Arts & Activities Magazine September 2018 by Arts & Activities

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CONTENTS V O L U ME 1 6 4 , No . 1

SEPTEMBER 2018

MAKE A FRESH START WITH ART 16 ALIVE AND KICKING, MULTIPLE LINES AND MAKING

23 24 26 28

MURALS Don Masse ILLUSTRATING SOCIAL MEDIA Irv Osterer A SCREAMING START FOR ART Gary Kohl JIM DINE–INSPIRED TOOL DRAWINGS Kathleen Petka ART ACROSS THE CURRICULUM, WE ARE WYOMING: AN ARTS-INTEGRATED UNIT Allen Trent and Peter Moran CAREER EDUCATION VIA VIDEO CONFERENCE Eva K. Esrum

YEARLONG SECONDARY CURRICULUM SERIES 14 3D INTRO ART, ARTICLE 1 OF 10: KICKING OFF THE SERIES

Debi West

SPECIAL FEATURES AND COLUMNS

MANAGEMENT STRATEGIES Heidi O’Hanley

Glenda Lubiner

08 STEPPING STONES, DEVELOPING YOUR CLASSROOM 12 CHOICE-BASED ART, WHAT ABOUT DEMOS? Katherine Douglas 38 TRIED & TRUE TIPS FOR ART TEACHERS, ORGANIZED CHAOS

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: FREDERIC EDWIN CHURCH, THE PARTHENON Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: GEO #66 Monty Montgomery

DEPARTMENTS AND MORE

6 EDITOR’S NOTE 33 MEDIA REVIEWS 34 SHOP TALK 36 ADVERTISER INDEX

ON THE COVER STUDENT WORKING ON COLLABORATIVE MURAL Zamarano Fine Arts Academy, San Diego, California. See “Alive and Kicking, Multiple Lines and Making Murals,” page 16.

SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. AD SALES: (800) 651-7567; amy.tanguay@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.

14 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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editor’s note

September is the right time to make a fresh start

president

Thomas von Rosen

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

with art. Summer vacation is in the rear-view mirror, as we look ahead to

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

the new school year that stretches out before us.

This month’s cover story inspires us to look in

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

our communities for local artists who might enjoy visiting our schools to

EDITORIAL ADVISORY BOARD

talk with students—maybe even collaborate on a mural, like Monty Montgomery did with students at Zamorano Fine Arts Academy. Art teacher Don Masse writes, “I encourage you to reach out to these artists and invite them

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

into your school to engage with your students. It’s a winning experience for everyone involved!” Check out “Alive and Kicking, Multiple Lines and Making Murals” on page 16.

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

Debi West makes a fresh start with her new yearlong curriculum series,“3D Intro Art.” See “Kicking Off the Series” (page 14) to learn what she has to say about her new collection of lessons. “I can’t wait to share these … over the course of this school year,” Debi writes, “and most importantly, see where you and your students take them.”

Our collection of 10 pullout Art Prints continues this year (page 19), designed for use as a classroom resource. This month’s print, Frederic Edwin Church’s painting, “The Parthenon,” will be a great addition to your collection. Tara Cady Sartorius again provides crosscurricular annotations and lesson connections. Our thanks go out to Sarah Matthews of J.B. Watkins Elementary in Midlothion, Virginia, and Laurie Zimmerman of Waxahachie Preparatory Academy in Texas, for sharing

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

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

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada Debi West Art Teacher, Art Education Consultant, Suwanee, Georgia

ADVERTISING DEPARTMENT

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

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

their lessons and student art on page 22. HOW TO REACH ARTS & ACTIVITIES

Also this month we have a group of classroomproven lessons. Among them is “Illustrating Social Media” (page 23), which will grab your students’ creative attention, and “A Screaming Start for Art” (page 24). According to the author, it is “…a fun way for students to demonstrate their learning from the previous school year.” But don’t stop there! We have plenty more this month to pave the way to a fresh start with art!

Subscription Services To subscribe, renew, change an address or buy single copies,

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

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

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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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.

DEVELOPING YOUR CLASSROOM MANAGEMENT STRATEGIES

BY HEIDI O’HANLEY

t’s the beginning of a new school year. Whether you’re new or returning—welcome to your art spaces! On top of setting up your room, cart or spaces, one of the items at the top of your lists is routines, procedures, and classroom management strategies. No single trick works for everyone. Every class has different sets of students, behaviors and participation. Over the years, I’ve explored different ways to create rules for the class, standards for behavior and routines. Throughout the year, however, they can change depending on the climate of the classes. Here are suggestions based on what has been successful for me in regard to classroom management.

CREATE YOUR RULES AND PROCEDURES BEFORE CLASSES START. You must set the rules straight from

day one because it will set your routine throughout the year. How should the students enter the room? How should they

be ready when you push that cart into the room? What are the consequences for wrong choices, and what will you do to praise positive behaviors? Throughout the school year, students will be more familiar with your routine the more it’s practiced and part of their weekly routine.

SEATING CHARTS. If you’re on a cart, moving from

room to room, you may not need to worry about creating seating charts. However, be sure to communicate with the classroom teachers on any changes or designated spaces for students in the room while you’re giving your lesson. If you do have a classroom, I recommend creating seating charts. I draw a floor plan, photocopy it, then write in pencil the class and students’ names in their table places, so it can be modified throughout the school year. This will also help substitutes know names when you are out for the day.

CREATE YOUR TIME SCHEDULE. The school provides your class lists, but you’ll need to plan the time you have with each class accordingly. Within 40 minutes, I take attendance, discuss, instruct, demonstrate, guide students during project time, and clean up. Make your plan your time

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TAKE THE WYLAND NATIONAL ART AND MURAL CHALLENGE Enter your classroom into the Wyland National Art Challenge. The theme is conservation of oceans & waterways, and includes a classroom mural contest plus an individual art and photo contest. Submissions must be received by December 1, 2018. Enter your class to participate NOW! Over $5,000 in prizes including scholarships. Sign up today at www.wylandfoundation.org/artchallenge or call 1 800 WYLAND-0. Submit your art digitally Oct 1 thru Dec 1, 2018. PRESENTED BY Watch “Wyland’s Art Studio” on PBS for weekly art tips

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to balance what needs to happen in each class, especially for passing out and cleaning up materials and projects.

MANAGE YOUR NOISE. This can be challenging

because in order for students to learn from each other and be inspired, they should be able to communicate and share their ideas. Personally, I also have difficulties creating my own work without background noise, like music. The students know their noise level must be kept down, but many times, they forget, and the next thing we know, students are raising their voices across the room. There are many ways to lower the voices. One way is the “Yacker Tracker,” a handy noise detector that looks like a stoplight. Another method is adding a “noise manager” table to help notify the class when noise levels become too loud.

CHARTS AND REWARD SYSTEMS. Most teachers

develop a reward system for classes to help manage the classroom. It could be a color chart, start system, or step system to reach a goal. If you travel to the rooms, you can work with the classroom teacher on how to utilize their charts for art time as well, which can help with behavior routines throughout the school day. Another method is the website, ClassDojo.com, an online point-based classroom management system that has worked wonders with communication with parents. You enter each student’s name in a class, and while you have that class, you can add or subtract points depending on the student’s behavior.

