Arts & Activities Magazine October 2017

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Education


CONTENTS V O L U ME 1 6 2 , No . 2

16 18 24 26

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O C T O B E R 2 0 17

IT’S ALL ABOUT THE PAPER

ALIVE AND KICKING: BIRDING WITH BRILL Don Masse MAKE YOUR ORIGAMI ORIGINAL Karen Skophammer CÉZANNE’S APPLES Amanda Koonlaba KNOWLEDGE AND NEW FRIENDS THROUGH ARTIST TRADING CARDS Kathleen Petka 28 CHARACTER TRADING CARDS: TAPPING INTO THE POKÉMON CRAZE Cynthia Benson 30 ON THE ART CAREER TRACK: PAPERBACK WRITER Irv Osterer

YEARLONG ADVANCED ART CURRICULUM SERIES 14 AN AMPED UP CURRICULUM, ARTICLE 2 OF 10: STILL-LIFE STUDY IN FOUR

Debi West

SPECIAL FEATURES AND COLUMNS 10 STEPPING STONES: PREPARING ART LESSONS FOR A SUB Heidi O’Hanley 12 ART IS AT THE CORE: PIET MONDRIAN Amanda Koonlaba 38 TRIED & TRUE TIPS FOR ART TEACHERS: COLLAGE BARRAGE Glenda Lubiner

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READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: MOSAIC CEILING OF THE TOMB OF HAFEZ Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: BROADWAY BOOGIE WOOGIE Piet Mondrian

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36 32 33

DEPARTMENTS

EDITOR’S NOTE ADVERTISER INDEX MEDIA REVIEWS SHOP TALK

ON THE COVER

HUMMINGBIRD Construction paper, glue and pencil, 12" x 9". By kindergarten student at Zamorano Fine Arts Academy, San Diego, California. See “Alive and Kicking: Birding with Brill,” page 16.

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

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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

This month, we proclaim, “it’s all about the

paper!” From kindergarten hummingbirds to high school trading cards, this issue is packed with ideas for working with paper in your art room. Here, let me describe a few ...

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

EDITORIAL ADVISORY BOARD

The colorful construction-paper bird that graces our cover comes from Don Masse’s “Birding with Brill.” After introducing kindergartners to the work of Maine artist, Josh Brill, the children studied some of his birds and identified eyes, beaks and wings, and the geometric shapes that comprised them. Being from Southern California, where hummingbirds are seen throughout the year, most of the children gravitated

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

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

toward the tiny birds when it came time for them to create collages inspired by Brill’s work. Turn to page 16 to see more of these youngsters’ wonderful work and get all the details from Don.

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

Would you like to strike “art-teacher gold”?

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

Amanda Koonlaba writes that she did just that when she discovered the

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

book, “Cézanne and the Apple Boy.” In her lesson, “Cézanne’s Apples” (page

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

24), she describes how movement activity inspired by the book and the story of Paul Cézanne inspired her young students to put together collage compositions that would have made the master proud.

“My students were excited to create their ATCs and send them to their new friends,” writes Kathleen Petka, in her “Knowledge and New Friends Through Artist Trading Cards” (page 26). They “were especially eager to receive works of art by their correspondents that they could keep and were curious to see what high school visual art students were making in other parts of the country.” This is just part of the fun that creating ATCs brings to the high school art room. Read more by turning to page 26. As one savvy student put it, “It was ... getting to know someone not from their words but from their art.”

Don Masse Heidi O’Hanley

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

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

ADVERTISING DEPARTMENT

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

amy.tanguay @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n m a n a g e r Kevin Lewis production @ artsandactivities.com HOW TO REACH ARTS & ACTIVITIES Subscription Services To subscribe, renew, change an address or buy single copies,

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

Yes, it’s all about the paper this month, and on the pages that follow are plenty of ideas from art teachers around the country ready and waiting for you to try with your students in your own art room.

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

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

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

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Stepping Stones is a monthly column that breaks down seemingly daunting tasks into simple, manageable “steps” that any art educator can take and apply directly to their classroom. Stepping Stones will explore a variety of topics and share advice for art-on-a-cart teachers and those with art rooms.

PREPARING ART LESSONS FOR A SUB

BY HEIDI O'HANLEY

classroom. For middle and high school, projects are more detailed and may require more advanced materials.

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n the beginning of the school year, our main focus is on creating procedures and designing curriculum for our students’ needs. One of the items on our set-up list is our plan in case of absence; in case you get sick, or get called to a meeting during school hours, or use a professional development day, even if you take a long term leave due to family/ health reasons. It is important to have a back up plan prepared in case you are not available for your students because most substitutes, while walking in blind, may not understand what your individual classroom procedures are. To start this, you need to create a plan for a substitute teacher to utilize. Start by deciding on your sub-packet storage, like a tub, folder, or file system. Your sub packet should be simple enough for a substitute to locate and use when first walking into your classroom. When I taught from a cart, I had a tub of materials that was clearly identified in my work closet and easy to carry from room to room. In my current classroom, I have a full file drawer clearly identified with bold letters for my sub plans for each class every day of the week. You should design your sub storage to fit your needs, but make sure you label it clearly for substitutes to find once they walk into your space.

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DETAILS ARE IMPORTANT. Your school or district may have mandator y information packets to add into your sub materials, such as floor plans, emergency procedures, forms, and school mission/rules. Additional materials that are essential for a substitute are your daily schedule, class lists, seating charts, typed out classroom rules/procedures, nearest classroom contact information, and information regarding students (504 plans, IEPs, etc.). Substitute teachers should always have student information handy in case of emergencies, especially when it comes to medical concerns or student adaptations.

