Arts & Activities Magazine October 2016 by Arts & Activities

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CONTENTS V O L U M E 1 6 0 , No . 2

O C T O B E R 2 0 16

PAPER AND COLLAGE 18 STAR ARTISTS Ken Klopack 20 ANTHROPOMORPHIC ANIMAL COLLAGES INSPIRED BY WILLIAM WEGMAN

Marcia Beckett

Irv Osterer

28 DRAWING WITH SCISSORS Lauren Sapoch 30 ART ALL AROUND US Karen Skophammer 32 ON THE ART CAREER TRACK: COMBINING SELFIES WITH TYPOGRAPHY 34 SERVING UP SOME ART ON CLAY PLATTERS David Laux

YEARLONG ART II CURRICULUM SERIES 14 WHERE THE TECHNICAL MEETS THE CREATIVE: LEFT-BRAIN / RIGHT-BRAIN FUN

Debi West

SPECIAL FEATURES AND COLUMNS 10 STEPPING STONES: IDEAS FOR EARLY FINISHERS Heidi O’Hanley 12 ART IS AT THE CORE: HENRI MATISSE Amanda Koonlaba 16 COMMUNITY CONNECTIONS, PARTNERING: CREATIVE CAREER EXPLORATION

Eva K. Esrum

Tracy Payne Gamble

Glenda Lubiner

27 YOUNG ARTIST: CAROLINE CHANG Kathryn Raczelowski 36 CLAY TIPS FROM THE GAMBLE STUDIO, CONNECTIONS: CLAY ATTACHMENTS 46 TRIED & TRUE TIPS FOR ART TEACHERS: LEARN SOMETHING NEW

READY-TO-USE CLASSROOM RESOURCES 23 ARTS & ACTIVITIES ART PRINT: ALBRECHT DURER, YOUNG HARE

Tara Cady Sartorius 45 ARTS & ACTIVITIES STUDY PRINT: FOOTBALL PLAYERS Albert Gleizes

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

RAIN READY, 2002. Pigment print. By William Wegman (American; b. 1943). See “Anthropomorphic Animal Collages Inspired by William Wegman,” page 20.

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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

Inspiration. It can come from many sources:

experiences we’ve had, things we’ve seen, read or heard, artists we admire,

president

Thomas von Rosen

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

people we’ve met ... Indeed, artists are an especially effective way to get

students enthused and inspired about learning.

EDITORIAL ADVISORY BOARD

Who can resist the Weimaraner on our cover? I certainly can’t. (Please don’t tell my Chihuahua, Amos!) All decked out in

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

Jerome J. Hausman Lecturer, Consultant, Visiting Professor at The School of the Art Institute of Chicago

rain gear, this dapper dog is sure to capture the attention and imaginations

Barbara Herberholz Art Education Consultant, Sacramento, California

of your students. Check out Marcia Beckett’s “Anthropomorphic Animal

Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama

Collages Inspired by William Wegman” (page 20), for more, plus an interview she had with Wegman himself.

George Székely Senior Professor of Art Education, University of Kentucky, Lexington

CONTRIBUTING EDITORS

Henri Matisse is another artist who captures student interest. In Amanda Koonlaba’s “Art Is at the Core” column this month, she explores and shares ideas for integrating the artist’s “La Gerbe” with other subjects. Then, in “Drawing with Scissors,” Lauren Sapoch writes, “Henri Matisse has always been an artist whose work fascinates my elementary students. They are enthralled by his bright use of color, and his intricate shapes and patterns. It was no surprise the latest Matisse-inspired project I taught was a smashing success with my third-graders.” Read more on page 28.

Also in this issue, Debi West continues her Yearlong Art II Curriculum Series, “Where the Technical Meets the Creative,” with “Left-Brain / Right-Brain Fun” (page 14). Writes Debi, “My Art II students learn so much through their first portrait drawing lesson, as seen in article #1 (Sept. issue), so from this lesson I move them into another great one that has them better understanding the importance of drawing symmetrically and then opens them up to being as creative as possible.”

Inspiration. Each issue of Arts & Activities is filled with inspiring ideas and lessons shared by your art-education colleagues. We are hoping that YOU might be inspired to share some of your teaching treasures with our readers. Please see our website’s “Submit” page to learn about the submission process, and how to nominate a student for our Young Artist feature: artsandactivities.com/submit.

Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida Don Masse Heidi O’Hanley

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

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

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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.

IDEAS FOR EARLY FINISHERS

BY HEIDI O'HANLEY

o your students are in the middle of a project, but some of them are starting to approach you with their completed artworks. There are quite a few options you have for your early finishers until the entire class completes their own masterpieces and help pace your quick finishers.

ENCOURAGE STUDENTS TO ENHANCE THEIR PIECES. If your students followed all the objectives and finished far ahead, consider encouraging your student to add more. Sometimes those extra finishing touches can make your student’s piece stand out! With teaching in a K-6 school, I encourage students in every grade level to add a little more detail to make their artworks pop. This is also a good opportunity to do a formative assessment with your students to help them see their work from different perspectives.

USE THIS TIME FOR STUDENTS TO WRITE ARTIST STATEMENTS OR SELF-REFLECTIONS. Since our school

uses Artsonia, I have students include an artist statement along with their artworks. I start small with first grade by having the students fill in a sentence, such as “My art project makes me feel…” and the students fill in the rest. We progress each year from one sentence, and by sixth grade, they write up to a paragraph. There are many options to writing their reflections and statements. If you use Artsonia, consider adding a place for their statement to their grade sheet, which can be typed into the computer at a later date, or if you have access to tablets, have students add their statements directly to the app. You can also use Google Classroom with the intermediate grade levels, which makes it easy to copy and paste artist statements into Artsonia.

CREATE OR FIND WORKSHEETS RELATED TO THE PROJECT. This also works as a good wrap up to a unit! For

many of my projects, I utilize worksheets to help build upon the objectives of the lesson. For example, after doing a Joan Miro-inspired project, I can use a worksheet called “create a Miro” for students to work with on their own. I especially use this with the 6th grade level since they often finish at different times throughout the lesson. Another example can be having students create their own names in hieroglyphs after creating an Ancient Egyptian-inspired project.

CREATE A RESOURCE CENTER. A resource center pro-

large as a shelving unit in your room. In my room, I have an art-library shelving unit filled with many options for students to use once they have finished with everything listed above. Your resource center can hold many of the items listed:

COLORING PAGES ARE NOT JUST FOR THE KINDERGARTNERS! Even though I encourage the kindergar-

teners to practice coloring in the lines, all grade levels enjoy time to just color without worry. With the new adult coloring book craze, students in the upper grade levels are enjoying more advanced coloring pages to fill their time.

BLANK PAPER IS ALWAYS GOOD TO HAVE ON HAND.

There will always be a handful of students to want to use the time to practice their own drawing skills, and what better way to help inspire them to use “How to Draw” books. My students are always borrowing drawing books for everything, but because they’re so popular, I never let them leave the room. Students use the drawing books for projects, art contests, and practicing on their own!

SCRAP PAPER IS ANOTHER RESOURCE to have on hand since many kids enjoy making their own collages. After trimming down paper for project sizes, I always have a pile of multicolor scraps that students love to use. And if you teach them paper sculpture? Your scrap bin will empty out faster than you know!

ART GAMES CAN BE FUN AND EDUCATIONAL, without disturbing other students to are completing their artworks. I have a bin in the art library containing games that students can play with two or more people, such as Art Lingo (a visual bingo that helps students with their art vocabulary), Hue Knew! (to help students match colors), Tangoes shape puzzles, and art puzzles. The games are labeled in baggies for easy clean up with the art class is finished.

ART-INSPIRED BOOKS are also a good resource to have in your stash. This year’s favorite was “The Day the Crayons Quit” and Peter Reynold’s “Creatology” trilogy! Students love to borrow books from the art library, and many times, I catch them creating their own artworks inspired by the books they read!