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Behavior reports can be printed out or emailed to parents and guardians to help monitor their progress in class. If a class reached a goal you set in place, you can design the rewards for your students. Some teachers give token rewards, such as pencils or crayons, others give a selected time in class called “Free Art Time” or “Exploration Hour.” With the reward incentives, you can create something fun and educational for your students with what you have available!

COMMUNICATE ABOUT BEHAVIORS. As uncomfort-

able as it may be, don’t hesitate to communicate with parents about student behaviors. It is important to call, even if it’s a positive or negative topic to share. Parents and guardians should be notified through phone calls, email or other methods on what is going on with their children in class. As an art teacher, it’s a constant challenge to keep up with that many students.

UNDERSTAND THAT YOU ARE NOT PERFECT. You may still change strategies for managing behavior throughout the school year, and that’s okay! Sometimes we struggle to find the right management system that works, but when you find what works best, your students will do amazing things! n

Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling artteacher.blogspot.com.

Something to Say

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.

SucceSS PrinciPleS for AfterSchool ArtS ProgrAmS From urbAn Youth and other exPertS Denise Montgomery â&#x20AC;˘ Peter Rogovin Neromanie Persaud

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. i

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

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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.

WHAT ABOUT DEMOS? BY KATHERINE DOUGLAS

n many choice studios, art class begins with a whole group introduction to something new, often called a demo. Because students need substantial studio time, this opening presentation must be brief, ideally between five and 10 minutes. The teacher distills information into the very least that students need in order to get started. Visuals accompany the demo and are then incorporated into studio signage for future reference. Students decide when, how, or whether they will use the new information in their chosen work CHOICE TEACHERS GET MANY REQUESTS for lists of essen-

tial demos. Because studio classroom is unique, school to school and class to class, it is more useful to think about the characteristics of demos instead. For beginners of most any age I believe that demos should be concrete. Here are five sorts of demonstrations and some examples: 1. To introduce a new center • show where materials and tools are stored. • demonstrate how these are used. • run through cleanup process. 2. To highlight a technique or procedure • here is how to set up your painting space. • here are 12 things a #2 pencil can do. • here are various attachment strategies for cardboard construction. 3. To go deeper with previously introduced information • how to deal with a painting mistake. • how to mix colors while avoiding mud. • what-if's for stick weaving to add variety. • strategies for practicing something that’s difficult to draw. 4. To key in to an observed interest in a particular class, which might end up being for more than one class, or not. 5. To improve and or review something that is not going well. This can include techniques and materials, but also care of the studio classroom, efficient use of limited time, and possible problems with class-wide student interactions. ONCE YOU HAVE THOUGHT ABOUT THOSE CATEGORIES,

look around your studio or your closet if you are on a cart: what materials and tools do you have for Drawing, Painting, Printmaking, Fiber, Collage, Construction, Digital Art, Architecture/Blocks? Will you offer instruction in all of these areas, or just a few? Elementary teachers, in particular, deal with a very brief school schedule. Many have little more than 30 class meetings in a year. Keep your plans simple. Keep your demos 12

relevant to observed student needs. In your Drawing Center, for instance, you will need an opening center demo and then maybe four more related demos at some point. Once you open the drawing center you will notice all sorts of strengths and weaknesses. These are your clues about what to offer in future whole-group demos. For older or more experienced students who have become acclimated to studio routines, demos can be less concrete, more conceptual. Discussions can focus on idea generation, what constitutes quality, how to communicate with viewers through artist statements, and the like. Teachers are able to embed many of the skills and ideas covered in traditional curricula, as well as district requirements, while still supporting student choice in applying these topics. It is not unusual for students to generate ideas for demos based on their interests and abilities—and these demonstrations can be presented by the students themselves! INTERESTED STUDENTS WILL STAY WITH THE TEACHER TO EXPLORE the new tool, material or technique from the demo.

Now you can go deeper with small groups or maybe conduct a private lesson. These students will be able to coach other

“One of the things I love about TAB: It keeps conversations like ‘What are the children learning? How do I know? What are they ready for next? How do I know?’ front and center, rather than “What project will I do next?” — Sarea Pacetta students who become interested in their work at a later time. Reaching students at their moment of high interest can result in deep learning, and students coaching friends deepen their own learning at the same time. While most choice teachers have a broad idea of a year’s demos, they benefit by seeing students’ independent work— successful or otherwise. Observation provides information to drive the next moves. What “just in time” demo might be needed to move your students forward? Informed by feedback and brief to the point, these demos set the tone for learning in the studio classroom. n Katherine Douglas is an education consultant retired from K-6 teaching. She is co-founder of Teaching for Artistic Behavior, Inc., co-author, with Diane Jaquith of “Engaging Learners Through Artmaking,” and co-director and instructor for the TAB/Mass College of Art Summer Institute. s e p t e m b e r 2 0 1 8 • 86 Y E A R S

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Yearlong Secondary Curriculum Series | 3D INTRO ART

ARTICLE 1 OF 10

Kicking Off the Series by Debi West

am very excited to be bringing another yearlong series to Arts & Activities magazine, especially one that I think is very timely and very relevant. We tend to see a plethora of 2D lessons out there, but rarely do we see a series of 3D lessons. So, this year, I am happy to be sharing a few of my students’ most successful 3D projects. I taught kids through the discipline of the visual arts for 24 years and am now writing about their successes and sharing lessons that I hope you will springboard from and make your own. After working at the elementary level for 14 years, I moved to the high school arena and from day one, I realized my high school kiddos were very similar to my elementary kiddos. They absolutely LOVED to build stuff! They loved to work on unconventional surfaces, create reliefs, work in the round and experiment with clay. And, that is what this 3D curriculum is all about!

guide them and teach them the tools and techniques necessary to help them become the artists they aspired to be. Most of my intro students went on to take art throughout their high school careers and our sculpture and ceramics courses were always some of the most popular classes—not to mention how this intro course sets them up for their AP 3D portfolio. At North Gwinnett High School in Suwanee, Georgia (where I spent the past 10 years) we offered intro art courses that taught 2D first semester and 3D during the second semester. These were the prerequisites that our students were required to take before they could move on to their Art II courses, which included photography, draw/paint, sculpture/ ceramics and

graphic design. From here it was our hope that they would move to the art III level and, eventually, to the AP level. With this in mind, our visual art team was fully aware that in order to build our students to the AP level, we had to start from the beginning and that is where this series begins. ON THE VERY FIRST DAY OF SCHOOL,

we went over our rules: A=Act Appropriately!, R=Respect Everything!, T=Try, and you Can!, our expectations and our syllabus. Then we moved right into our very first 3D art project—a week of open studio! That’s right, I gave my students a week to work in stations around the room where they could experiment and work with relief, earthen clay, modeling clay, mixed

I’VE SAID IT BEFORE AND I’LL SAY IT AGAIN:

I truly believe that our secondary introductory courses are the most important art classes visual art students will ever take. I realized early on that many of my high school students had not had an art class since they were 10 years old, but they were all so anxious and excited to be in their elected art course and to learn. So, it was my job to 14

One inventive student made an interactive journal page featuring the gilded gates of Florence Italy’s Baptistery of San Giovanni (a.k.a. “Gates of Paradise”). When the two panels were opened, they revealed the artist who createad them, Lorenzo Ghiberti.