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DECIDE ON WHAT MATERIALS YOU WANT THE SUBSTITUTE TO WORK WITH. In my elementar y class-

room, the crayons, colored pencils, and markers are the main materials used in my art librar y, and I clearly mark which materials to use with each grade level in my plans. I prefer to stay away from scissors and glue because there is extra care involved with prepping and dr ying. Using simpler materials does make it more manageable for the substitute and it’s easier for you when you get back to your 10

BE SURE TO PREPARE FOR EMERGENCIES. It is always best to plan sub lessons in advance when you know you’ll be out of school for a period of time, but it’s not always easy to plan for the last-minute call-ins. I remember the day I had to rush my daughter to the ER in the morning instead of heading to work! When events like this happen, your first priority is yourself and your family, but planning ahead makes these hiccups more manageable. Within your sub file, create “emergency” lessons that are simple and easy to execute. There are dif ferent types of easy activities that require little material usage. In many ar t supply catalogs, there are books available within the resource section that contain simple ar t activities, such as “creating a city with simple shapes” or “designing a drawing using words.” There are also fine ar t-themed coloring books that have descriptions about the ar tworks. If you struggle tr ying to find additional activities, you can browse the Teachers Pay Teachers site, which offers many activities you can either pay or find for free.

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PREPARE LESSONS FOR PRE-PLANNED OFF DAYS.

If you know you will be out of the classroom in advance, it doesn’t hurt to pre-plan a lesson that any substitute can work with. The best pre-planned lessons I’ve used were simple directions with pictures to follow along. I also had a finished product created as an example for students to see. Make sure the project size is manageable and easy to store away in your sub plans. Ideas for sub projects have been shared by multiple art bloggers and found on Pinterest, Teachers Pay Teachers, and in the art education social media groups. It is hard to place your classroom in another teacher’s hands while you are away. With careful preparation and attention to details, you will find that most substitutes will follow your directions with ease. I find it important to create open communication with the substitutes that come into my room while I am away. Try leaving a note of thanks and leave a page for them to fill out in return. Collegiality is important, even with those who support our classes while we are away. n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling artteacher.blogspot.com. o c t o b e r 2 0 1 7 • 85 Y E A R S

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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.

PIET MONDRIAN

BY AMANDA KOONLABA

P

iet Mondrian grew up as one of five children in Amersfoort, Netherlands. His father was the headmaster of a local primary school and encouraged art and music in the home. Mondrian thought art and philosophy were deeply connected. He was also a prolific and was drawn to both spiritual and philosophical studies. Below are ideas for integrating Mondrian’s painting, “Broadway Boogie Woogie” (1942-43) with other subjects.

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JUMPING IN Have students view Broadway Boogie

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DIRECTIONS After students have analyzed the work

Woogie and imagine what it would be like to jump into the image. They can imagine what they would see, feel, hear, smell and taste. Give them one to two minutes to think and then have them share with partners or in small groups. Make sure they justify what their conclusions. For instance, if a student says they imagine they would smell something sweet if they jumped into the artwork, ask them why. Instruct them to share their “whys” with their partners and groups. This particular student might say the red, blue and yellow squares make them think of candy, which smells sweet. That is an example of an appropriate justification. The point to this activity is to have the students really look deeply at the work which helps them connect and get engaged.

by “jumping in,” show them the delightful YouTube video, Lost in the City (youtu.be/4b85UBqUy28). This video was the final assignment for a student taking an Imaging and Animation class at RMIT. It turns Broadway Boogie Woogie into a city with trains and such traveling about. It really helps students see the artwork in a different way. After they have an idea of how this work of art might be a city, have students identify cardinal directions as they look at a print. Essentially, they are turning the print into a map. Next, have them identify left, right, up, and down. Then, ask them to work in pairs or independently to choose two or three points on the print as locations. They can name these locations. Perhaps one is an ice cream shop and another is the train station. They will figure out

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

how to travel from one place to another. Have them write down the directions using appropriate vocabular y. Take it a step further by having them create a scale to determine the travel distance and time it would take to get from one place to another in this imaginary city. This integrates analyzing artworks, math, and language arts!

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MEASUREMENT After you have taught the previous les-

sons to students, you can use Broadway Boogie Woogie to help them interact with measurement in a new way. If you have taught the previous two lessons, your students will be connected and invested in this work. They will be eager to create their own version of Broadway Boogie Woogie. You can have them cut out their own squares on red, blue, and yellow construction paper or provide them with precisely cut pieces depending on what is developmentally appropriate (not easiest) for your students. Have them arrange their shapes on a piece of white paper Piet Mondrian (Dutch; 1872–1944). to mimic the feel of Broadway Boogie Woogie, 1942–43. Mondrian’s work. Oil on canvas; 50" × 50". Museum of / Modern Art, N.Y. Public domain © The pieces should See page 37 for a larger reproduction—Editor be in straight rows as if on a grid. They will need to leave some places blank, just as Mondrian did. They will need straight rows of colors and some spaces filled like rectangles and squares, just as Mondrian did. Have them estimate and measure these spaces. Then, have them convert their measurements. They can also use the squares to determine area and perimeter of different sections of the work and the work as a whole. Take it up a notch by having students share all of this data with the class and compile class graphs and charts recording the information. Then, students can analyze the class data and discuss it. 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.

