgic touch. popular today, I told them, especially in the classroom. It’s true: some of clear acrylic LEARNING OBJECTIVES sheetsin Italy After all of the and where even of copper. art teachers never truly retire! Booksa were students had captured small design goes for hundreds will ... Collaborating with working joined with of dollars. Students were with their specific photograp elementary students colleagues, can keep our passion weaving patterns see BOOKS on excited when they learned we would hic memories, I for teaching alive as page 26 • create unique art usingof woven cloth up be working in the same we bring signed to to use the COW (compute our ideas to manner art students! and relate the making as these artisans. r on wheels) n context. several class periods, for other cultures in a historical so the students subject matter, could have some Kathy Cunningham is a retired • choose and evaluate THe of WOrK use art teacher from North MerBeGINs We first traced our in the chosen bird on trac- rick (N.Y.) symbols and art elements Public Schools. She thanks Robert ing paper, then took apart the bird, a creative manner. Graff and the their weaving design in cutting out the head, the students o c t o b e r 2 0 1 3 • 81 y e of Gardiner Manor School in Bay ars Shore, N.Y. x www.ar tsandactivities.com www.ar tsandactivi ties.com x 81 y e a r s • o c t o b e r 2 0 1 3 S NATIONAL ART STANDARD

media, • Understand and apply

Eunice

and processes

•

av es! Weeav veryb ody W activit www.ar tsand

Marques

techniques

ryan

characteristics

LEARNING OBJECTIV ES

and merits of their others visual arts and Make connections between other disciplines

High-school students will ... • design and create a handmade book based on a visual image without a specific template or set of instructions.

> Leanna, grade 2. Detail. Liam, grade 5. Pouch.

❘

Keyo

and functions

history and cultures

the • Reflect upon and assess work and the work of

Lorana

structures • Use knowledge of arts in relation to • Understand the visual

s 3 • 81 year december 201

list their different weaving look like before what their patterns may graph paper to work out they weave them.)

sabreen, grade 2.

, which goes uous string/thread on the front around each notch only To produce of the cardboard loom. warp must a flatter weaving, the sturdy, be tight and the cardboard and kept flat until completion. edge, For a neatly finished end in an the weavings should pattern at over-one/under-one of the both the top and bottom around work. This way, the loops front and the notches catch the cloth back of the patterned of the when it is slipped off cardboard loom. be All weavings must and the compressed at the top

LEARNING OBJECTIVES elementary students will ... show understanding of the term pietre dure by creating a work in this style. create a drawing of birds, flowers or fruit to be used as the basis of a pietre dure work. trace their drawings to fit pieces together in the working method of pietre dure artisans.

• • •

ies.com

A Schoolwide Activity activit www.ar tsand

ies.com

❘

3 december 201 81 years •

• theorize and experiment construction problems.

angelica

MEDIA

december

2 0 1 3 • 81 years

determine which are more

www.ar tsa ndacti

to given problems, and

successful and why. • learn that creation frequently

involves attempting unsuccessful solutions multiple before a workable solution is discovered. solutions to any given creative problem.

• learn there are many

STORY

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in solving aesthetic and

• attempt a variety of solutions

Handmade Bo oks A MIXED-

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NATIONAL STANDAR

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Photoshop Elements (or similar software) 500 Handmade Books (Lark Books;

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heavily in order to appear bright. Wet (but not dripping) brushes are used to blend the colors. Backgrounds can be partially or completely colored, or left white. Mistakes will need to be carefully erased as pencil will show through. I always discuss using handheld pencil sharpeners to sharpen, and being careful not to make thin points, as the tips will just break. I do not like electric pencil sharpeners, as they will sometimes ruin the tops of colored pencils. It is also helpful for students to color on scrap paper and practice blending with a wet brush. Once the painting has dried, outlining can be done with black marker, and details can be added to the flower centers and/or leaves. Students always seem to be very impressed with their completed paint-

START

continued from page 21



“I find that introducing artists at the beginning of the school year has many benefits.”