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ARTICLE 1 OF 10

3D INTRO ART CURRICULUM SERIES

3D Visual Journal Assignments REQUIREMENTS Students are required to use drawing (at least 50%), text and collage (color/texture/ pattern). All assignments should be one-page vertical or horizontal compositions. Visual Journal assignments are due each Monday. No late work will be accepted!

ART HISTORY–BASED 3D VISUAL JOURNAL PROMPTS 1. Prehistoric Art (Stonehenge, Venus of Willendorf, Cave Tools …) 2. Ancient Egyptian Art (Sarcophagi, Cartouche, Canopic Jars, Masks …) 3. Greek and Roman Architecture (Colosseum, Notre Dame, Parthenon ...) 4. Renaissance – the Rebirth! (Ghiberti, Bernini, Donatello, Michelangelo …) 5. 20th-century Sculptors – Free Choice 6. Pop Art in Sculpture – Get Creative! (Oldenburg, Koons …)

Ancient Egyptian art.

7. Assemblage Art – Oh What a Relief! (Nevelson, Rauschenberg …) 8. Kinetic Sculptors/Sculptures (Calder, Whitaker …) 9. Abstract Sculptors/Sculptures (Moore, Noguchi, Hepworth …) 10. Art History Fun – Create a spread of your favorite 3D master artists!

media, building blocks and architectural inspirations. They also conducted research on 3D master artists, as well as in-the-round art projects. Students were taught to brainstorm and think creatively as they built maquettes (small models or 3D sketches) and explored the art of sculpting in a new context. Giving them this free time allowed them to feel more confident when the first 3D lesson was given to them. I also used this time to introduce my students to their semester’s worth of prompt-based journals. Back in the day, I wasn’t sure how to implement our journals into our 3D curriculum, but I soon realized that our county assessment final exam was very heavy in 3D art history. Therefore, our journal prompts became art history–based journal prompts. Please see the above box for the list.

Ancient Greek art.

Pop art: Claes Oldenburg.

EACH ASSIGNMENT HAD TO INCLUDE

a direct observational drawing of an appropriate object, collage and text, which served as their research. These

Prehistoric art: Stonehenge.

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three components had to come together to create an engaging composition that became a strong teaching tool for my students. I generally had these due on Mondays and enjoyed calling students up one at a time so they could share their work with me and we could grade it together. By doing this, it held them accountable and motivated them to work hard. If their work was well done, I would take a photo and publish them on my Pinterest board. I can’t wait to share these nine lessons with you over the course of this school year and most importantly, see where you and your students take them. Remember, #togetherweARTbetter, so here, we, GO! Next: Cardboard Relief Sculptures! n A&A Contributing Editor Debi West recently retired from her job as department chair and art educator at North Gwinnett High School in Suwaunee, Georgia. She owns and operates WESTpectations Educational Consulting and resides in Hilton Head, South Carolina. 15

ALIVE

and kicking

Multiple Lines and Making Murals by Don Masse

usually introduce my students to the work of an individual artist with each activity, but every once in a while, I get a little wild and throw three or four at them at once. That was the case with this fun one. MY FIFTH-GRADERS LOOKED AT THE WORK of Jason Woodside, local San

Diego artist Monty Montgomer y (see “Study Print” on p. 37), and the collaborative team of Jessie Unterhalter and Katey Truhn. The reason for this is to provide students an opportunity to compare and contrast the similarities and differences in line, shape, and composition between a number of artists that all work in a colorful, graphic abstract style. 16

The mural is a stunning addition to our campus. Multiple sketches were drawn before students moved on to their final designs.

I started by putting a number of the artists’ works side by side on the Smartboard and giving my students time to digest and talk about the work. They discussed similarities and differences in small groups, then took turns sharing out to the larger groups. I also asked them to think about which artwork was most interesting to them, and to hold onto that as they worked through the design process. They would use that information on their exit slip reflections at the end of the lesson. s e p t e m b e r 2 0 1 8 • 86 Y E A R S

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LEARNING OBJECTIVES Elementary students will … • experiment with different approaches to a visual problem. • express why they want to move forward with one idea over another. • gain experience discussing similarities and differences present in works of art.

NATIONAL ART STANDARDS

Wearing a respirator, Monty used aerosols to make the sun shine bright.

More model fifth-graders added color to the mural.

As they painted together, Monty and a group of first-graders shared stories.

•

CREATING: Experiment and develop skills in multiple art-making techniques and approaches through practice. • RESPONDING: Compare one’s own interpretation of a work of art with the interpretation of others.

MATERIALS

•

• •

9" x 10" practice paper, 9" x 10" white drawing paper Graphite pencils, erasers Color markers, crayons, color sticks (from Crayola®) Exit slips Examples of work by focus artist(s)

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

BEING BIG ON BALANCING STUDENT CHOICE and creative constraints through-

Student approaches to the design problem were quite varied and visually rich. www.ar tsandactivities.com

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out my curriculum, with this lesson my students could approach the visual design in any way as long as they created an abstract image that used line to create shape and pattern. Students were required to create at least two prelims and to write an explanation that supported their choice of sketch to move forward with for their final design. I’m really trying to emphasize students developing awareness of their design reasoning; so, in their explanations I encourage them to use specific evidence from the sketches and to respond with more than “because it’s cool.” I want them to think about what makes one sketch “cooler” than the other. Students could use color markers, color sticks, and crayons to complete their final design. They had about one and a half class meetings to complete the activity, which also included a written exit slip that required them to reflect on the design inspiration and the design process. There was such a wonderful range of student approaches 17

Monty’s mom and one of the last fifthgrade groups to work on the wall. Mom flew all the way across the country to assist with the mural process.

First-graders help Monty get started on his Zamorano mural.

to this design challenge. I found it a great way to start the school year. NOW, I MENTIONED that one of the

artists is local to San Diego. Monty Montgomery moved here from Virginia about 10 years ago. Following this project, I reached out to invite him to do an artist visit/talk with some of my students. He said yes, and made it happen before he headed out of town for an extended period. Monty met with a group of fifthgraders, chosen based on citizenship and creativity demonstrated in class while working on this project. Monty shared a couple of his paintings up close with students (see page 37), gave

them a peek into his creative process, and answered some great questions. At the end of his visit, I showed him the mural that Santos Orellana created at Zamorano the previous year (see “Local Love,” in the January 2017 issue) and Monty immediately offered to do one too. I immediately took him up on that offer, of course. :) SEVERAL MONTHS LATER, MONTY CAME BACK and created a mural for and with

our school community. He collaborated with us to come up with a composition that married his geometric abstract style with a Southern California desert landscape theme. He donated his time and energy, and I used gofundme.com

to raise funds to cover his supplies. Monty’s mom, a retired teacher, came out to assist for the entire week. She and Monty worked with small groups of fifth- and first-graders (who also did a line activity inspired by his work) to complete the painting. He took time to answer kids’ questions at recess and classes that toured the mural each day. It was an incredible experience for our whole school. Experiences like this can happen when we as educators share the work of living artists with our students— especially when some of those artists are active in our own communities. I encourage you to reach out to these artists and invite them into your school to engage with your students. It’s a winning experience for ever yone involved! n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. At the recent NAEA national convention, Don was named the 2018 Pacific Region Elementary Art Educator of the Year.