Throughout the year, you will find many resources to help you balance your time with your early finishers and last-minute crunchers. Find what works best for you! n

vides additional materials for students to use independently until all the students have completed their work. Your resource center can be as small as a bin on your cart, or as

Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT) teaches elementary art for Indian Springs School District #109, in the Greater Chicago Area. Visit her blog at www. talesfromthetravellingartteacher.blogspot.com.

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Education

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

HENRI MATISSE

BY AMANDA KOONLABA

Henri Matisse (1859-1954) was born in France and was most active as an artist from 1890 until his death in 1954. Below are ideas for integrating Matisse’s artwork, La Gerbe, with other subjects.

READING THE ARTWORK Have students view the

artwork and write the first three words that come to their minds on a slip of paper. Collect the papers and pass them back out randomly to different students. Make sure the author of a slip doesn’t receive their same paper back. Ask the students to read the words and try to determine why those words were the first three that came to the author’s mind. Then, have them share as a whole group. Students can share the three words that they analyzed and explain what they think those words might mean in relation to the artwork. Allow the student who authored the words to chime in on their actual thought process. This activity gives the students three opportunities to look critically at the artwork: as they write their words, as they think about the words of their classmates, and as they share as a class. It also forces them to take a different perspective about the artwork. For instance, if a student writes the words “leaves, spring, waterfall,” on their paper, another student might immediately understand and be able to explain what the author might mean by “leaves” and “spring.” After all, the artwork does have shapes that resemble leaves and many of them are green like the leaves on trees in spring. The word “waterfall” however, might be more difficult for a student to understand, requiring much deeper-level thinking. The student might guess that the shapes look like water falling because many of them are cool colors. Yet, the author of the words might have written “waterfall” thinking the shapes also looked like drops and splashes of water. This gives both students the opportunity to analyze the work and justify their thinking. Note that this step should always be completed first no matter what other activity is planned for the artwork. Students need the opportunity to become familiar with the work before proceeding. Go to artsandactivities.com and click on this button for resources and links related to this article.

CREATING A WORK WITH CUTOUTS Work with the students on cutting out organic shapes. First, they will need to understand the mathematical concepts behind geometric shapes and organic shapes. One way to help younger students cut organic shapes is to tell them to “wiggle the scissors” as they cut. This will help them cut curves in their shapes. It is always a good idea to model this several times and provide practice time for students. Give them scratch paper to practice with before asking them to cut the shapes for their artwork. They should become comfortable at cutting organic shapes without first drawing them on their papers. Make sure they understand that all of the shapes do not have to be the same once they begin cutting the shapes for their artwork. It can be helpful to point out that Matisse’s shapes are not all the same as well. There are many ways to incorporate color theory into this project. So, consider what students will do with their work once it is complete before helping them decide on a color scheme for their papers. The final steps to creating this piece are to arrange the shapes in a way that they are visually appealing and then glue. It is important that students arrange their shapes and critically view the entire composition before gluing. Many times students won’t be satisfied with their final product unless they have completed this step. They need time to analyze their decisions about placement before actually putting glue on their papers.

WORKING WITH DATA One idea for working with data that corresponds nicely to this artwork is to have students tally the colors they use. This is why it is important to consider which activity students will complete with their artwork before deciding on color schemes. For instance, students could choose random colors for this activity. Then, students could create a line plot for which colors they used in their own individual piece. An extension would be to create a class line plot that includes all of the colors from all of the students’ work. Once these tallies and line plots have been recorded, the students can analyze the data. It is also possible to incorporate writing into this activity by asking the students to write their own questions based on the data. Then, they could swap and answer each other’s questions.

THE WRITING PROCESS Before asking students to create the artwork, decide what color concepts might see

CORE

on page 42

The activities described in “Art is at the Core” may encompass Common Core State Standards for Math, the English Language Arts Anchor Standards of Writing, Speaking and Listening, and the Next Generation Science Standards Performance Based Expectations of Science and Engineering Practices for Analyzing and Interpreting Data. They also encompass the National Arts Standards processes of Creating and Responding. Please refer to particular grade-level standards for specifics.—A.K. 12

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

LESSON 2 OF 10

Left-Brain / Right-Brain Fun by Debi West

y art II students learn so much through their first portrait drawing lesson, as seen in article #1, so from this lesson I move them into another great one that has them better understanding the importance of drawing symmetrically and then opens them up to being as creative as possible. I USE BETTY EDWARD’S BOOK, Draw-

ing on the Right Side of the Brain for inspiration and I tell my students that this book is a wonderful tool to own. Although I don’t require my students to purchase the book, many do as they see this as a means to improving their work. We use the worksheets found in the book and practice drawing the vase depending on whether they are left- or right-handed. We discuss contour line, we discuss shape, and we discuss the necessity of drawing a vase—or any item—that is the same on both sides, slowly and with a lot of concentration. Most find this to be a challenge, but a good challenge that slows them down and has them thinking. Once the drawings of their vases are complete and they are satisfied with their results, I give them two days to turn the vase into something creative! I don’t really give them too many parameters, so I open the lesson up to any media, any backing and any theme they desire … and the results are AMAZING! THIS IS WHEN THEY REALLY BEGIN TO COMPREHEND the importance of merg-

ing the technical skills with the creative skills that can take their art to the next Go to artsandactivities.com and click on this button for resources related to this article.

Students aren’t really given too many parameters, so the lesson is opened up to any media, any backing and any theme they desire … and the results are amazing.

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LESSON 2 OF 10

ART II CURRICULUM SERIES

Left Brain / Right Brain Fun LEARNING OBJECTIVES

MATERIALS

High-school Art II students will ... • learn the importance of drawing from both sides of the brain, being able to better draw symmetrically. • be given a sheet from her workbook of a vase/face and draw the other side. • Finally they will turn this simple drawing into a creative piece of art.

• 11" x 8.5" photocopy of the Symmetrical Study worksheet from Betty Edward’s book, Drawing from the Right Side of the Brain (Tarcher; 1999). • Graphite pencils • Permanent black markers • Media of any kind for creative process

PROCEDURES 1. Introduce the students to symmetrical drawing using both sides of the brain, as explained in Betty Edward’s book, “Drawing on the Right Side of the Brain” workbook. 2. Have students draw the symmetrical line on their worksheet using their right and left brain simultaneously in graphite, and enclosing the shape (face or vase). 3. Have students draw the symmetrical line on their worksheet using their right and

left brain simultaneously in graphite, and enclosing the shape (face or vase). 4. Students will then turn this simple illusion into something creative, utilizing any and all media. 5. Students can be creative with their negative space, again, using line quality to create unique works. 6. Final artworks will be hung in a class display.

ASSESSMENT Since this is a two-day project, oftentimes I allow students to take these home and complete them as homework. 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.

level. This is a relatively short lesson but I find that it’s critical in the yearlong series of upcoming lessons and prepares them for success. Up Next: Creating in Charcoal! n Debi West, Ed.S, NBCT, is Art Department Chair at North Gwinnett High School in Suwanee, Georgia. She is also an Arts & Activities Contributing Editor.

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COMMUNITY

Creative

connections

LEARNING OBJECTIVE High-school students will ... • learn about an art and non-art related profession. • identify specific visual arts careers and describe the knowledge and skills that one needs for them. • create art for a local business. • be able to describe and illustrate basic knowledge of the advertising profession and of another profession practiced in the community.

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.

Proaxis Physical Therapy bought this painting by sophomore student, Charlotte—a great example of how hard work does pay off.