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 Secondary Advanced Art Series | AN AMPed UP CURRICULUM

The Still-Life Study ... in Four! by Debi West

T

he still-life study! Some teachers LOVE it, some do not. Some art students LOVE it and, again, some do not. So, how do we as art educators make this a lesson that ever yone enjoys AND sees the value of being a part of? I decided years ago to “AMP” it up again, using art histor y and media as the prompt to take this typical art lesson to a new, advanced level. I BEGIN BY TELLING MY STUDENTS

that the first lesson they will be doing in their advanced or AP course is the Still-Life Study … in four! That’s right, they will do a four-part still-life study and, in each piece, they will concentrate on several objects, an element, Go to artsandactivities.com and click on this button for resources related to this article.

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a principle, an art-historical reference and various media and the results are always incredible! As my art II students recall, I am always appreciative when students bring in their own objects to add to our class still life, and they all remember that the more textures found, the better their final piece will be, so we have wood, glass, metal, cloth and any additional items they want to add to give their piece personal meaning. We then discuss the importance of setting up the “right” still life and then practice some light sketches. I remind students that this year the technical should already be there so each artwork they complete should have strong drawing and “seeing” skills that then combine with their creative thinking and this lesson is perfect in allowing both to happen.

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FOR PART ONE, students begin their

“real” still-life drawing, which is drawing a creative composition of what they see in graphite, paying attention to line, shape, measurements, as well as value and light source. This is the most tedious of the four-part lesson and one that can take my students a week to complete using 12" x 18" white drawing paper and a lot of concentration. Once these begin to take shape, I then introduce the second, third and fourth part of this lesson. IN PART TWO, they recreate portions

of their first still life in a complete contour line study—not lifting their pencils. They retrace their lines, then get creative with the line quality and the color of each shape that is created. Students always love the freedom found in this part of the lesson. They primarily use outline pens over their graphite and color in using markers, oil pastels or colored pencils—really, whatever media they are most comfortable with. PART THREE brings in the art-histor-

Students first draw a still life in graphite. In part two, they get creative with line quality and the color of each shape. All four artworks shown are by Ryan.

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ical element, and having students select an art movement or master artist (preferably contemporar y) that inspires them. With a little research, students have the ability to take their third still-life study and turn it into a piece of art that combines their ideas with the ideas and techniques of another artist. Students have fun with this part— they get to research other artists and select the parts of their artists’ work that they have a strong reaction to, and then reflect on that reaction using it to enhance their own work. Again, I give them the freedom to select their preferred media.

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ARTICLE 2 OF 10

3

4

Part three brings in an art-historical element, and the fourth and final piece is a mixture of the previous three artworks, where students are urged to take risks, deconstruct, experiment and play with their works.

PART FOUR is a mixture of the three: a real still-life rendering mixed with contour studies and a touch of art history, but in this lesson, students begin to add collage so they are realizing the importance of experimenting and taking an ordinary still life to the next level. Students are urged to deconstruct, experiment and play with their works. These always involve risk taking and a lot of excitement, in that students aren’t exactly sure what to do. So, as their art guide, I tell them to trust their marks. I push them to challenge themselves and see what happens when all of the parts come together to create a final piece that never would have been considered without the process of working on all three of the still-life works.

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Students make copies of their first three, which helps them to not be as “scared” to play around and get creative with their work. The artworks that result are always amazing and set up the rest of the school year with a better understanding of the importance of pushing their creative buttons, which helps them to better understand the concentration portion of the AP exam. This is the whole idea of an AMPed up curriculum, as it pushes kids out of their comfort zones and makes them realize what they are capable of when we teachers get out of their way and trust them to take art risks! Once all four of the pieces are complete, students hang their work in the hall. We critique it with peer-written

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sticky-note reviews that discuss the glows (the parts that are the strongest and work well), and a grow (perhaps an area or piece that may need more thought). We do this for all of our advanced work. The more students discuss the work, the better the work becomes! Next up: “Get Buggy with Your ART!” n A&A Contributing Editor Debi West, Ed.S, NBCT, was an art educator and department chair at North Gwinnett High School in Suwanee, Georgia. She is now involved with her two businesses, WESTpectations Educational Consulting and Crystal Collage Children’s Art Studio in Suwanee. 15


ALIVE

and kicking

Birding with Brill by Don Masse

E

very year, I have my kindergartners experiment with more complex cutting and layering as the year winds down. This helps me see how far they have come with their motor-skill development. Leading up to this project, they practice cutting different types of lines and geometric shapes with lessons like robot collages and abstract portraits. LAST YEAR, my kinders looked at the work of Josh Brill, an

artist based in Portland, Maine. They practiced cutting, layering, and combining different shapes to make brightly colored abstract versions of various birds. I view Josh as a modern-day Charley Harper in the way he breaks down the organic forms of plants and animals into more geometric shapes that maintain a sense of three-dimensional volume. There is a clean economy of shape and color in his work that appeals so much to me, personally, while allowing students to gain a better understanding of complex forms. When I introduced my students to Josh’s work, we primarily focused on

birds native to the West Coast. In San Diego, we see hummingbirds all the time, so we studied Brill’s interpretations of a variety of these tiny birds. We identified eyes, beaks, wings, and the circles, semicircles, ovals, triangles and rectangles that made up these parts. We approached this activity as a direct-instruction lesson. I would model a step, the kids would try it out themselves, and we would continue until the project was complete. WE STARTED with the larger, dominant

shapes, and added smaller ones that overlapped those to add more detail. Once all of the paper was cut, assembled and glued in place, we added a few shadow elements with gray or black color sticks. While Josh’s work looked very clean, I emphasized that theirs would have a bit more “character.” Lines didn’t need to be perfectly straight, shapes would be glued in place crooked. This was completely okay and made each of the student interpretations more unique. If they felt frustrated with their first attempt, I encouraged them to try making the parts again. The most common cause of this frustration was drawing

Students first drew and then cut their birds’ dominant shapes. Then they glued these down and overlapped them with smaller shapes to add detail. After the cutting and gluing was done, some of the children added shadow elements to their birds with gray or black color sticks. 16

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LEARNING OBJECTIVES Primary-level students will ... • identify parts of bird anatomy and describe the shapes that are used to create those parts. • continue to build skills with scissors and glue by creating a collage project.