The students’ colorful art was as unique as the children themselves. 18

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A&A Art Print: Respond and Connect Frederic Edwin Church. The Parthenon, 1871.

What you leave behind is not what is engraved in stone monuments, but what is woven into the lives of others.” Pericles

MAIN VISUAL ART CONCEPTS: Line • Value • Color • Texture • Contrast • Proportion • Luminism

•

COMPOSITION: About half this painting depicts the ruined architecture in the shadows of sunset. Church was facing east, with the remaining sunlight spotlighting the warm colors of the building and stone surfaces in contrast with the cool, blue, gradated sky.

•

RELIGION: Originally built to honor the Goddess Athena, the Parthenon later served as a Christian church (fifth century C.E.) and an Islamic mosque (15th century C.E.). In 1687 it was being used as a storage place for ammunition, which exploded and destroyed the central area of the building when shelled by the Venetian army.

•

BIOGRAPHICAL NOTE: Most of Church’s paintings depict natural landscapes with just a small hint of human life. In this piece, the man-made building and the ruins dominate his canvas. Church and his wife Isabel lost their first two children to diphtheria in 1865. In 1867, a year after the birth of their third child, the family traveled on their own pilgrimage to Old World and Holy Land sites. Church specifically visited Athens in 1869 to create oil sketches of the Parthenon. His completed image might symbolize the persistence and power of the human spirit in the face of adversity.

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GEOLOGY: The structures on the site of the Acropolis exemplify Doric and Ionic styles. They were built from marble mined from Mount Pentelicus, almost 15 miles north of Athens. Pentelic marble, a metamorphic rock, has been used for sculpture and as a building material. It can contain veins of graphite, mica, iron oxide, quartz or pyrite, but is usually described as semitranslucent, fine-grained and pure white.

•

POLITICS: Was it pillage or preservation? Originally, all along the top edge of the interior walls of the Parthenon was a band of colorfully painted scenes carved in bas relief depicting a festival procession in celebration of Athena. The frieze consisted of 115 blocks that ran a total length of 524 feet and almost 3.5 feet high. In 1801, the Scottish Lord Elgin removed many of the carvings and had them shipped back to England. The Parthenon in Greece. Today pieces of the frieze are distributed between the Acropolis Museum, the British Museum, the Louvre, and other European museums. Greece began formally requesting the return of the antiquities from Britain in 1832, still to no avail.

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ENGLISH LANGUAGE ARTS: In 1811, Lord Byron wrote about Lord Elgin pillaging the Parthenon in his satirical poem, “The Curse of Minerva.”

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MATH: Size and scale. Church’s painting of the Parthenon is massive: about 4 feet high and 6 feet wide. The size of the painting complements the scale of the Parthenon itself, which stands 45 feet tall, 101 feet wide and 228 feet long. The human figure in the foreground brings to life the real proportions of the Parthenon and the expansive site of the Acropolis.

•

TRADITIONAL ATTIRE OF GREECE: The “fustanella” (similar to a Scottish kilt) worn by the figure in the foreground is the traditional garb of men in the Greek military at the time. It was the primary military costume during the Ottoman Empire (1299 –1924) and is still associated with Greek culture today.

HISTORY: The Parthenon was built in the fifth century B.C.E. as a temple to honor Athena, the goddess of wisdom, arts, literature, and war. The sculptor Phidias was the primary designer, and Ictinus and Callicrates were the primary builders. The building process was directed by the statesman Pericles. ARCHITECTURE: It took about nine years to construct the Parthenon. Some say that even with our contemporary tools, we could not build such a structure of the same material so quickly. The chisels and other tools that were used by the ancient Greeks left traces of metal that indicate they were unusually strong. The formulas for forging such tools have been lost. 19

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Frederic Edwin Church (American; 1826-1900). The Parthenon, 1871. Oil on canvas; 44.5" x 72.62". Metropolitan Museum of Art, New York. Bequest of Maria DeWitt Jesup, from the collection of her husband, / Public domain. Morris K. Jesup, 1914. ÂŠ

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

GRADES K–6

GRADES 7–12

GROOVY GREEK VASES. In Virginia, all third-graders study ancient Greek culture. Art teacher Sarah Matthews went the extra “stadion” (an ancient Greek measurement of distance) to also help her students understand symmetry and pattern.

GO FIGURE! The compositional conversation between the two

vases on each student’s artwork makes for a dynamic exploration more striking than the usual artistic study of black figure Greek vases. These students began with figure drawing, using wood mannequins as models. Zimmerman asked students to depict figures in action doing an Olympic sport.

“Groovy Greek Vases” by 3rd-grade students of Sarah Matthews at J.B. Watkins Elementary in Midlothian, Virginia.

Matthews says, “We compared several different Greek vases and discussed their similarities and differences … [Students then] chose a colored piece of 12" x 18" paper and folded it to create a symmetrical shape. They could make it tall and thin or wide and fat. They added lips, necks, bellies and feet to give it a good contour. Handles were optional. They drew their shape and then cut it out. A variety of cardboard rectangles, paper and plastic tubes were used to stamp print border designs in black and white paint. Emphasis was on creating complex patterns by overlapping shapes and lines” From the look of the work, her students must have been feelin’ pretty groovy after all that! NATIONAL ART STANDARDS: Grade 3 CREATE: Apply knowledge of available resources, tools, and technol-

Greek vase drawings by 9th- and 10th-grade students of Laurie Zimmerman at Waxahachie Preparatory Academy in Waxahachie, Texas.

The students “made some sketches and chose a style of vase to draw and embellish, using chalk pastels. They learned to create volume and form by shading the side of the vase, highlighting the other side, and making a cast shadow on the table top.” Mixing the knowledge of art histor y with contemporar y practices made this lesson more relevant to the students. They first used “gestural techniques to practice proportions,” says Zimmerman. Next they learned about ancient Greek clay vessels, or amphoras. “They used a terra-cotta color chalk pastel to tone the entire vase first, then sketched their designs using earth-toned pastel pencils. They could only use the traditional colors.” What was old has become new again.

ogies to investigate personal ideas through the art-making process.

RESPOND: Interpret art by analyzing use of media to create subject

NATIONAL ART STANDARDS: Grades 9–10

How to use the A&A Monthly Art Print: Carefully unbend the staples at the

CREATE: Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art. RESPOND: Analyze how one’s understanding of the world is affected by experiencing visual imagery. CONNECT: Analyze how art reflects changing times, traditions, resources and cultural uses. • Compare uses of art in a variety of societal, cultural, and historical contexts and make connections to uses of art in contemporary and local contexts.

matter, characteristics of form, and mood. CONNECT: Recognize that responses to art change depending on knowledge of the time and place in which it was made.