This colored-pencil warm-up exercise, done by a junior, was labeled with the names of the bones and muscles involved.

have seen firsthand how partnering with a business can have positive effects on my students, school and community. If you trust your ideas and students enough to take a leap of faith into unknown territory, the results can be overwhelmingly positive and far-reaching. While going through physical therapy for an injury, I developed an idea for a project that could encompass career education, across-the-curriculum learning and real-life experiences. This could be done with any of a number of businesses or organizations, and on a variety of topics that reach across the curriculum. Thanks to the generosity of Proaxis Physical Therapy of Simpsonville, S.C., our first project involved anatomy, physical therapy and advertising. We named it “The 2015 Proaxis Art Challenge,” and it benefited both our high school and Proaxis Physical Therapy. HERE IS HOW IT ALL CAME TOGETHER: My students and I became an “Advertising Agency” of sorts, with students being the artists and I, their boss. Proaxis Physical Therapy was our client. In setting up an interactive field trip for the students, Proaxis Clinic Director, James Murdock, arranged for his 16

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Career Exploration by Eva K. Esrum

Author Eva K. Esrum created this collage, which features highlights of the project, memorabilia, and articles about it.

physical therapist in training, Kenny Palmer, and his clinical instructor, Jason Davenport, to be in charge of this part of the project. It was a perfect plan: Kenny needed a service project to fulfill a requirement for Duke University’s Doctor of Physical Therapy Program. AN INTERACTIVE FIELD TRIP The day

came for my advanced students to visit Proaxis. The first phase of the field trip included a lecture regarding the physical therapy profession and an overview on knee anatomy and pathology. The second phase involved learning how to perform certain aspects of a functional-movement screening tool and gathering a sense of how physical therapists analyze movement to help make clinical decisions. Kenny and Jason demonstrated the movements and provided students with feedback on what they were observing. The room exploded with laughter as students practiced and critiqued each other. AFTERWARDS, STUDENTS COMPLETED A REFLECTION EXERCISE. Senior Kait-

lyn Willets stated, “I used to think that physical therapy was helpful even if it could be painful and hated. After watching the presentations, I now see physical therapy as a way of helping others and bringing people closer together for a stronger community.” “I have been interested in becoming a physical therapist,” said Junior Ashley Hamada, “and since Kenny talked about the specialties, I am looking into the one pertaining to neurology.” Almost every student said that his or her favorite parts of the presentation were when they were able to observe what actual physical therapists did, and when they were able to participate in the exercises and critique their classmates. ADVERTISING SPECIFICATIONS. At the end of our field trip,

James presented the specifications for the art he wanted my students to produce for a competition and display. Students were to illustrate bones and/or muscles and creatively incorporate them into compositions. A point of inspiwww.ar tsandactivities.com

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ration was the Proaxis motto, “Don’t Just Recover. Conquer!” Size specifications were necessary to prevent students from making art too large to be framed or displayed. James offered a $100 gift card for the piece that adjudicators would select as having best met the specifications. Students developed ideas by researching anatomy and physical therapy in books and online. They used the art media we had available: tempera and acr ylic paints, and colored pencils. As their “boss,” I encouraged them not to stray from client specifications and to remember that the see

PARTNERS

on page 43 17

by Ken Klopack

he sixth-grade artists I work with are always up for a challenge and I believe this project really provided them with one. Visiting a local high school art class, I observed students doing a tessellation project, in which they used a process of photocopying a set design as the template and then assembling the copies to create the tessellation effect in the shape of a star. I wondered if I could simplify that process and have students create this dynamic visual at the elementar y level. Creating a combination of triangular shapes that can Template available on A&A Online. 18

be assembled into a connected star design, students followed a repetitive process that concluded with an exciting compilation of woven patterns. Copies of the triangular template (see below) had to be made, so after making about 100 copies of the initial design (three per student), we began the project. IN OUR OPENING DISCUSSIONS, stu-

dents were taken through the project in a step-by-step fashion. Students would create their original drawing or design on the first triangular design, and then would trace that original onto the other two identical designs that would build the tessellation into a star. Demonstrating the process, I showed

samples from an original drawing to the finished star. Students understood that doing accurate tracings of the original design was the key in creating a quality piece. Patience also played a major role in putting this together since it is a repetitive process. Students learned that another important element to a quality tessellation was the use of color and how color relationships can change the visual dynamics of the design. Subject matter was discussed and specific parameters were given, such as creating a theme that was positive and uplifting in some way. It was

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LEARNING OBJECTIVES

NATIONAL ART STANDARDS

MATERIALS

CREATING: Conceiving and developing new artistic ideas and work. PRESENTING: Interpreting and sharing artistic work. CONNECTING: Relating artistic ideas and work with personal meaning and external context.

• 8.5" x 11" white copying paper • Pencils, erasers, rulers, scissors • Crayons, colored pencils, fine-tipped black markers, assorted colored markers • Color wheels • Poster board • Glue sticks

and placed in position on a sheet of construction paper to connect the interlocking designs. Next, color was applied with crayon, colored pencils, or markers. Students were encouraged to refer to color wheels that I provided. It really helped them make good decisions about how colors can work together. After a while, students began to see this project come to life. That was all the motivation they needed as they became quite focused on creating this work. It was exciting to see the work start out so simply and continue to build into something so visually exciting.

their designs could be more balanced, and some interesting ways to create more motion in a visual sense. As many students completed the works, and the creative success of the art became more and more apparent, the atmosphere in the room became charged with excitement. Students were energized and felt confident that what they created was something very special. Artworks were then cut and glued to poster board to provide a firm backing needed for display. When the artworks were exhibited, they were stunning. Others knew the students who did the work as the “Star Artists.” That title certainly was appropriate in more ways than one. n

Middle-school students will … • follow the processes necessary to achieve the stated goals of the project. • analyze the balance necessary to create a “design within a larger design.” • learn to use visual elements that create rhythm and unity • understand color relationships in a cohesive design as a composition develops.

• • •

also emphasized that their drawings, designs, or patterns should be relatively simple so they could be lined up properly after tracing. PENCIL WAS USED FIRST to set up the

design. Rulers were allowed if it helped to create patterns and/or designs. After approval of the initial sketch, students proceeded to outline their work with fine-tipped black markers. Pencil lines were then erased. Using marker was essential so that the image could be seen through the paper as they began the tracing process onto the other papers. When all the pencil tracings and marker work was completed on all three sheets, the work was cut out Go to artsandactivities.com and click on this button for resources related to this article. www.ar tsandactivities.com

DURING THE CREATIVE PROCESS, I enjoyed the many discussions I had with individual students and small groups. We went over how colors would be more effectively placed, how

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Ken Klopack is a visual arts and gifted education consultant for the Chicago Public Schools in Chicago, Illinois. 19

Anthropomorphic Animal .

Collages inspired by WILLIAM by Marcia Beckett

est known for his photographs of Weimaraner dogs dressed and posed in various settings, William Wegman is a fun artist for young children to learn about and discuss. Children love the dogs in his art work and the images provide a lot for kids to wonder and talk about. Many of the children in my class have already seen his work on calendars, posters and even on Sesame Street.

Wegman is a very accomplished painter as well as a photographer. He started his art career by earning an MFA in painting and then teaching at various universities. Many years ago, while living in Long Beach, Calif., he literally used a coin toss to decide whether to purchase a Weimaraner. The puppy in question, Man Ray, began his long history of collaborating with dogs in films, photo-

graphs and performance. MY THIRD-GRADE STUDENTS learned about his world-renowned photographs of dogs, which provide humor and commentary on modern culture and American routines. We watched some of his short films, which have been featured on Saturday Night Live, Sesame Street and Nickelodeon. The students learned what “anthro-

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Olivia Laila Brady

LEARNING OBJECTIVES Elementary students will … • learn about a contemporary artist and discuss the artist’s influences, motivations and techniques. • understand the term anthropomorphic and create an artwork showing anthropomorphism. • create a visual story by creating a photomontage of animal heads with hand drawn bodies and accessories. They will extend the image and create a background setting for their characters.