NATIONAL ART STANDARDS

• CREATING: Through experimentation, building skills in various media and approaches to art making. • RESPONDING: Describe what a image represents. MATERIALS

• • •

Colored construction paper Scissors, glue sticks Pencils, erasers

Examples of Josh Brill’s artwork www.joshbrill.co/

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

and cutting a shape too small. To help, I suggested they use dots near the edges of the paper to act as guides for making those shapes larger.

Lines that were not perfectly straight and shapes that were glued on crooked made each student interpretation unique.

I SEE 10 DIFFERENT KINDERGARTEN CLASSES (we’re a big

elementary school), so I had them create different bird collages. Most did hummingbirds, but my two transitional kindergarten classes created cardinals. We don’t see many of these in South California, but their forms were more simple and I wanted my youngest artists to feel as successful as possible with this final collage project. As I mentioned earlier, this was a direct instruction–type lesson. These students had previously done student-led collages that included more opportunities for student choice, in terms of subject, shapes and techniques. I believe, especially at the younger levels, that there should be a balance between projects that emphasize student voice/conceptual development and those in which the emphasis is on the formal elements and technical skill building. THIS PROJECT COULD EASILY be adapted for different grade

levels, and to include more opportunities for student conceptual development. You could have students research birds that are native to your area and then create their own abstractions inspired by those birds in the style of Josh Brill. You could put together how-to videos of different types of birds and your students could choose which bird they www.ar tsandactivities.com

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wanted to create, use mobile devices to watch the videos, and execute a collage. Or, if digital technology is available, you could offer student the choice of creating their birds with cut paper or they could build them with an app such as “Assembly,” which allows you to create digital collages. Any way you “slice it,” I think the work of Josh Brill is worth using as the inspiration for a lesson with your students. His natural subjects are engaging and fun to look at, and you can approach his work in a wide variety of ways with your students. n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. 17


Make Your Origami Original by Karen Skophammer

O

rigami has always fascinated me, but two things about it always bothered me: The process was hard to demonstrate/utilize with 36 students at one time; and, when finished, ever yone’s project basically looked the same. Luckily, a foreign exchange student came to my rescue and showed me some tricks that made it easier to teach to a room full of students—without the instructor having a panic attack. Once I gained confidence, I decided to combine origami with drawing in such a way that the folded objects would become the “stars” of my students’ works of art. People of all ages enjoy origami, but my students can’t get enough of it! The younger kids like to put on “plays” with the folded figures, which take on voices and personalities of their own, thus making them more individualized. To save money, I buy wrapping paper on sale to use, instead of the “official” origami paper. I cut it into 6-inch squares for this project. so the students will have an easier time learning the basic folds. When they become more sophisticated with their folds, the squares are cut smaller. Another interesting aspect is that these intricate folded figures involve geometrical shapes, which students can review as they fold, using the language of triangle, square, and so on. WE START THE PROJECT by defining “origami,” learning a little bit about its history, and viewing examples of finished objects made through this folding process. Each student is then given a square of thin white paper to practice the folds for each object. When they master folding their white squares to create an object they move on to the colored and patterned paper.

LEARNING OBJECTIVES Middle-school students will … • create an environment that includes the origami creations. • appreciate the art of origami. • manipulate paper to create objects. • review geometric shapes and patterns. • recognize different origami shapes that have been folded and discover the folds that have created them.

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By combining origami with colorful drawn backgrounds, the students’ compositions became more personal.

Students are asked to look at the origami they have created and imagine envir onments they would like to place them in. For example, one student folded a tent and then drew a wooded scene that resembled a campout he had been on as a young boy. As he drew his environment, he decided he’d like to add more tents, so he folded more tents for the scene. The origami tents were glued in place within the environment, giving it a 3-D effect. Several students folded human characters, which generally demand more complicated folds. One folded a variety of human characters, giving them different clothing, hairstyles and heights. She also created more than one environment in which to put them. One of them, seen here, features two young ladies standing in a scene in which a large bird is featured, lending an authentic Oriental context. As the kids learned the folds, they would teach them to other classes and the lesson blossomed. Students would stop by to pick up the “special” paper from me to fold and create their own origami. By combining origami with backgrounds that students drew and colored, the origami became more personal, unique and creative, allowing the personality of each young artist to shine through. With technology being the overpowering factor it is in our lives today, working with one’s hands in this simple way is sure to keep your students interested and engaged! n Now retired, Karen Skophammer taught art in Iowa public schools for 31 years. o c t o b e r 2 0 1 7 • 85 Y E A R S

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A&A Art Print: Respond and Connect Detail from the ceiling of the Tomb of Hafez in Shiraz, Iran.