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 22

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I BEGAN THIS INTEGRATED ARTS ASSIGNMENT by ask-

by Irv Osterer

Middle and high school students will … • create compositions from icons/images gleaned from social media. • use size and scale to create a visual hierarchy of these images. • learn how to use colored pencils as an effective illustration tool. • use trial and error to arrive at a sketchbook solution to a composition problem. • create an effective composition to scale using strict design perimeters. • realize the significance of social media in any contemporary marketing strategy.

MATERIALS Drawing pens (we used the uni-ball® VISION ELITE™) Card stock Colored pencils (we used Prismacolor®) Internet access via smartphone or computer

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Dana, grade 10.

SOCIAL MEDIA

LEARNING OBJECTIVES

• • • •

Ben, grade 10.

illustrating

ing the class to capture a visual inventory of their Internet tendencies, and record in their sketchbook the services and sites that they access on a regular basis. Students were encouraged to draw logos, emoticons, Instagram and Facebook posts, as well as recurring icons and buttons for use in a semi-biographical social-media composition. Students were not to be concerned with rendering their Ariel, grade 10.

e art teachers always strive to assign projects to enhance the visual experience and to direct students how to effectively use the elements and principles of design. While the lessons of the past and the works of the masters are certainly worthy of debate and discussion, the best way to have young adults invest in the art experience is by providing visual problems to solve in their vernacular. As a “senior citizen,” I admit to some difficulty keeping up with what’s happening in popular culture for the teen set. But there’s no denying the impact of social media—especially in the last 11 years since the iPhone launched in 2007. A quick classroom survey shows that most students have smart phones and nearly all schools have WiFi. While some teachers prefer to have students leave phones in their lockers before entering class, art teachers should embrace this technology. When properly monitored, it provides an opportunity for every student to search art and design websites, and access source files for drawing and painting.

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pieces perfectly, but to do so in their own drawing style, giving a unique and special quality to their work. When students felt they had enough samples to begin, they planned their compositions using 6.5" x 10" rectangles in their sketchbooks. They were advised to overlap, crop, adjust size and scale, and carefully place images, to create a center of interest to direct the viewer. When they were satisfied with their design, they were asked to transfer it to a larger but proportional 13" x 20" piece of white card stock. Drawing pens and colored pencils were employed for this assignment. The class embraced this project with enthusiasm. Students took the time to peruse, interact and talk about each other’s solution to this problem during the class studio time. It was interesting to watch them comparing visual notes as to which goods, services, forums, sites and personalities they shared online. This is an assignment most teachers can use successfully. And, it certainly confirms that for today’s youth, social media is an integral part of their day-to-day experience. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada.

september 2018

A Screaming Start for Art by Gary Kohl

wanted a fun way for students to demonstrate their learning from the previous school year. The project needed to include most of the basic concepts and themes: line, shape, form, perspective, balance, texture and more. (Teachers can decide which of these will be the focus of evaluation and inform their students at the start of this lesson.) The art chosen for inspiration was Edvard Munchâ&#x20AC;&#x2122;s famous painting, The Scream. I shared with students background about the artist, and how the painting is considered autobiographical, based on an 1892 entr y in his personal diar y. We also discussed his experiences with death and mental illness in his family, which likely influenced this painting and others in his oeuvre. STUDENTS WERE SHOWN IMAGES of The Scream (Edvard Munch created several versions of it) on the Smartboard and several books that contained the images were made available. Most students searched their tablets and chose the version of the artwork that they liked best. These were then sketched in their drawing journals, with color added using crayon, pastel or watercolor. I encouraged students to explore different color options (fluorescent interpretations perhaps?), so long as lines, or bands, of color were not flattened. A brief refresher was needed for perspective, primarily for the bridge and its vanishing point. For several students, marking start and end points for the bridge railings on their sketches helped get that vital and challenging skill accurate. I suggested that students work from lightest colors to darkest, allowing for almost no washing of brushes; traces of earlier colors only enhanced the flow of lines across all par ts of the painting. After lightly penciling some important lines onto their canvases (we used canvas paper), students typically began with the sky, as the colors were light and it had no complex details to change the flow of lines. As the first period came to an end, students were 24

Mayaâ&#x20AC;&#x2122;s sketch and final painting.

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LEARNING OBJECTIVES Middle school students will … • recall skills from earlier classes, especially perspective. • apply line, shape, form, balance, etc., as noted by teacher. • recall use and purpose of rough draft/sketch. • learn about color and brush application.

NATIONAL ART STANDARDS

• • •

CREATING: Conceive and develop new artistic ideas and work. PRESENTING: Interpret and share artistic work. RESPONDING: Understand and evaluate how the arts convey meaning. • CONNECTING: Relate artistic ideas and work with personal meaning and external context.

MATERIALS

• • • •

Drawing journals Graphite and colored pencils, crayons, pastels Acrylic paints (oils or watercolors would also work), paintbrushes Canvas paper or stretched canvas (watercolor paper if using watercolors)

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Kylie

encouraged to wipe their brushes on different parts of the painting, so that bits of color would come through during their next class. Those who were hesitant to do so, I reminded that the lines could easily be covered.

Chelsea’s sketch and final painting.

THE BIGGEST CHALLENGE was

to keep the students using lines, rather than follow their temptations to “color in sections” and apply lines later or on top. We used three classes from initial presentation to final lines and signatures on completed canvases. The paintings were displayed with tremendous praise and admiration from all who viewed them in the hallway. This project gave all students a great refresher and beautiful start to a new year of art. n Gary Kohl teaches visual art and English at Unionville Montessori School in Markham, Ontario, Canada. www.ar tsandactivities.com

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Jim Dine–Inspired T

his Jim Dine–inspired tool drawing lesson was fantastic for several reasons. First of all, my students selected the tools or subject matter that they would draw, the media, and the surface material! With that in mind, the techniques are also varied, which made for a great, first in-class project of the year in my AP Studio Art Class. This is a fun twist on direct observational drawings and is great for the beginning of a semester when students are so focused. As a former AP Studio Art Reader for College Board, I always encourage my students to take risks and develop their own “student voice.” At the reading, they call it “verve” for “visual nerve.” It is so refreshing when one sees students taking risks and trying different things with their works. During the monotony of sitting down in front of a computer, looking at slide after slide of student work, it is always

a breath of fresh air when I see student work that goes beyond the regular “pretty picture.” Even though I hope my students do display their work, on the first day of school, I always tell them, “We aren’t making work to hang on our moms’ walls” or work that would “look good in my kitchen.” I want my students to feel that they can take chances with their work and that it will be appreciated. The inspiration behind this Nitya working on her piece occurred while I was unpack- Dine-inspired piece. ing boxes and organizing my new art classroom because we are in a new school. I kept on coming across pliers, screw drivers, hammers, and other random tools, which made me think that this would be a fun lesson, and it was something that I could actually locate. I love how Jim Dine takes ordinar y objects and transforms them into beautiful works, so that was my goal when introducing this lesson. MAKING THE ART. I shared with my students a quick

PowerPoint presentation I made of Jim Dine’s tool drawings and pointed out the expressive lines and mark making, his beautiful cast shadows, and his different use of media.