NATIONAL ART STANDARDS

• •

CREATING: Conceiving and developing artistic ideas and work. CONNECTING: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• Books by William Wegman: Flo and Wendell and Flo and Wendell Explore • Pictures of Wegman’s artwork (calendars, posters, books, websites) • 12" x 18" white construction paper • Scissors, glue sticks • Graphite pencils, colored pencils, markers, Kwik Stix, watercolor paints, crayons, etc. Go to artsandactivities.com and click on this button for resources related to this article.

o c t o b e r 2 0 1 6 • 84

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WEGMAN pomorphism” means and enjoyed discussing examples in Wegman’s work. (Anthropomorphism means giving human qualities and traits to animals or other non-human things.) After viewing some of his photographs and films, we read two of his children’s books, Flo & Wendell (Dial Books, 2013) and Flo & Wendell Explore (Dial Books, 2014) These are fantastic books and I continued on next page

AN INTERVIEW WITH THE ARTIST

learned about William Wegman’s children’s books after receiving copies to review on my blog. I reached out to his studio and asked if he would be willing to answer some questions from my students. He agreed! I was thrilled to have the opportunity to talk with him on the phone, and learn more about his art and life.—Marcia Beckett

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Q Why do you like dogs so much and how did you get the idea to photograph dogs in different clothing? WW I had just switched from working in painting to video and photography, and Man Ray would get into my stuff. I had the cameras on and he looked amazing, and he seemed to be really interested in it. So, that actually started it. He gave me the idea pretty much.” Q Do you think the dogs enjoy modeling for you or do you have to use a lot of treats to get them to cooperate? WW I don’t use treats. I just use touch, in a way, to get them to cooperate. I mold them like they’re almost made out of clay. Some of them are very good that way where, if you put their head in a certain way, they’ll kind of stay long enough, plus I like them to have their own little spirit—or their own big spirit. Q What would you like children to know about your art? Are

there any misconceptions about it? WW Well, it isn’t always just one thing. Over the years I’ve allowed these dogs to do many things: being dressed as people and other animals, being themselves, to just being space modulators. Their blankness—that they’re kind of neutral gray—allows me to write my own story, rather than having their story dominate. If I had Dalmatians, the story would be dots. Weimaraners are sort of blank. I like that, over the period of 40 or so years, I’ve been photographing these dogs. I’ve gone in about as many different directions as one could go.

Q Who are your favorite artists?

WW I have friends I went to art school with that I like a lot ... Robert Cummings and David Deutsch. I like Vermeer and I’m really into classical music (Bach, Beethoven and Brahms). I named my daughter after William Byrd, an Elizabethan composer. I’ve been sort of an addict about music since I went to college in Boston.

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William Wegman (American; b. 1943). Rain Ready, 2002. Pigment print. Miss Mythical, 1994. Color Polaroid.

Q What advice do you have for students who are learning about art? WW If you’re going to be an artist, I think it’s really important to study the history of art, go to museums and read books, and see what other artists have done. My wife is a real museum person and she has brought our kids up to go to museums all the time, and I think even when they complained, they learned a lot from that. Neither one of them are artists or think of themselves as artists, but art is a big part of their lives. They’re both kind of “science-y,” but still, art infuses them. I used to do projects with them—weld things, build stuff. My studio was a playhouse to them. My house is just filled with the projects we did together. Q Did you take art as a child?

WW I did and it was kind of startling. I grew up in a fancy town and then in third grade, we moved to “the other side of the tracks.” Going from having lots of art supplies to (a school) where it seemed we were painting with mops on brown wrapping paper. I was known as “Billy the Artist” growing up. My uncle bought me really good watercolor paper and Windsor Newton brushes and paints. My thing was I could paint realistically, even at age 6. I did perspective and so forth. Now when I see kids trying to draw realistically, it’s sort of disappointing. You want them to draw like a kid, express themselves, and use bold colors. Somehow I developed differently. My high school art teacher told me I should go to art school. I almost didn’t because they didn’t have a hockey team. But, I listened to her and went there. I think things turned out a lot better than if I had tried to play hockey in college. 21

highly recommend them if you would like to teach your students about Wegman’s art. In these books, he combines painting with photographs of his dogs’ faces to colorfully illustrate the stories. We compared the illustrations in these books to his photographs and the students analyzed how they thought both kinds of artworks were made. One of his recent painting series involves painting on and extending

postcards. This technique carried over into his children’s book illustrations, which Wegman created by painting around the photographs of the dogs and extending the pictures. If you are interested in seeing some of his fascinating postcard paintings, a collection of them was released in book form, William Wegman: Paintings (Harry N. Abrams; 2016). Showing the photographs, films,

paintings and children’s books allowed my third-graders to see the range of what is possible for one artist to achieve. An artist doesn’t have to just define him- or herself as a photographer; they can explore the same themes across different media. AFTER LEARNING ABOUT AND DISCUSSING his art work, the children were see WEGMAN on page 44

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Caroline

Lauryn Sadie

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A&A Art Print: Respond and Connect Albrecht Dürer, The Young Hare, 1502.

“The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences.” Albrecht Dürer

MAIN VISUAL ART CONCEPTS: Line

• Texture • Value • Contrast

TECHNIQUES: Fine line drawing, watercolor washes, transparent and opaque water media

•

ETYMOLOGY: The color of a European Hare is sometimes described as “rufous.” Rufous means “reddish-brown” and comes from the Latin root, “rufus,” meaning “red.” And, guess what rhymes with rufous? Doofus! Why does that seem to inspire a silly poem?

•

ART MATERIAL: Gouache (pronounced “gwash”) is a water-based paint that is more opaque than watercolor.

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SYMBOLS & SIGNATURES: This is Albrecht Dürer’s monogram. How would you design a monogram of YOUR name?

• ART HISTORY: Albrecht Dürer was an artist of genius proportions who lived in Germany and Northern Europe during the Renaissance. He made significant contributions to the advancement of drawing, painting and especially printmaking.

YOUNG ARTISTS: Albrecht Dürer’s genius was recognized early on when he drew this self-portrait at age 13. He wrote in the upper right-hand corner sometime later, “This I have drawn from myself from the looking-glass, in the year 1484, when I was still a child.”

LANGUAGE ARTS: Recommended reading for younger grades: The Tortoise and the Hare, from Aesop’s Fables. For older grades: the classic, Alice in Wonderland, by Lewis Carroll.

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ZOOLOGY: A baby rabbit is called a “kitten,” and born completely hairless. A baby hare is called a “leveret,” and born covered with hair. • Rabbits live underground. Hares live above ground. • Rabbits eat soft grass and vegetables. Hares eat bark, roots and twigs. • Rabbits live in colonies. Hares are solitary. • Rabbits stay the same color all year. Hares change colors as the seasons change. • The back legs and ears of hares are much longer than those of rabbits.

•

SCIENCE: Other animals described as rufous: the great rufous woodcreeper (South America), the rufous hummingbird (North America), the rufous owl (Australia), and the rufous hare-wallaby (Australia). There are more!

DESIGN THINKING: In The Three Hares motif, three hares are running in a circle. Each has two ears, but together, they only have three ears to share, rather than six total. The three ears form a triangle, and each hare shares an ear with its neighbor. Depictions of The Three Hares can be found dating back to ancient times and in cultures throughout the world.

OCTOBER 2016

Albertina, Vienna, Austria. Artwork is in the Public Domain.

Albrecht Dürer (German; 1471–1528). Young Hare, 1502. Watercolor and Gouache on a cream wash; 9.88" x 8.90".

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

OBSERVATION AND INQUIRY Here is an enlargement of about one square inch of Dürer’s Young Hare. Technology today makes it easy to get a close-up look at works of art, often referred to as “details.” This detail of the Dürer hare’s hair, painted in opaque white on top of the mottled browns is an inspiration for artists (young and old) to fill in some hairy places on any animal one chooses to paint or draw. Practice fine lines by making your own brushes out of one or two hairs or fibers glued and wrapped onto a bamboo skewer or toothpick. It can be very instructive to observe close-up details of artworks.

GRADES K–6 GETTING HARE-Y! On a less serious note, the exaggeration of the ears and eyes on these watercolor hares by second graders makes them especially endearing. Teacher, Mollie Olsen, says her students looked at Dürer’s Young Hare, as well as the art and writing of the award-winning author/illustrator, Catherine Rayner.

Art by grade 2 students at St. Joseph Catholic School, Waconia, Minn.