     

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

     

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ings. This lesson promotes self-confidence, which makes it easier to introduce more challenging projects as we move forward. Over the years, many of these sunflower pictures have been exhibited, including some that were displayed for a year at our state capitol. Some students have told me that they entered their sunflower paintings at the fair and won prizes. And, parents and school staff often comment on how beautiful these pictures are. This all makes me very proud of my students’ effort and accomplishment. It is a great way to start off the school year—students truly like what they have learned and created. n Suzanne Dionne is a visual art teacher at Rotella Interdistrict Magnet School in Waterbury, Conn. She is also president of the Connecticut Art Education Association and, this past April, she was named Teacher of the Year (Region I) by the Magnet Schools of America.

s e p t e m b e r 2 0 1 6 • 84 Y E A R S

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sketchbooks, turn them over and add graphite to the back, pressing hard to lay on a nice dark layer. With scissors, they then cut around each drawing, about a quarterinch out from the contour line. On their desks, students arrange their cut-paper plants until they arrive at a configuration that pleases them. I encourage them to overlap the smaller plants over the larger ones. The final arrangements are then taped in strategic places to hold them together. In the next step, strategically students place their arrangements on their prepared watercolor background papers, with parts of the plant drawings touching at least three sides. They retrace their pencil drawings, transferring the lines onto the watercolor paper. Where one leaf overlaps another leaf, students trace the top leaf, not the one underneath. Looking for dark areas on the actual plants, students then use their Ebony or No. 2 pencils to put the darks in first, creating different values by using varying pressure. I encourage students to use their pencils to blend the values, not to smudge them with their fingers. They then work with the middle tones of the leaves, plant containers and pedestals. The highlighted areas are left alone, allowing the watercolor background show through. The students go over their values and blend them so there is a gradual transition from light to dark.

PLANTS

continued from page 27

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WE ANALYZE STRONG CONTRASTS by

looking at the drawings from a 6-foot distance, and students really see the difference between foreground, middle ground and background. When complete, the plant still lifes were prominently displayed to the admiration of students and staff. What a great way to start the year—creating your own background paper with watercolor, drawing from obser vation, creating a composition that features overlapping, and adding values to drawings. The students are off and running! n

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Paragon kilns help students create priceless ceramic treasures

continued from page 29

eramic ware survives the test of time. Ancient Greek and Roman pottery is now treasured artwork. The 7th and 8th grade stu- Seventh and 8th grade students at Brandenburg Middle School’s dents at Brandenburg Middle Classical Center in Garland, Texas. Shown in both photos is the School in Garland, Texas have digital Paragon TnF-28-3 12-sided kiln. made ceramics that may one patented spring-balance lid day become family heirlooms, treasured for feels so light that you can generations. They worked under the guid- lift the lid with one finger. ance of Gennell Murphy and Christy Call or send email for a Bautista. The ware was fired in a Paragon free catalog. digital TnF-28-3 kiln. Paragon kilns have been helping students create ceramic art since 1948. Our kilns are designed for the harsh environment of the school, where they are often neglected. They fire day in and day out with little maintenance. They are workhorses. The top row of wall bricks in the TnF-28-3 is blank (no element grooves) to prevent brick damage caused by leaning over the kiln. The

white 24" x 36" sheet in the middle of the room. Students are responsible for looking at their design and what has been laid down before them, and to decide which direction their piece will face and where it will be located in response to those factors. Once all the classes have participated, I like to bring back a couple of well-engaged students from each class to help assemble the classroom portions together to make the final paper quilt install. I did this project with over 20 classes, grades 3–5. Everybody takes part, and feels successful and valued as an artist and community member. We install these pieces in our auditorium to serve as a vibrant, colorful temporary public artwork that showcases both the unity and diversity present in our school community.

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AS REGULAR READERS MAY KNOW,

I focus on living artists in my curriculum for numerous reasons. One being the fact that you can connect with the artist, and kids can receive feedback and encouragement from the very artists they are studying. After completing this project, I contacted Libs Elliott through her website (www.libselliott.com) and shared it with her. She was blown away by the scale and scope of our students’ work and, in turn, shared it with fans of her work via various social media outlets. In the past year, we have seen other schools around the world take on this project with great success— like-minded art teachers and students creating vibrant works for their own school communities. Recently, the project has come, in a way, full circle. Libs Elliott was in New York for Design Week 2016 with her work, and she facilitated a people-powered, random-generated fabric quilt design at her space during the week. It was very cool to see how an artist who inspired us to create beauty at Zamorano, would then be inspired enough by our work and process to approach her work different way to inspire a different community to come together. n A&A Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, Calif.