Sabrina Margarita

Kevin

Renee 26

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Tool Drawings

By Kathleen Petka

“... this project really opened my eyes into new areas of art. ... tools as subject matter allowed for creating a beautiful work of art from something that isn’t typically seen as beautiful. It was a fun learning experience.” Statement by Kaiya, a student

Jackson

Amy

LEARNING OBJECTIVES High school students will ... • be more inclined to take risks. • create/develop their own student voices. • appreciate the beauty of everyday objects. • understand they have the ability to take subject matter and make it beautiful. • realize that they can take most anything and make it into art.

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

• •

Drawing paper in various colors Charcoal, charcoal pencils, crayons, colored pencils, graphite pencils, erasers, pens, markers • India ink, bamboo brushes, paintbrushes, watercolors, water containers • Masking tape, construction paper, toothbrushes, cardboard, etc. www.ar tsandactivities.com

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I initially asked my students to work on butcher paper with graphite and told them to include masking tape so we could mess with the surface manipulation but then told them they could use whatever materials they wanted. It was so neat to see how some created their own types of collage drawing by the repetition of the same (or even different) objects or how some took his realistic approach and emphasized the mark making. There was so much freedom in the lesson that I think the kids were encouraged to try to take risks with their works, which pushed them out of their comfort zones. For the surface manipulation, I had students using a variety of materials. For example, they utilized Post-it notes, masking tape (laying it down and drawing on top, or tearing it and layering so their paper was raised, or pulling tape off after they drew on top, leaving bare strips), and regular notebook paper. Some kids used various colors of paper. I also had students who used graphite, white out pens, charcoal, watercolor, acrylic paint, colored pencils, and so on. This is an excellent lesson because it fits for both the Drawing Portfolio and 2D Design Portfolio for AP Studio Art. In see

DINE

on page 32 27

An Arts Integrated Unit

IV. Student painting: State flower, the Indian Paintbrush, with Grand Teton Mountains in background. IV. Student painting: Devils Tower, located in Crook County.

II. TO CREATE THEIR WYOMING HISTORY TIMELINES, stu-

dents read and synthesized information about historic Wyoming people, places, and events to identify important details and create pieces for a timeline. These included marker drawings, important facts on topics, and maps of Wyoming designating event locations. First, students closely read one-page information sheets that included both text and images, and identified five key facts or ideas about the topic, and recorded these in their journals. Students then sketched ideas for illustrations to accompany information and planned their timeline pages. Finally, they used maps of Wyoming to locate the site of the historical place, event, or where a person lived. These locations were starred in miniature maps of the state, also included on the timeline pieces.

II. Wyoming History Timeline: Artist Thomas Moran.

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I. IN THE COUNTY QUARTERS PROJECT, students designed quar ters for their counties in Wyoming. Similar to the U.S. “state” quar ters, the children’s designs included information, symbols and drawings that were specific to their counties of residence. Students view and discussed several state coins, focusing on key questions prompted by such questions as “how was this state represented?” and “what pictures, I. County Quarter: symbols, and text Uinta. were used to rep> resent this state I. County Quarter: and why?” Big Horn. The students then reviewed and discussed information about their counties of residence, discussing landscapes, symbols, historic sites, and text that might appropriately represent their counties. They then individually sketched and brainstormed ideas, and created and shared their own designs. The students’ county quar ter projects were completed on 10-inch round, white cardboard blanks. They sketched their planned designs on the blanks with pencil, traced these designs with black permanent markers, and then added a metallic look by coloring the blank with silver metallic crayons.

by Allen Trent and Peter Moran

ver 700 fourth-graders from around Wyoming expanded their learning about their state through this two-day, Wyoming-themed unit. Integrating state standards from Social Studies, Language Arts (Common Core), and Visual Art, the unit supplemented what fourth-grade teachers in our state were already teaching students about Wyoming history. Elements of the unit are shared below. While the unit is specific to Wyoming, it can easily be adapted for other states or countries. We encourage you to explore this possibility.

art ACROSS the CURRICULUM

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II. Wyoming History Timeline: Pony Express.

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IV. Student painting: Wyoming state fish, the Cutthroat Trout.

After the timeline pages were completed, students put the pages in chronological order, reviewed and discussed the complete timeline, and then exhibited their work. III. LEARNING AND WRITING ABOUT WYOMING ARTISTS.

> > >

Students viewed, discussed and wrote about art by six contemporary Wyoming artists: Bob Coronato, Cody Stampede Rodeo poster; Joy Keown, Buffalo Bull; Robert Martinez, Red and Blue; Travis Ivey, Summer on the Main Line; Adrienne Vetter, Camperwagon 1: Horse Americana; and Do Palma, Sage Wars. Activities included whole and small group discussions, analysis of visual artwork using an art criticism model (Barrett, 2000), and individual art criticism writing activities. Our questions included description questions (e.g., What do you see in this painting?), interpretive questions (e.g., What do you think this quilt is about?), and judgment questions (e.g., What do you like about this watercolor painting?). After the small group shared ideas, each student responded to the questions individually, in writing, and in complete sentences.

III. Wyoming artist, Joy Keown. Watercolor: “Buffalo Bull.” Image courtesy of the artist. III. Wyoming artist, Bob Coronato. Poster: Cody Stampede Rodeo. Image courtesy of the artist. III. Wyoming artist: Robert Martinez, “Red and Blue.” Image courtesy of the artist.

IV. IN THE WYOMING PAINTINGS LESSON, stu-

dents selected Wyoming-related topics (historical people/places, landscapes, symbols and so on), made sketches, painted them with watercolors, and wrote accompanying artist statements. Students then shared, discussed and exhibited their paintings. This was typically the final lesson in the unit. After two days of related activities, students had many Wyoming-themed ideas, and were able to plan and paint anything they’d like, as long as they connected the topics to Wyoming. After deciding on a topic, students sketched out their painting plans, then transferred these to watercolor paper, and painted them using watercolor paints. After painting (and while paintings dried), students completed simple artists’ statements that included providing a title for the paintings and articulating what they chose to paint and why. www.ar tsandactivities.com

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THROUGHOUT THIS ARTS-INTEGRATED UNIT, we docu-

mented high levels of student engagement and learning as evaluated against our standards-based rubrics. Complete lesson plans, materials, and examples of student work for each lesson/project in the unit are available online at http://sites.google.com/site/wearewyo/home. n Allen Trent and Peter Moran are both Professors in the College of Education, at the University of Wyoming in Laramie. 29

Career Education Via Video Conference

by Eva K. Esrum

f you are looking for guest speakers to enhance a career education unit, former students working in artrelated careers can be an excellent source through video conference calls. I have found a number of mine to be eager to give back to their old school and to make a contribution to education. Not one of them has asked to be paid.