MAIN VISUAL ART CONCEPTS: Line • Shape • Pattern • Symmetry • Unity ART TECHNIQUES: Mosaic, Ceramics, Architecture.

BIOGRAPHICAL NOTE: Hafez (c.1325– c.1389 was born and died in Shiraz, Iran. When he was young he memorized the Qur’an (Koran) by heart, and took the name Hafez, which means “the memorizer.”

Ghazal 169 I see no love in anyone, Where, then, have all the lovers gone? And when did all our friendship end, And what’s become of every friend? Life’s water’s muddied now, and where Is Khezr to guide us from despair? The rose has lost its coloring, What’s happened to the breeze of spring? A hundred thousand flowers appear But no birds sing for them to hear — Thousands of nightingales are dumb: Where are they now? Why don’t they come?

MUSIC: Hafez, in the context of music, is compared to Johan Sebastian Bach by scholar and translator, Professor Dick Davis: “People say that Bach sort of gathered together everything that had gone before him in music and brought it into a new kind of stage. Hafez did the same with the conventions of lyric poetry.” The poetic form of the ghazal is also applied to a musical genre that is used throughout India and the Middle East.

For years no rubies have been found In stony mines deep underground When will the sun shine forth again? Where are the clouds brimful of rain? Who thinks of drinking now? No one. Where have the roistering drinkers gone? This was a town of lovers once, Of kindness and benevolence,

No rider comes to strike it; where Is everyone who should be there? Silence, Hafez, since no one knows The secret ways that heaven goes; Who is it that you’re asking how The heavens are revolving now?

Hafez

c.1325–1390

Translation by Dick Davis, excerpted from “Faces of Love: Hafez and the Poets of Shiraz” (2012; Mage Publishers)

• ENGLISH LANGUAGE ARTS: In Iran, the poet and philosopher, Hafez, is equivalent in importance to William Shakespeare in the Western world. He wrote about life and love, but was also critical of political and religious hypocrisy. Hafez perfected a verse form called the “ghazal,” which consists of rhyming couplets in a series of six to 15 pairs that hold together through subject matter, mostly pertaining to the beauty and pain of love. Ghazals have a rhythmic structure to their sequence. Often the name of the poet is creatively placed in or near the last verse. TECHNOLOGY: If you or your school have access to a 3-D printer, you can print your own Islamic design tiles. Visit A&A Online for links to printable files.

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PHILOSOPHY: People who visit the tomb of Hafez often participate in a fortune-telling process, called “fal e Hafez,” using a compilation (a Divan) of his poetry. While standing at the tomb, one opens the book to a random poem, which, when read, becomes a form of wisdom, guidance and inspiration.

And when did kindness end? What brought The sweetness of our town to naught? The ball of generosity Lies on the field for all to see —

ART HISTORICAL CONTEXT: The tomb of Hafez was originally built in 1452. Over the centuries the tomb and its surroundings were restored, remodeled, destroyed, rebuilt, embellished, and expanded. French architect and archaeologist, André Godard (1881–1965) designed the current version of the mausoleum with his colleague, Maxime Siroux (1907– 1975). The round pavilion was completed in 1935, and consists of five steps leading up to an open-domed structure supported by eight pillars. The ceramic mosaic on the underside of the dome is a superb example of Islamic mosaic design.

MATH: The turquoise lines of this mosaic appear quadrilaterally and rotationally symmetrical. The strong design is divided equally into even-numbered spaces that are all reflections of each other. It could also be seen as constructed within an octagon (eight sides) or a hexadecagon (16 sides) with each “slice” having an angle of 22.5º. It’s not at all that simple, though: 10-sided and eight-sided shapes are connected with “girih” tiles (meaning strapwork or knot) that bind the design together.

SYMBOLISM: Islamic design that has strong symmetry and interlocking lines often refers to the cosmos as reflected in the natural world, or vice versa. The two are forever entwined and connected. The act of creating Islamic geometric art is both a meditation and realization of the divine in the real world. WORLD HISTORY: The connection between Persia and Iran. The lands of Central Asia came to be known as Persia, but that was a name assigned by people of Western cultures, possibly beginning with the Greeks around 600–529 BCE. People living in Iran have always called their country Iran, and the name was formalized in 1935 by decree of Reza Shah Pahlevi (1878–1944). 19



OCTOBER 2017 Detail from the ceiling of the Tomb of Hafez in Shiraz, Iran. Province of Fars. Glazed ceramic tile work. Photograph by Pentocelo. / Public domain Š


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

GRADES K–6

GRADES 7-12

WHAT GOES AROUND… The sophisticated look of these

MADE IN THE SHADE. It’s remarkable how much color and form

works by the second-grade students of Beverly Staub is partly due to their consistent use of strong color. Their hand-drawn elements are per fect in their “imperfection.” All, except one, use the same eight-sided configuration, yet the results var y with each individual ar tist. This lesson is a good one because it has structure, but allows for personal choice at ever y turn. As strong as the positive elements (such as triangles and diamonds) are, the students made great decisions regarding the handling of the negative spaces. Note the areas where the color white predominates, but the spaces catch one’s eye with the infilling of dots and lines.

can be achieved in graphite on paper! According to teacher Pam Haahr, “The lesson focused on architectural designs, symmetry and radial balance, along with mastering shading to show value and the illusion of depth on a two-dimensional surface.” Haahr has her students research a variety of architectural ornamental styles such as Medieval, Gothic, Renaissance, Islamic, Byzantine and Celtic. Students identify the elements and principles of art in architectural friezes and medallions such as line, shape, radial balance, and symmetr y. Only after that research do they begin to make their own designs. The strong contrast of lights and darks, along with well-placed shading, is what make these images pop. As an extension, it would be lovely to translate these drawings in to clay sculptures or ceramic relief carvings. Based on the teacher’s objective of using shading to achieve the illusion of depth, which pieces would you say are the most successful?