These hare “portraits” are effective due to the mixing and diluting of the watercolor to make variations in browns. The cartoonish quality of their faces brings whimsy and humor to each character. Rayner (www.catherinerayner.co.uk) is especially skilled at loose, expressive lines and spontaneous splotches of furry color. Check out Rayner’s book about a young and curious hare, Harris Finds his Feet (Good Books; 2013).

NATIONAL ART STANDARDS: Grades K–6 CREATE: Organize and develop artistic ideas and work.

Experiment with various materials and tools to explore personal interests in a work of art or design.

A HARE OF ANY OTHER SIZE might mean as much! Photos can be deceiving, which is why it’s always good to try to see art in its original form. For relative scale: Dürer’s Young Hare is about 9 inches high, the netsuke (tiny dot on the right side) is less than 1 inch high, and Cavener’s sculpture (left side) is more than 5 feet tall.

GRADES 7–12 FROM FLAT TO FORM As realistic as Dürer’s hare may seem, it’s still a flat object. Bring students to the next level by adding another dimension to their response. A tiny sculpture is about as small as you might want to go. This Japanese netsuke car ving from the 1600s is the title subject of a fascinating book, The Hare with Amber Eyes, by Edmund de Waal.

Photography by Michael Harvey, 2011. Courtesy of Edmund de Waal’s Studio.

LARGER THAN LIFE Making ceramic work in the classroom on the same extra-large scale as Beth Cavener (www. followtheblackrabbit.com) is likely to be unwieldy (left). Perhaps encourage one or two advanced students to go big. The technical challenges Empire of Dust, 2006. Height: 23 inches, length: include: creating an armature of metal, wood 41 inches, depth: 45 inches. or plastic; cutting apart the sculpture to hollow out the thickest areas; rejoining the parts and making holes for air and moisture to escape from the inside; keeping the whole piece consistently moist as it dries slowly and evenly; firing the piece slowly once it is completely dry. If you choose to have your students sculpt on a scale larger than life, start with something tiny such as insects, birds, or seashells. Ask students to create their work exactly 5x the size of the original source. Once they have figured Tangled Up in You, 2014. Height: 65 inches, length: all their dimensions, get them to focus on the 42 inches, width: 24 inches. personality of the subject. What is it “saying?” On her website, Cavener shares this about her animal forms: “Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding.”

NATIONAL ART STANDARDS: Grades 7–12 CREATE: Grade 8: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art making or designing. CREATE: H.S. Advanced: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.

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 o c t o b e r 2 0 1 6 • 84 Y E A R S

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ARTIST A >

Tile design. Styrofoam prints; 12" x 12" finished. Grade 6.

r t is a ver y relaxing subject. Looking at art can change your emotions and thoughts. I love looking at sculpture and drawing that looks 3-D. Art adds pleasure to learning histor y and science. I admire the Ancient Greeks for their understanding of the human body and how they made flowing robes look so real. I also like Renaissance sculpture, especially Michelangelo’s. He made people look graceful and powerful. An interesting modern artist is M.C. Escher. Figuring out his visual illusions is like playing a game. Art helps me release stress, and appreciate great ideas in history.

Badminton raquet and birdies. Foam print; 18" x 12". Grade 6.

Caroline Chang The Imago School Maynard, Massachusetts Kathryn Raczelowski, Art Teacher

Grecian-style vase design. Oil pastel, cut paper and marker; 26" x 17". Grade 5.

The Imago Knight. Chalk pastel; 18" x 12". Grade 6.

Matisse-inspired abstract collage. Colored paper; 8" x 10". Grade 4

“A Meal with My Family.” Polymer clay, colored pencils, card stock; 3" x 5" x 4.5". Grade 3.

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Escher-inspired fish collage. Pencil drawing reproduced on copy machine; 18" x 24". Grade 4.

enri Matisse has always been an artist whose work fascinates my elementary students. They are enthralled by his bright use of color and his intricate shapes and patterns. It was no surprise the latest Matisseinspired project I taught was a smashing success with my third graders. WE BEGAN BY LEARNING ABOUT MATISSE and how his work evolved

throughout his career. We then honed in on his later works; namely, his paper cutout collages. Students learned how he enjoyed “drawing with scissors” to create his organic and geometric shapes, and then learned how he arranged them into compelling compositions. Matisse’s collage, The Beasts of the Sea (1950), was an excellent point of departure to get my students’ creative juices flowing. Together we analyzed this work and discussed how and why Matisse created it. We also went over geometric and organic shapes, and students identified how these shapes were used in Matisse’s work. This lesson could be taught at any time during the school year, but I taught it towards the beginning of the year so my third graders could brush up on their cutting and gluing skills, and to encourage them to break outside of their box and think a little more abstractly. STUDENTS WERE THEN GIVEN THE CHALLENGE of creating their own

Matisse-inspired cutout collages. First, learners were given a long rectangular piece of white mixed-media paper for the background of their compositions. Then they began cutting simple geometric shapes, such as squares and rectangles, out of colorful construction paper to fill their backgrounds with color.

TyShonna (left) and Eli. Some students decided to do more representational shapes than others. I left it up to them to decide whether they want to use more abstract or representational imagery in their composition.

Next, they cut out more intricate and original shapes to layer on top. Students did not use pencils to draw out any of their shapes beforehand. I found they were able to come up with more interesting shapes when they drew with scissors rather than pencils. I also gave no guidelines as to what kinds of shapes had to be created for their top layer. Some students began cutting out letters and representational shapes like flowers or lightning bolts, while others

kept their designs more nonobjective. I provided a variety of construction paper of different colors and shapes for students to choose from, most of which was repurposed from the recycle bin. Students loved searching for interesting pieces of scrap paper to inspire their next shape design. The only stipulation I gave them was that each piece they applied to their collage had to be modified in some way and not left the way they found it in the scrap pile. This encouraged students to really look at the paper and consider its possibilities, rather than just hastily gluing down a random piece they found. ANOTHER

by Lauren Sapoch 28

TIP

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ENCOURAGING

careful consideration of shape placement and composition is to have students wait to glue down their pieces after they have cut all of them out. This allows the learner time to arrange and rearrange the shapes and to narrow

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LEARNING OBJECTIVES

NATIONAL ART STANDARDS

Elementary students will … • learn about the artist Henri Matisse and apply concepts from his work to create an original collage composition. • recognize characteristics of abstract artwork and create an abstract style paper collage. • recognize how the title of an artwork can play a role in how the work is perceived by the viewer. • participate in an art critique and reflect on their artistic process and final product.

MATERIALS

• •

Scissors, glue Assortment of color construction paper cut into various sizes squares and rectangles • Construction paper scrap pieces of all shapes, sizes and colors • Black markers

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VOCABULARY

• Organic Shapes • Geometric Shapes • Collage • Henri Matisse • Abstract art • Critique

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Abby

down what pieces they need to use and which ones should be eliminated. Once students finished their compositions, they signed their work at the bottom and gave them titles. Again we drew inspiration from Matisse’s collage Beast of the Sea, and discussed why he may have given his work that title. Students had fun composing titles for their work. (Add an extra rectangular piece to the bottom for writing the title if additional space is needed.) After everything was complete they shared their work with the class and explained why they chose their titles. I HAVE FOUND THIS PROJECT to have great breadth and depth due to its ability to engage student interest and utilize creative-thinking skills. I was blown away by how creative and different each piece was and how something so simple—cutting and gluing paper— could be so exciting to my students. This is a great lesson to explore concepts like composition, color theory, and abstract vs. representational art. This project enabled my students to see scissors, paper and shapes in a new and exciting way! n

Lauren Sapoch teaches art at Bethware and North Elementary Schools, both located in Kings Mountain, N.C. www.ar tsandactivities.com

Caleb (left) and Kylie. A few students discovered how to do 3-D shapes on their collages like the one on the left. This student decided to create spirals that extended out from the page.