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Jan Steen (Dutch; 1626â&#x20AC;&#x201C;1679). The Drawing Lesson, c. 1665. Oil on panel; 19.375" x 16.25". J. Paul Getty Museum, Los Angeles, California. Public Domain.

“You put down one color and it calls for an answer. You have to look at it like a melody.” — Romare Bearden

elcome back! I hope everyone had a restful, exciting, adventurous and/or creative summer. I did and now I’m ready to get back in the swing of things. Every year I come up with a theme for my classroom and throughout the year I use this theme to incorporate many different art skills, art history and technology. As we embark on the new school year, here are some great tips to start with ease.

tip #1

WHERE IN THE ART ROOM IS … ? One

activity Sheryl Depp from Shady Hills Elementary School in Pasco County, Fla., likes is playing “Where in the art room is ... ?” During the first week of school, she hands out photos of different areas of her art room. The students need to find things such as the classroom rules, drying rack, recycle bin, class boxes, sinks, smocks, and pencil sharpeners. This works really well for new students and especially a new art

another great exercise to do with the little ones, as you can point out different things in the room. Middle-schoolers can go on a scavenger hunt around the art room with a partner. I always insist that their partner be someone with whom they are not good friends—yet. During this hunt, they need to find out one thing about their partner. The high-school kids can play a version of “Getting to Know You” Bingo. You can make up five or six different versions of a bingo card with such things on it as: plays the piano, snowboards, has been to the top of the Eiffel Tower, and so on. Each student gets a bingo card and goes around the room getting their new friends to sign their card if they have done one of these things. They are only permitted to sign each card once. Once someone has “bingo,” they must introduce their new friends and tell something about them.

tip #3

ART RULES While we know rules in

the art room were made to be broken (wink), we still need some basic

Glenda L

ubiner

tip #5

TECHNOLOGY IS A MUST! Try to incor-

porate some type of technology into your classroom, even if you only start with a simple website. Kids today are very techsavvy and need to connect through social media. Paper flyers are a thing of the past in most schools. On my website, and on my social-media account for students and parents only, I post assignments, due dates, and other very important dates

Back in the Swing of Things room, or if you have rearranged your room from the previous school year.

tip #2

BREAKING THE ICE! Many games can be used to get to know your students and for them to get to know each other. From kindergarten up to college, it’s always a fun thing to play games. For primary-aged students, you can have them sit in a circle and have the first student say their name. The student sitting next to them can say their name and repeat the name of the student who came before them, and so on. “I Spy” is ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com 46

classroom management rules. Laura Benitez, from Franklin Academy in Pembroke Pines, Fla., made visual aids to help her students understand them. One poster she made says “Listen Carefully” and shows Vincent van Gogh with a huge ear, while another states “Make Your Dear Art Teacher Happy”—with a photo of Mona Lisa with a huge smile.

tip #4

TO AGREE OR NOT AGREE? THAT IS THE QUESTION. Older students don’t

like to be told what to do, so a great way to make rules in your classroom is to brainstorm and have them make up the rules for the year. I like to call them “agreements” instead of rules, because you usually get better buy-in from the older kids if you do this.

(VIDs). I also post my wish list. Many parents are willing to donate things for your classroom, but they need to know what you want and need. HAPPY BIRTHDAY to Romare Bearden (Sep. 2, 1911); Jacob Lawrence (Sep. 7, 1917); Grandma Moses/Anna Mar y Robinson (Sep. 7, 1860); Marianne von Werefkin (Sep. 10, 1860); Robert Indiana (Sep. 13, 1928); Dale Chihuly (Sep. 20, 1941); Mark Rothko (Sep. 25, 1903); and Michelangelo Merisi Caravaggio (Sep. 29, 1571). Thank you Sheryl and Laura for your great tips! n

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

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Alliance for Young Artists Writers