Kaleidoscope designs by second-grade students of Beverly Staub, art teacher at Washington Woods Elementary School, in Westfield, Indiana

NATIONAL ART STANDARDS: Grades K–6 CREATE: Experiment with various materials and tools to explore personal interests in a work of art or design. Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches.

Architectural medallions by 10th- and 11th-grade students of Pam Haahr, art teacher at from Lathrop High School, in Lathrop, Missouri.

NATIONAL ART STANDARDS: Grades 7–12

How to use the monthly A&A 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

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CREATE: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. RESPOND: Determine the relevance of criteria used by others to evaluate a work of art or collection of works. CONNECT: Synthesize knowledge of social, cultural, historical, and personal life with art-making approaches to create meaningful works of art or design.

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AA1710


by Amanda Koonlaba

Students tore newspaper to create a collaged background. They then painted over it with liquid watercolor in their choice of color.

comprehension. As we talk, I record key information on class charts. We review those charts each week.

P

aul Cézanne is one of the artists built into my district’s third-grade visual art curriculum. As a district-wide elementary visual arts team, we developed a list of artists for each grade level. We wanted to ensure we were covering some of the masters each year. For several years, I had a difficult time finding a hands-on lesson to teach Cézanne that my students could complete successfully. So, I would usually just show my students images of Cézanne’s work for discussion. I wanted to take their learning to the next level with a hands-on project. When I discovered the book, Cézanne and the Apple Boy, I felt like I’d found art-teacher gold!

GETTING READY TO CREATE Next, I show the students several of Cézanne’s still lifes with apples. We discuss and analyze the artwork together. I prod them to notice the shapes that they see. I remind them of what Cézanne said in the story about how everything has a shape: “You see, Paul,” he said, “I am inventing a new kind of painting ... I make everything into simple shapes. I paint houses like boxes; and trees like cones. Everything has a shape.” We also talk about color. They begin to notice that Cézanne’s apples are not solid colors but are actually several colors blended together. I encourage the students to practice drawing apples on the back of their paper until they are comfortable enough to draw on the front. Once ever yone has drawn their apples on the front, I show a video that I created of me blending paint to create an apple. I use yellow, green and red. I also use blue to add some shadows. I allow them to practice this on scrap paper. Practicing this step is important because students have never blended paint in my classroom before this lesson. They need the chance to feel the paint and experiment with it. Once they are familiar, they can paint properly and without making a mess on the apples that they drew on the front of their paper.

THE BOOK. I incorporate movement into the reading of this book. I have the students stand behind their chairs and act out what they hear as I read. For instance, there is a part in the book about a man with a wild beard and wild eyes making a wild painting. Students love to make wild eyes and flail their arms about like they are making a wild painting. There is another part about the characters making a fire. They pretend to be adding logs to the fire and striking a match. This activity gets them excited about the book, requires good listening skills, and helps them develop self-control. After this activity is complete, we discuss the book for

MAKING A BACKGROUND Because this project is focused on the shape and color of the apples, I do not require the students to draw and paint a background. I want these finished pieces to be visually pleasing, however, so I let the students tear newspaper to create a collaged background. Then, they paint over it with liquid watercolor. I try to offer different colors of paint from which the students can choose.

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I always tr y to incorporate as much student decisionmaking into my classroom as possible, but I also have limited resources for purchasing paint. So, we use what we have and usually only two colors is all that I can offer. I think the students appreciate being able to choose even if they only have two Art-teacher gold: Cézanne and the options from which Apply Boy, by Laurence Anhold. to pick. Barron’s Educational Series, 2009. I also add a bit of regular liquid school glue and glitter to the paint when it is available. The glue will help the newspaper lie flatter to the tagboard, and the glitter is just something the students enjoy. Once their backgrounds are complete, students cut out their apples and glue them on top of black construction paper. They cut the apples out of the black paper leaving a small amount of the black showing as a border. Then, they glue these to the background. I always make sure to require them to place the apples in several different arrangements before they actually glue them down. I tell them that they need to analyze the placement of their apples for what will look best to them. I think it is important for them to make sure they are going to like the arrangement before they glue. It is devastating

LEARNING OBJECTIVES Elementary students will ... • create artwork inspired by Paul Cézanne. • speculate about Cézanne’s processes for creating works of art. • prepare a work of art for display.

NATIONAL ART STANDARDS

CREATING: Create personally satisfying artwork using a variety of artistic processes and materials. • PRESENTING: Interpreting and sharing artistic work. • RESPONDING: Speculate about processes an artist uses to create a work of art.