IF YOU PLAN TO VIDEO CONFERENCE,

be sure to test your connection with the participants days in advance of your conference so there is time to correct any technical issues. If you share a conference call with other schools, you will learn that each location may be operating with a different set up, and some of the technology needs updating. In the beginning, I had to use an LCD projector, laptop, webcam, speakers and a wall screen to perform conference calls. When I finally received a Promethean board, it simplified video conferencing tremendously.

TWO OF MY FORMER STUDENTS

each illustrated two of the books on an annual Boston Globe list of the top 10 children’s picture books. Daniel Miyares, Master Artist at Hallmark Cards, Inc., and Matthew Cordell, illustrator of over 35 children’s picture books and winner of the 2018 Caldecott Medal, would be the speakers for our first two video conference calls. During both conferences, students stepped up to my laptop one at a time to ask our speakers about their artistic journey, their education, creating children’s picture books and book publication. Their high level of engagement was evident, and their expressions of intrigue and excitement were priceless.

TOP 10 TIPS FOR SUCCESS 1. Listen more. Talk less . (Designers solve problems by listenin g to the world around them.) 2. Your actions demons trate your priorities. (Take time to unders tand why you do what you do.) 3. Don’t be defensive . (Take criticism openly Use it to better you rself and your work.) 4. Know your busine ss. (Everything about it and around it.) 5. Don’t expect praise. (Love what you do, and let that be eno ugh.) 6. Always be open to change. (Your world will change many times in your life. Evolve with it, not against it.) 7. Be competitive wit h yourself and your pee rs. (Competition forces creativity and personal development. Use it as a tool to be better. ) 8. Match the fidelity of your idea with the fidelity of your des ign. (Big ideas take tim e. Iterate quickly, and share openly.) 9. Be patient. Reward s will come. (Seek out work, be a resource, and stay focused.) 10 . Smile.

IN FALL 2016, I decided to use another video conference program called Zoom and invited all of the high school art departments in our district to partici-

During our first Skype conference, students enjoyed interacting with guest speaker Daniel Miyares, a children’s book illustrator and Master Artist at Hallmark Cards. Students stepped up to my laptop to ask the Hillcrest High graduate about his artistic journey, his education, creating children’s picture books and book publication.

— John Herd

pate in our next conference call. Zoom is easy to use and free for the first 40 minutes. I would discover that our district distance learning coordinator was able to provide us with the exact number of free minutes we needed. When scheduling a conference call between schools, it is important to remember that everyone may not be on the same schedule. The time of the conference must also be practical for the guest speaker, who may live in another time zone. Some teachers will need to arrange an in-house field trip so they can enable students from several of their classes to be present for a conference call during their planning period. If scheduling is impossible for some, the conference call can be viewed any number of times in the future if the Zoom record function is utilized. Our first “Zoom event” occurred on Nov. 1, 2016. Two art and three business classes at my school, and art classes from three other high schools participated. Our speaker was former student John Herd who, at the time,

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was Creative Director of Editorial Content at Amazon.com. John created a slide presentation that answered a number of student questions about his profession. A favorite part of his presentation was when he listed his Top 10 Tips for Success (see sidebar). DURING A WRITTEN REFLECTION EXERCISE, sophomore Alexis H. stated that

Guest speaker and former Hillcrest HIgh School student, John Herd, “Zooms” with us from Amazon.com’s headquarters in Seattle. At that time, he was Creative Director of Editorial Content at Amazon. Be sure to check out his “Top 10 Tips for Success” (at left).

James Wiley’s class at nearby Wade Hampton High School participated in our Zoom event.

Waiting for the 10th location to check in for our first Zoom event.

My former student and associate professor at Winthrop University, Seth Rouser, took us on a virtual tour of the Winthrop Art Department, including the university’s art galleries. www.ar tsandactivities.com

she appreciated hearing the presentation from a graduate of her school. To her, it made the careers discussed seem more attainable. Students learned about graphic design and about being a

When it comes to career education, there are few things better than learning about an art field from someone who’s successfully working in it. creative director, but they also received some character education. Several students stated that, when John was candid about his challenges along the way, they learned the importance of not giving up on their dreams. James Wiley, Wade Hampton High’s digital media instructor, provided positive feedback after the event: “John echoed around 15 things I tell my students regularly about design/art ... The end result was that students saw a high-level professional backing up what the teacher says ... I took it as an affirmation of my teaching. I am immensely grateful and proud to have been a part of this event.” Our school principal was very

impressed and shared the results of the event at a district meeting and at our faculty meeting the next day. A NUMBER OF MY COLLEAGUES joined us on Zoom for our first virtual college visit Feb. 11, 2017. Former student Seth Rouser, a Winthrop University Assistant Professor of Fine Arts, accepted my challenge to arrange a thorough virtual tour of the Winthrop Fine Arts Department. Seth more than rose to the occasion, and we were treated to a seamless tour that included most of the professors speaking to us about their subjects and how those subjects could lead to a number of art-related careers. Their current and past students played roles as well. Some spoke to us about why they loved being art majors as they walked us through different sections of the building. Current students spoke to us about their art on display in a Winthrop gallery. An iPhone 4 was used to make the presentation mobile. Though there were occasional sound issues, we learned what was possible when using Zoom through an iPhone. THERE ARE MANY WAYS TO ENHANCE

a career education unit through video conferencing. If you allow your former students to give back to their school, they can come full circle and become the teachers in your classroom, sharing important things they have learned through actual experience in art-related careers. There are few things better than learning about an art field from someone who’s successfully working in it. n Eva K. Esrum is a recently retired high school art instructor from Fountain Inn, South Carolina.

During the virtual tour of Winthrop University’s art department, Seth took participants into classrooms and studios.

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

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

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

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the College Board Rubric for the Drawing Portfolio, they are looking for line quality, mark making, the illusion of depth, surface manipulation, composition, light and shade, and rendering of form. This lesson meets every one of these drawing issues. If a student wanted to do a 2D Design Portfolio, he or she would be looking for the Principles of Design and could easily add a bold color overlapping on top of their repeated shapes to create contrast or emphasis and variety. Unity, scale and proportion are also evident in a work that has multiple tools. This lesson fits the descriptors in College Board’s rubric by the originality of the work, decision making and intention, experimentation and risk

DINE

continued from page 27

“I had no idea that something industrial could become so beautiful ...” Statement by Amy, a student

taking, engagement of the viewer, and technical competence and skill with materials and media. I was actually sad once we finished this project because the works were so beautiful, and I wanted to do more! There were so many variations of how students interpreted their own tool drawings; it was so exciting to see how different and beautiful they were. This lesson could easily be extended, and all ages and levels can participate in a fun, creative way when drawing from direct observation. I actually thought these were so successful that I had my advanced class participate as well. This is such a strong lesson because it improves technical skill immensely from drawing from direct observation, and I find that students are more open to take risks now that they feel comfortable with various media. Students also can’t complain about boring still lifes because they take ownership of their works/compositions. No still life should ever be boring. n Recently named the GAEA’s 2018 secondary art educator of the year, Kathleen Petka teaches visual art at Walton High School in Marietta, Georgia.

s e p t e m b e r 2 0 1 8 • 86 Y E A R S

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media reviews

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

CLAY

for every art room kiln fire & air dry ENGAGING LEARNERS THROUGH ARTMAKING: Choice-Based Art Education in the Classroom (TAB) 2nd Edition, by Katherine M. Douglas and Diane B. Jaquith. Teachers College Press, $29.95. May we no longer see an entire classroom or hallway display of nothing but the same clown, the same wintr y tree, or the same of anything, all done in the ver y same colors. This up-to-date, improved edition will quite possibly move authentic, free-will-based art education for ward in leaps and bounds. TAB stands for “teaching for artistic behavior,” accommodating student decisions, allowing the learners to determine and to appraise their own preferences. As the foreword mentions, there are delightful possibilities and also pitfalls to be considered, and the book details experiences with both. The authors feature many real-life examples from pre-K through high school. One appendix contains rubrics and the other has sample lesson plans, including an excellent resource for any educator: Korey Averill thought of ever ything to make ready for a substitute teacher! Another ingenious page contains Barb Berr y’s information for kids to assess a WOW (wonderful, original work). Choice-Based Art Education in the Classroom is also available as an eTextbook.