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Art All Around Us

by Karen Skophammer

“From Light to Dark-See How They Swirl.” Rolled paint background. ”Good Vibrations.” Colored ink background (Part I). ”Falling Lightly.” Sponged background (Part I).

hile out walking with my son on autumn day, I couldn’t help but notice how the leaves were creating a natural collage on the sidewalk before us. It had just rained and the sun was peeking through the clouds, making the colors of the leaves more vibrant than usual. Snapping photographs of the glorious arrangements on the ground, I was already formulating ways I could use this experience with my students at school. My son and I started gathering leaves of all sizes, shapes and colors to take home and arrange in a simple collage. This walk was inspiration for a two learning experiences with my students at school. PART I Things got started with my showing students several collage examples my son and I had made. We also discussed a number of collage works by Pablo Picasso and Kurt Schwitters, a German artist who developed collage into a medium as important as painting, which I had displayed in the art room.

Students were asked to go home that evening and collect leaves that appealed to them. They were to look for a variety of sizes, shapes and colors. The following day, the students brought their leaves to school after pressing them flat in a book overnight. The next day, we discussed layout of our collages. I told them the art of collage lies in the selection and arrangement of the materials, and that the collages need to be personal and mean something to them as they laid out the leaves on the surface of the tag board. Students should look at the way the shapes of the leaves fit together and how the colors play with one another. I demonstrated laying out several leaf arrangements. After arranging their leaves on plain white tagboard, each student took a digital photograph of their work. They then removed the leaves and considered what kind of colored background they could create to complement the leaves and the overall layout. The question was: How could color, texture, repetition and design in the background enhance the collage overall? Students experimented with tempera paint and sponges, paintbrushes and rollers to apply paint to the background. Each student completed several backgrounds using different textures and colors and left these to dry until the next class period.

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WHEN WE MET AGAIN, students laid out their leaves on each prepared background, separately, keeping in mind the same things they considered when they laid their leaves out for the first time on the white background. They were to make the choice of which collage they liked better: the plain white background (represented by a digital photo or it) or one of the colored textured backgrounds—and why. Most liked the colored backgrounds better. They felt that the repetition of shapes and colors were more exciting. They also liked the feeling that more color evoked. In com-

parison, they felt the white-background collage seemed rather dull and inhibited. The students discovered that the excitement of creating their collages came from being able to experiment and combine qualities of art in a variety of ways to give certain effects. Different backgrounds and arrangements suggest different moods. Collage is an art form that doesn’t have conventional rules. We discover our personal reactions to things around us when creating them. In creating these collages, we also can discover things about ourselves and others.

LEARNING OBJECTIVES

PART II Who among us hasn’t had an “artwork gone bad”?

Elementary and middle-school students will … • understand and apply media, techniques and processes associated with collage. • know how to use the structures and functions of art (e.g. sensory qualities, organizational principles, expressive features) to create a successful collage. • use critical and creative thinking to solve layout problems in collage. • understand the way in which the human experience is transmitted and reflected through his collages. • understand and be able to define simple collage terminology.

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

• Leaves • White tagboard • Digital camera • Tempera paint

•

Sponges, paintbrushes, paint rollers • Scissors, glue

”Summer Breeze” (Part II). ”California Sunset” (Part II).

An artwork we don’t want to save? Or, we might like part of a work of art, but not all of it? Wouldn’t it be great to salvage parts of these to use again? After posing these questions to my students, they went through their art drawers, pulled out an “artwork gone bad,” and drew leaves on the parts they liked the best. We were looking for exciting patterns, textures, repetitions and colors within the work. The students cut out the leaf shapes from these salvageable parts of the works and ended up with some interesting leaves. After having made a collage from real leaves, the students were familiar with how to go about creating a collage from these cut-out “leaves.” There were no set rules: just play with the leaves and background, and come up with the best solution for creating an interesting collage. Any style of background could be created and any type of leaf arrangement could be used. Matisse described creating his collages as “drawing with scissors.” I definitely think my students were discovering with scissors. They executed their feelings and the principles of art in fine fashion! They were able to make their collages sing with color by communicating feelings and mood. They used textures to communicate movement and frivolity. But, best of all, they were able to put all the elements together in a pleasing way to communicate their own feelings as an artist. n Now retired, Karen Skophammer taught art in Iowa public schools for 31 years.

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ART CAREER TRACK

Combining SE

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n his Feb. 3, 2014 New York Magazine article, art critic Jerry Saltz called Parmigianino’s Self-Portrait in a Convex Mirror, possibly the first “selfie” ever created. Saltz argued that all the attributes of the selfie are present in the Parmigianino canvas: “...the subject’s face from a bizarre angle, the elongated arm, foreshortening, compositional distortion and the close-in intimacy...” We have witnessed the birth of a new genre of art. Unlike digital SLR and point-and-shoot devices, almost everyone is carrying a smart phone with a built-in camera at all hours of the day. Is this the first “selfie” ever created? Parmigianino (Italian; 1503–1540). Self-portrait in a Convex Mirror, c. 1523–24. Oil on poplar wood; 9.6-inch diameter. Kunsthistorisches Museum, Vienna, Austria. 32

Each can reverse its field so that it can take a self-portrait, or “selfie” and can instantly broadcast the image across impossible distances in real time. HIGH SCHOOL STUDENTS see their

phone as part of their identity and as most teachers can attest, we do battle in class with cellular technology every day. As much of a nuisance as it is to monitor students, the benefits of having a smart phone in a design classroom clearly outweigh the negatives. Every student is able to search data, find images to use as drawing references, and can use their phone’s camera to record difficult gestures for sketching. My grade 11 graphic design students recently completed a project that

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combined their creative use of a selfie and an important typography lesson in letter spacing. Students were asked to set their first and last name in serif and sans serif samples we studied in class. In order to provide as much contrast as possible, 160 point Bodoni, with its contrasting weights and hairline serifs and Monotype’s Franklin Bold Condensed were used as tracing references. The class was shown the traditional rules of letter spacing, which place the greatest space between two vertical letters and the smallest interval between curved letters. They were advised that all curved and pointed letters must be placed slightly below the baseline for optical spacing reason. We also examined the ligature—a situation where letters must be joined

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GRAPHIC

on page 44

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LFIES with

PHY

by Irv Osterer

LEARNING OBJECTIVES High-school students will ... • understand the traditional rules of letter spacing. • recognize the difference between serif and sans-serif type. • integrate type and images in creative compositions. • render type in black ink in an accurate manner. • expand their type vocabulary.

NATIONAL ART STANDARDS

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MATERIALS

• • • • • • •

Sketchbooks, tracing paper, pencils Alphabet handouts Pen and ink Black acrylic paint, paintbrushes Smart phones Epson sticker paper for Inkjet printers (laser-printed versions are fine if your school has this option) Mayfair cover stock or Bristol board

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84 Y E A R S •

october 2016

LEARNING OBJECTIVES Upper-elementary and middle-school students will … • demonstrate skills appropriate to the task of slumping a slab of clay. • use various tools and techniques to smooth a clay’s surface. • be able to apply decoupage to a rounded form.

NATIONAL ART STANDARDS

• • •

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

ecause my students love clay, I feel fortunate to have a kiln. And, it is my understanding that, barring a disaster, it should last for my entire career. So I am “maxing it out” by doing as many fired clay projects as we possibly can from October to March. It is counterintuitive, but I have found that clay projects can be some of the most economical, if treated responsibly. Furthermore, I have completely abandoned clumsy coil pots and the notion that all young students can plausibly create free-choice, hand-built sculptures that they will be proud of in the long run. I have set out to provide them with the tools and techniques necessary to produce refined, functional works of art. FIRST, I HAD EACH OF THE STUDENTS take a softball-size Cameron

piece of clay. I had them hold it up so I could confirm that it was enough (my students are always conservative when it comes to amassing their clay). I then demonstrated how to flatten the clay with their palms, onto a piece of newspaper. I showed them how to check their widths against their molds. Then they set dowel rods on each side of the clay and rolled it out with a rolling pin. I rotated around the room as some of my students were smaller and lacked the strength/ weight to flatten their clay into a slab. I instructed them to stop at this benchmark and wait for further instructions. Once the students had reached this same point, I provided them with further instructions to pace them. I had them lay their molds (plastic microwave dinner trays) opening side down onto the clay. They traced around the shape and then, using nails, carved their names, the date, etc., on the clay. They then flipped the clay over and placed it