MATERIALS

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Medium-weight tagboard Acrylic or tempera paint, liquid watercolor, paintbrushes

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Pencils, glue, glitter Newspaper, black construction paper

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to them to mess up the ver y last step when they have been working so hard on something, and I want them to have a work of art that they enjoy viewing. CONCLUSION This project is a favorite with parents. The

artworks are visually appealing, and many parents have it framed for their homes. It also looks nice displayed in the school hallways. The regular education teachers like to hang these in the hallways when we have special events. I also get a lot of positive feedback from students about this project. I think this is for several reasons. First, they enjoy the movement activity and the stor y of Paul Cézanne. Second, many students do not get to listen to an adult read a stor y to them ver y often. So, they really think it is special when they get to hear one in art. They also enjoy blending the paint. It is something new to them. It is something a master artist would do. So, they think it is fun and interesting when they get to do it. Finally, they all feel very accomplished when the project is finished because almost no one ever messes up. They almost always turn out nicely. This sort of project is a real confidence booster for kids! n

The children enjoy the story of Paul Cézanne. Many students do not get to listen to an adult read a story to them very often. So, they think it is special when they get to hear one in art class. They also like blending the paint ... something a master artist would do. www.ar tsandactivities.com

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Knowledge and New Friends through by Kathleen Petka

T

his experience came about when a friend—also an art ® teacher and AP Studio Art Reader—and I wanted to conduct a lesson that would connect our classes. We decided on Artist Trading Cards (ATCs) and proceeded to introduce the lesson to our respective students at the start of the school year. Before starting on the cards, my students first created blogs for their portfolios. Once these were up and running, I outlined the first theme for the students’ ATCs, which allowed them to use any range of media or style of art for their cards. The students also included the URLs of their blogs and their email addresses on the backs of the cards so they could communicate and send constructive critiques to their new “Pen Pals.” MY STUDENTS WERE EXCITED to cre-

ate their ATCs and send them to their new friends, and were especially eager to receive works of art by their correspondents that they could keep and were curious to see what high school visual art

Artist

students were making in other parts of the country. Because my students were proud of their cards, we took pictures of them before sending them off to my friend’s school in North Carolina. Once she received them, they were “dealt” to her AP Studio Art students. Her young artists then echoed the theme of our cards, creating their own original takes on it in response. Meanwhile, my kids were eager to receive the cards from their pen pals in North Carolina, and see how their themes and/ or media and techniques were reciprocated. In other words, if their cards featured skulls or a hand, the N.C. students used the same subject for theirs. And, if my students had used a certain technique—such as paper cutouts—my friend’s kids created art using the same technique.

Students enjoyed seeing what other high school visual art students were making in other parts of the country.

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Trading Cards WHEN THE NORTH CAROLINA CARDS ARRIVED, my students

immediately checked their pen pals’ blogs, and social-media accounts to see what types of artist their new friends were and to see their interests and likes. Our students exchanged emails with each other and used the Feldman Method of Art Criticism to critique each other’s art. It was fun and interesting for them to receive feedback from someone they did not know. This was such a success that my students were eager to create another round of ATCs to send back to their new cohorts in North Carolina. They were happy to make art and share. Soon, they were asking to meet their new friends so they could discuss their art with each other. Although our classes met at different times in the day, we arranged a time to Skype so our students could virtually “meet” each other. THIS WAS SUCH A SUCCESS that my advanced class wanted in on the action, so I reached out to another art teacher and AP Studio Art Reader friend in New York. This time, however, we gave our students a theme, and had each teen select a contemporary artist from a list we provided. The young artists were to incorporate their artists’ styles or media into their cards. They also were to include quotations from the artists and offered their own email and blog addresses on the backs of the cards. Just as before, we hoped to create bonds with students across the country, instill the steps of the Feldman Method of Art Criticism in a fun way, expose them to new artists/styles of art, and become more comfortable sharing and communicating about their art with others. Through PowerPoint presentations, our students shared the inspirations behind their ATCs, showcasing themselves and their work. Students used images of their chosen artists’ work and explained why they used the particular styles and techniques for their cards. For example, one student chose Wyland, and addressed the importance of conser vationism. Another selected see www.ar tsandactivities.com

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It was interesting for students to receive feedback from someone they did not know.

LEARNING OBJECTIVES High school students will ... • connect and form bonds with other students at other U.S. high schools. • create, exchange, and critique cards these other students have made. • be able to identify and become familiar with the four steps of the Feldman Method of Art Criticism: Describe, Analyze, Interpret and Judge. • be introduced to and be able to recognize different styles of art and/or techniques. • share their newfound knowledge and Artist Trading Cards with their classmates.

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. ESSENTIAL QUESTIONS: Why is it important to value art and share art? Why is it important to connect?

MATERIALS/RESOURCES

• •

Playing cards or cardstock Feldman Method of Art Criticism worksheets. • Mixed media, paint

• LCD projector (optional) • Computers/Tablets/Smart

Phones (for communication between artist pen pals) 27


Character Trading

Tapping into the Pokémon T

his project was an all-time favorite for my fifth-graders. I was ver y aware that most were obsessed with Pokémon™ cards and games, so I thought I would use that to inspire them for their next project. STARTED by viewing a video inter view on the Smar tboard about the Pokémon creator, Ken Sugimori. We then watched another on how he drew his famous characters. We discussed creating a simple character that evolved into a dramatic, powerful one. They taught me how to name characters and how to assign them both physical and numerical powers. At this point, I realized they were far more knowledgeable than I regarding this particular subject ... I provided each student with three 1.5" x 2" pieces of white printer paper and had them start by drawing a “basic” character with pencil on the first piece. The second, “stage-one character,” was then drawn by adding physical additions such as wings, claws or vines—dependWE

LEARNING OBJECTIVES Elementary students will … • create simple characters that evolve in three stages on cards. • write corresponding text on each card. • create borders that unify three cards into a set.