Some of the old guard might find it to be a challenge to give up their hordes of identical turkeys, but the unpredictable, diverse results are well worth it.–P.G. FROM MORNING TO NIGHT: A Book of Hidden Shapes, by Flavia Ruotolo. Princeton Architectural Press, $14.95. Books by this trustworthy publisher are second to none, and this slim hardcover is no exception. Its two-color printing on heavy paper pleases visually and texturally. The book is a simple little treasure. Grandparents, parents, and childcare providers can stimulate youngsters visually and through the spoken word (only a couple of long words are to be found: “disappointment” and “assignment”). Preschool and first grade educators can teach the concept of change or metamorphosis, showing basic shapes one way—an orange, a U, etc.—then the same shape altered into a planet or a horseshoe on the facing page. Polka dots are shrewdly rearranged into a sun behind a cloud. The Italian author focuses on graphic illustration for kids in her own studio in Genoa. Her first book, Zoo, was published in France. But this one’s in English! If you’re in the market for an instructive picture book for the ver y young, then snap this one right up.–P.G.

Lesson by Ruthie Post of Little Budding Artist

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Do you have art-teaching tips to share? Send them to Glenda at:

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shop talk

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ACTIVA PRODUCTS Rigid Wrap Plaster Cloth, from Actíva® Products, is a versatile, high-quality plaster gauze made to the specifications of artists and craftspeople. It is for use in sculpture, mask making, jewelry, craft projects and more. Its even texture allows for fine detail and smooth work. To use, simply wet it, shape it, and dry it. Available as 4- or 8-inch-wide rolls, as well as two bulk sizes.

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SAX ARTS & CRAFTS School Smart Plastic Paint Trays measure 3.5" x 5.25" and feature six wells to hold any type of liquid paint. Made of durable plastic, the trays are rustproof and have no sharp corners or edges. Great for the art classroom or studio. Sold as packs of 12.

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DERWENT Derwent Academy’s full range of art materials are now available in the U.S.A. Derwent Academy enables students and aspiring artists to experiment with new products and techniques. Among the items are an assortment of sketchbooks, sketching pencils and color pencils (pictured). Also included are painting sets, bold oil pastels, markers and art pads and accessories.

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86 Y E A R S •

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STUDY PRINT

Visit www.montymontgomeryart.com.

panel with UV gloss varnish; 12" x 18" x 1.5". Image courtesy of the artist. ÂŠ Monty Montgomery.

Monty Montgomery (American; b. 1975). Geo #66. Montana Gold aerosol and Liquitex acrylic on cradled birch

“The artist confronts chaos. The whole thing of art is, how do you organize chaos?” — Romare Bearden

ime flies when you are having fun and before you know it, summer is over and it’s time to go back to school. Welcome back everyone! I hope you all had time to relax, make art, look at art, and do some reflecting of the past school year. If you are like me, you love what you do and you are excited to go back to school. I can’t think of a better job to have. I go to school, share my knowledge, make some art (OK —examples for students) AND I get paid. Now it’s time to get down to business and organize the year ahead. Here are some great tips to get this year off to a great start.

tip #1

KNOW YOUR STUDENTS. No matter

what grade level you teach (even if you are teaching 1,650 elementary kids like I did one year), get to know your

tip #2 EASE FIRST-LESSON FEARS. Some stu-

dents feel intimated at the beginning of the school year. Many students might feel like they do not draw well, some are shy, and some are just plain scared. One great way to star t of f the school year is to have the students collage a picture of something they like; pets, the beach, food, selfpor traits, flags from their countr y of origin, flowers, or a collage based on the works of Romare Bearden. Collage can be a non-threatening first project, especially if you tell the students it doesn’t have to be realistic.

tip #3

ART RULES!! Just as important as getting to know your students is making them aware of the rules and expectations in the art room. For the older students, have them create rules and expectations that they think are reasonable, of

Organized Chaos students. Try to address each by name and be respectful to each student. This can be a difficult task but make a seating chart and after a few weeks, or months, you will get to know their names fairly-well. You also want to make sure you get to know them in a more social way. Understanding and knowing your students’ backgrounds and what motivates them will make your classroom a more inviting environment. Planning your lessons around what your students can relate to will help the students become more interested and active in your class.

ATTENTION READERS If you would like to share some of your teaching tips, email them to:

tipsforartteachers@yahoo.com

course you make the final decision, but making them a part of the decision will hold them accountable for their actions. Make sure you discuss the consequences as well. If you are a new teacher, see if your school already has school wide expectation or behavior plan in place.

tip #4

PLAN BACKWARD. What are you tr y-

ing to teach and why? When planning lessons, a good place to start is to ask yourself why are you teaching what you are teaching? Is it just a cool project you saw, is it filler, or does it really relate to something that you want your students to learn? Start by thinking about the end result; what are the goals of the lesson? Make the lesson a whole experience for your students. Make sure they understand what they are learning and why. Do some research

Glenda L

ubiner

about backward design (Wiggins & McTighe, 2005) and learn ways to enhance your lesson plans and enrich your lessons. Hooking your students is the first step. For example, if you are teaching about the color wheel, explain the lesson to your students as if they were inter viewing for a job with a major paint company. They would need to do research and give examples of how the paint can be used (hence, the actual lesson plan).

tip #5

WHEN YOU WISH UPON A STAR … A

great idea is to have a website. On my site I have “wish list” page and write things that I need in the art room: copy paper, zip-lock bags and plastic containers, to name a few. I use a lot of printer ink and, since it is quite expensive, I ask for empty cartridges. Many office supply stores let you recycle 10 a month and you will get cash coupons that can be used to purchase anything in the store. Another great place to ask for classroom necessities is your PTA/PTO. It never hurts to ask. HAPPY BIRTHDAY to Romare Bearden (Sept. 2, 1911), Oskar Schlemmer (Sept. 4, 1888), Robert Indiana (Sept. 13, 1928), Suzanne Valadon (Sept. 23, 1865), Michelangelo Merisi da Caravaggio (Sept. 29, 1571). 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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Poured Polar Aurora

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