Alexia

Art Clay Platters Serving up some

o c t o b e r 2 0 1 6 • 84 Y E A R S

on by David Laux

www.ar tsandactivities.com

MATERIALS

•

Rolling pins, dowel rods, bowl shapes • Clay, sponges, kiln • Sandpaper

• • •

Permanent markers Glue, printed material Nails, clear spray paint

VOCABULARY

• Decoupage • Día de los Muertos

• Drape • Mold

• Slab • Slump

onto the opening of the dinner tray. I cautioned them not to let trays get switched after cutting, as they were not all exactly the same size. We put the work on racks, as I explained to them that the power of gravity would create a dip in their slabs, which would give them a platter shape. (After class I gently pressed them all in the center, just in case the clay was too thick or the shape was too small to slump on its own.) Once the clay platters dried, we used wet sponges to smooth their edges and bottoms. I demonstrated how they needed to smooth over their writing on the back, without completely erasing it. We briefly sponged over the top as well. I cautioned them not to go overboard with the sponging or water, as it could weaken the clay body, and assisted a few students shave off chunky imperfections with other tools, when needed. This process only required half of a class period so I had some other activities lined up. BECAUSE THE SHAPES WERE FLAT and unglazed it was easy to

stack them all into the kiln for a single firing. After they were fired, students sanded them for a few minutes after being cautioned not to breathe the dust. We then used permanent

Marcello

Cabella

markers to color the edges black. It was important to get the edges smooth so the marker could get into all surfaces. They colored a 0.25-inch border around the top edges of their platters, which would provide a juncture for their decoupage to overlap itself without hanging over the clay’s edge. Because of the time of year, photocopies of Día de los Muertos–themed collages, which I prepared ahead of time, were dispersed to the students, who then cut and tore them into smaller pieces to use for their decoupage. Students brushed on a solution, which I had made by mixing glitter glue with white school and water (half water, half glue). As I had demonstrated, students brushed the glue onto the clay’s surface and then on both sides of the paper. I encouraged them to work around the inside perimeter first like shingles on a roof, and suggested they save their favorite pieces of paper for last and place them prominently on the top surface of their platters. Once they had finished with the black and white papers and had shown them to me for approval, they picked a couple of accent papers to add to their work, if they wished. These included gift-wrap, foiled papers, origami paper and small laserprinted images (anything that would not bleed when wet). After the students’ work had dried for a few days, I sprayed them after school with a clear spray paint, which gave them a luster. The glossy clear coat brought out the contrast of colors and provided a finished look. Because the students had sponged and sanded them smooth, their platters looked very refined and well crafted. We received so much positive feedback about this project that I plan to continue doing it with my young students each year. The only thing I would adapt for this younger age group is to have a couple of parent volunteers help the children roll out the slabs. n David Laux teaches fourth- through sixth-grade art at Wilson Intermediate School in Pekin, Illinois.

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84 Y E A R S •

october 2016

Clay Tips from the Gamble Studio

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

Connections: Clay Attachments

by Tracy Payne Gamble

onnect clay pieces using the simple tips shown below. When building a slab pot (mug is shown in photos), connecting the wall, attaching the floor and a handle, and other clay dec-

oration, it is important that all the pieces stay connected. By following the steps below when connecting clay pieces together like handles, walls, floors and decorations, such as the rose shape on the handle below) there is a much higher success rate for your students. These tips translate well to most shapes, sizes, and decorations of slab built and wheel thrown pots. One more tip … When connecting walls and floors, the structural aspect of the pot, small rolled coils about ¼ inch in diameter can be used to reinforce the connections. Attach coils with vinegar or slip, no need to score, at the connections and smooth the coils into the pot.

1. Score to rough up clay where pieces are to connect using a scratch tool, fork, wooden skewer, etc.

3. Attach handles, feet and decoration the same way.

2. Use slip (with same clay body being used to make the pot) or vinegar, as the glue, on scored areas. Press together gently and then smooth connection. I use a long-handled paintbrush to apply vinegar or slip, and then a wooden tool to smooth the connections. Make sure the two pieces are attached well.

4. Slow dry by draping plastic over the finished piece to help connections dry at the same rate as the rest of the clay.

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Paragon kilns help students create priceless ceramic treasures

eramic ware survives the test of time. Ancient Greek and Roman pottery is now treasured artwork. The 7th and 8th grade stu- Seventh and 8th grade students at Brandenburg Middle 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

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84 Y E A R S •

october 2016

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Back Issues are now Available artsandactivities.com 38

textured and complex images.” But practical advice abounds, as well as games you can play with others and exercises you can use. The book concludes with a galler y of acr ylic landscape paintings that were done with texture stamping, layers of glazes, and pattern recognition. Readers will appreciate the fabulous photos in this spiral-bound book, which sports a durable, paper-laminated cover. It’s a bargain online.–P.G. THE SHOUJO MANGA FASHION DRAWING BOOK: Create Hundreds of Amazing Looks for Your Manga Characters, by Fez Baker. Barron’s Educational Series, Inc.; $21.99. Manga emerged in the years following World War II and remains popular to this day. Shoujo is a form of manga aimed at a teenage female readership (the name is derived from the Japanese word for “young woman”). Both sexes are represented equitably in Baker’s book, however, and it will find many male admirers. The author divides her softcover into two parts. The first, shorter section covers the basics not of drawing tools and materials but of sketching figures, poses, heads and faces, hair, and clothing. The second part, comprising two-thirds of the book, is called “The Collections,” a term used by fashionistas and designers. Characters in the latter encompass Ganguro, emo, Harajuko, Goth, rock, boho chic, punk, and 17 more styles, with color palettes, accessories, hairstyles, and makeup for each. That’s a lot of bang for the buck!–P.G. n

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84 Y E A R S •

october 2016

8/4/16 4:18 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

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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.

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october 2016

work best. For instance, students could choose to use warm or cool colors on their work. Another option would be to ask them to use primary, secondary, or tertiary colors. This is an important consideration because the color vocabulary can be used in their written works. Students are expected to be proficient at several different types of writing. This project lends itself well to explanatory, narrative, and opinion writing. For explanatory writing, students can explain the process of creating their artwork. Have them imagine they are explaining it to a younger student who needs step-by-step instructions. They could even illustrate the steps. For narrative writing, have them recall the experience of viewing the artwork for the first time, writing three words, and analyzing the words of their

CORE

continued from page 12

Classroom-Tested Art Lessons All Year Long

Art teachers of all grade levels from all over the country have assembled on the pages of Arts & Activities with a single purpose: To share with you their best art-teaching experiences. Tap into this invaluable, time-saving resource ... subscribe to Arts & Activities today!

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This project lends itself well to explanatory, narrative and opinion writing. peers. Encourage them to focus on the funny parts or to elaborate on misconceptions that were addressed during the experience. For opinion writing, they can write about their own artwork offering an opinion about their finished product. Then, they can write about the visual evidence from their artwork to defend their opinion. Each of these writing types provides students with the opportunity to apply new vocabulary from the project, such as organic shapes or warm/cool colors. Finally, make sure students carry their writing through the entire writing process. This makes a great hallway display. Both the written works in their finished forms and the visual artworks show powerful learning for stakeholders who visit the hallway. n Arts & Activities Contributing Editor Amanda Koonlaba, NBCT, teaches at Lawhon Elementary in Tupelo, Miss. Before teaching art, she was a classroom teacher, and used arts integration as the cornerstone for instruction. Visit her blog at www.tinyurl.com/aekoonlaba

o c t o b e r 2 0 1 6 â&#x20AC;˘ 84 Y E A R S

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images they created needed to appeal to both patients and physical therapists. I also told them that others depend on them to meet deadlines and that it could affect their pay as well as the reputation of our ad agency if they did not. “Having Proaxis as our client made this experience feel real,” observed Israel Wright, a junior. “It was important to me to finish my work on time and meet the specifications for it. If I didn’t, I would have felt like I failed at my job.”

PARTNERS continued from page 17

THE PRESENTATION. I delivered the students’ finished work to James at Proaxis on Feb. 16, and he arranged for adjudication. He secured an orthopedic surgeon, an art educator, his superior and staff, and I arranged for my principal and several successful alumni artists to vote online. Seven works were framed and hung in the clinic. The awards presentation occurred in March, with the student artists, parents and supportive colleagues attending. After James’ eloquent speech about the the project, it was announced that Proaxis would be purchasing all seven of the artworks. The pride of the young artists and their parents was palpable. Articles about the project appeared in two newspapers, and at the top of the Greenville County School District’s website home page. It also became a topic at a Clemson University graduate class, School Improvement Committee meetings, a School District principal’s meeting, amongst the Proaxis staff, their patients and even DHEC when inspecting the clinic.

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84 Y E A R S •

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together to preserve optical spacing and the fact that many computer programs have special ligature characters that are automatically set when letter combinations like tt or ffi are entered. It’s rare for students to get the letter-spacing problem right the first time, but doing the exercise on tracing paper makes it easy for the instructor to assist each student with his or her issues, and since all the names are different, no two solutions are the same. When students were satisfied with their tracing-paper samples, they were asked to arrive at a playful scenario that would marry their first and last names with a selfie in their sketchbooks It took little convincing to get this part of the exercise done. The class was advised that photos taken outdoors would probably serve them better as while the virtual quality of these images are fairly good, the print quality can vary from phone to phone, and deteriorates significantly under low lighting conditions. The selfies were emailed to the school server, and then printed on

GRAPHIC continued from page 35

Epson inkjet sticker paper according to the layout plan each student prepared in their sketchbooks. It was then just a question of carefully positioning and transferring the tracing-paper lettering samples to the 10" x 13" Mayfair cover surface using a light table. After the type portion was completed, the selfies were adhered in the proper position. A LITTLE BIT OF EACH STUDENT’S PERSONALITY came through in this assign-

ment and it’s impressive how well these grade 11 students were able to manipulate type and image and manage the often difficult task of correctly spacing letters. While this exercise was done entirely by hand, it will serve students well when they switch to the digital environment, as graphic designers routinely make decisions about letter spacing, kerning, tracking, ligatures and the position of images on a page. n

eager to work on creating their own anthropomorphic photomontages. To prepare for this project, I found and printed a good selection of animal photos (dogs, cats, rabbits, etc.) from Pixabay.com, a website with free, public domain pictures. The students neatly cut out the animal heads and glued them to their papers. They then used a variety of media—watercolor paints, Kwik Stix paint sticks, colored pencils, markers, etc.—to create the bodies, accessories and background. The kids had all kinds of fun ideas for their animals, including a birthday party, badminton game, dance studio,

WEGMAN continued from page 22

... students learned what “anthropomorphism” means and enjoyed discussing examples in Wegman’s work.

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

restaurant scene and wedding. I got a kick out of seeing all the ways they made the animals anthropomorphic. WEGMAN WORK COULD BE USED as a

launching point for many hands-on art explorations, and his extended postcard paintings would be an interesting challenge for advanced students. Older students could create picture books for younger kids, using a similar painting technique with magazine images. Or, kids could create digital photomontages using Photoshop® or iPad apps. To connect with languagearts studies, students could respond by writing a story about one of William Wegman’s artworks, or they could write and illustrate their own story. William Wegman’s rich array of creative work is just waiting to be mined for some great to many art lessons and activities. Have fun exploring them in your classroom! n Marcia Beckett teaches K–6 art at EAGLE School in Madison, Wisconsin. She shares art and teaching ideas on her blog: www.ArtIsBasic.com.

o c t o b e r 2 0 1 6 • 84 Y E A R S

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Albert Gleizes (French; 1881–1953). Football Players, 1912–13. Oil on canvas; 88.75" x 72.04". National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund. Public domain.

“I just feel like I'm the luckiest person in the world being able to do what I love and be able to do it all day every day if I like, you know, I mean it's great, I love it.” — Faith Ringgold

y now we are all quite busy with lesson plans, clubs, NJAHS and NAHS on our plates, but there is always time to learn something new. Here are some great tips and ideas about paper and collage, and substitute lessons.

tip #1

IT’S ALL IN THE WRIST The art of paper

cutting has been around for centuries and in many cultures around the world. In China, this beautiful folk art dates back to about the second century C.E., in Poland from about the mid-1800s, and in Jewish communities in Eastern Europe, North Africa and the Middle East for several centuries. This traditional folk art can be done with students in grades K–2 by modifying the design details. For younger stu-

windows and the light would shine through the negative space. Like the Polish paper-cut designs, Jewish folk art focused on daily life as well.

tip #2

MAGAZINES ARE NOT JUST FOR READING Don’t know what to do with

all those donated magazines? Here are a few projects that can be modified for every grade level: create a color wheel or do an entire color theory unit with torn pieces of color from magazines; make a collage and print (foam prints, silkscreens, collagraphs, etc.) on them. They make a great background; collage a famous piece of artwork from magazine scraps.

tip #3

COLLAGE AWAY! IT’S MORE FUN THAN YOU THINK When I some-

times tell my students that we are going to make a collage, the general response is “awww,” and definitely not in a positive manner. This past year I

Glenda L

ubiner

time. Here are some of the books I use with a quick ar t lesson. The Rainbow Fish: Have student draw a fish and either color insides the fish or glue pieces of pre-cut tissue paper. Where the Wild Things Are: students can draw their own wild thing. With the upper grades and middle school I have them create their wild thing using pen and ink, hatching, cross-hatching and stippling. When it is complete I have them add water

Learn Something New dents I have students fold their paper in half, either vertically or horizontally so that they produce a symmetrical design. After explaining the process, the students draw their design, and color in the parts they are going to cut out. This makes it much easier for them to see what they are cutting. Older students can use craft knives to cut more delicate designs. Polish paper cuts traditionally depict scenes from daily life, trees, flowers and birds. In China, the cutouts were traditionally done with red paper, as red is associated with festivities in that country. The negative space in these cutouts were important as they would generally put the designs on doors and

ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

switched it up a little and now all my students want to do is collage work. I showed them examples of Picasso, Schwitters, Cornell, Matisse, Bearden and various other artists. The student artworks were amazing this year, with such things as photos, image transfers, old slide casings and photo corners included in their work. One student even used modeling paste.

tip #4

SUB PLANS FOR ALL As a teacher for

the past 20 years, I know that when we have to take a day off it is so hard to find an art teacher to substitute for you. Here are some plans that any substitute can use, even if they are not an art teacher. The plans I leave for preK–2 are always literacy based. Young students always tend to finish early, so including a book will be of great interest to the students and keep them engaged and on task for a long

color to it. Giraffes Can’t Dance: students love this story and it also ties in character traits that we all use at our schools now. Students can draw a picture of Gerald the giraffe dancing. Tar Beach: students can draw a picture about what they do in summer and create a quiltlike border using scraps of wallpaper. The following ideas can be adapted for third- through 12th-grade students: drawing crumpled-up brown bags; Zentangle; drawing a pun; and five- to six-step metamorphosis. BIRTHDAY to Annie Leibovitz (Oct. 2, 1949), Maya Lin (Oct. 5, 1959), Faith Ringgold (Oct. 8, 1930), Alberto Giacometti (Oct. 10, 1901), and Johannes Vermeer (Oct. 31, 1632). n HAPPY

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.

o c t o b e r 2 0 1 6 • 84 Y E A R S

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Stencil Skyline Lesson Plan for Grades 2-8

Draw buildings on the back side of Protecto film and cut on the pencil lines.

Make a skyline in the center of one page with the positive and negative shapes.

Apply warm colors to the stencil on one sheet, and cool colors to the stencil on the other.

Spray the paint with water and watch it run! Allow it to dry, then peel off the stencil.

Positive and negative space each have their place! Everyone loves watching colors run down a page â&#x20AC;&#x201D; this process makes it easy and fun to learn about positive/negative space and color temperature!

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