The children were required to represent evolutionary progression on their cards.

ing on the type of character they were creating. THEY WERE ENCOURAGED to draw the final “stage-three

character” with dramatic features to it. The guidelines were to be sure all three characters were similar and represented an evolutionary progression. Students then outlined all pencil lines with ultra-fine black pens or markers and then erased the pencil lines. It was time to add color with sharpened colored pencils to the characters and the backgrounds! I had originally planned on a lesson in shading to enhance and add dimension to the work, but realized this would be too difficult because of the small size of the children’s drawings. EACH STUDENT WAS PROVIDED with three blank cards made from a Pokémon card template I found on the Internet. We

MATERIALS

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. 28

• • • •

Three pieces of 1.5" x 2" white copier paper per student Pencils, erasers • Ultra-fine black pens or markers • Sharpened colored pencils Three blank-cards per •

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student (template downloaded from the Internet) Glue sticks Student-created or Internet-colored backings Lamination materials

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Cards

Craze by Cynthia Benson

The students created a “set” of cards by coloring the borders on each similarly. The 1.5" x 2" artwork was then glued onto the colored template.

discussed the importance of successfully creating a “set” of cards by coloring the borders on each similarly. The 1.5" x 2" artwork was then glued onto the colored template. When it was time to create text on each card—assigning the characters names, power points and powers—we again used ultra-fine black pens or markers. I encouraged students to use their best printing, check their spelling and their spacing, and to be creative in naming their characters. Colored printouts of Pokémon cards were provided for the backs of the children’s cards, or they could create their own. All cards were then laminated, cut out and adored! n The display of my fifth-graders’ trading cards was extremely popular with all of the students in the school, not to mention many members of the administration and staff!

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on the

Paperback Writer

ART CAREER TRACK

by Irv Osterer

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Erica Sang-Kyung

A

trip to any Barnes and Noble outlet will show that much time and effort is invested into the design of book jackets. This artwork is even more important today, as covers are now converted to miniature jpeg versions for placement on websites such as amazon.com, and now have a currency far wider than ever before. While it may not be true that we judge a book by its cover, within a marketing perspective, these designs still impact the sale of a literary work. Also, oftentimes some of the elements on the covers are expanded to wider consumer promotional products such as posters, newspaper ads, trading cards and even movie graphics. AFTER A SHORT DISCUSSION ABOUT BOOK DESIGN, I asked

my senior graphics class to create complete paperback jackets for fictional contemporar y novels or biographies. The project required the digital rendering of a portrait of the subject on the cover (often a pop icon), a convincing integration of headline text and image, a solution for the spine, as well as an author’s biography and book reviews on the back cover. Students searched Google to find jpeg files suitable for conversion to a simplified vector drawing, which would be done using software with vector drawing capability, such as Adobe Illustrator, Flash, Photoshop (with its Beziér drawing tool), QuarkXpress, etc. Although this process is time consuming, the result is a very economical, high-resolution scalable graphic. Students made good use of the color libraries within the software to make their shapes as vibrant as possible. Many

of the portraits, in particular Sang-Kyung’s Gwen Stefani, Erica’s Vampire Lestat and Adriana’s Marilyn Monroe, are stunning creative works. The critical part of this assignment was the time students dedicated to their draft copies. A handout with the paperback layout printed half scale, with the position of the spine and back cover clearly marked, was available on the school ser ver. The class was required to complete several preliminar y sketches using Prismacolor pencils that showed some trial and error with headline type, as well as how the color of the text would interact with the image. Students had to consider the

LEARNING OBJECTIVES

NATIONAL ART STANDARDS

High school students will … • use desktop-publishing software to compose jackets for paperback books. • create portraits using vector drawing tools. • create titles, brief bios of themselves as “authors” and fictitious review “blurbs” in appropriate typeface(s). • assemble images and text using desktop- pubishing software.

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.

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spine of the book and how they would solve that design issue, as well as what they were to do with the back cover. These drawings are important portfolio pieces as postsecondary design faculties are very interested in this aspect of the creative process. Every student had to complete this phase of the project for a “Thinking and Inquiry” mark. ONCE PRELIMINARY LAYOUTS WERE APPROVED, assembling the images and text on the computer was not difficult. A template, with a sample bar code and the publisher’s logo, was placed on the school server. Students had to download this information to their own workspace to begin working on the assignment. Everyone was reminded that the left-hand panel was actually the back of the book when working in a camera-ready format. In some cases, further cropping of a student’s vector portrait was necessar y to give the cover design maximum impact. Others in the class experienced difficulty with selecting an appropriate headline typeface that captured the mood of their novel. Several layouts had issues with the color of text and legibility, or problems with reversed type (white/light text on a black/darkcolored background). Most of these problems were addressed and solved. Students were instructed how to account for a bleed edge by extending color boxes slightly beyond the

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boundaries of the page (industry standard is 0.25 inch). To accommodate the spine layout, students learned how to rotate text boxes. FOR THE BACK COVER, students had to provide an author’s photo, a short biography and reviews. Some students used props from the drama room to enhance their digital photos, but most assumed traditional poses. These jpeg files were placed on the school server. Students downloaded their images and learned to use important editing features in Adobe Photoshop. The adjustment of levels, the brightness/contrast control and the unsharpen mask filter were used to enhance their pictures. All images were checked for proper printing resolution (300 dpi) and mode (CMYK for most commercial printers although many in-house ink jet printers are RGB) and then carefully

Josh Adriana Jonny

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MATERIALS

• Computer (Mac or PC), Internet access • Digital camera • Software with vector drawing capabilities (e.g. Adobe® Illustrator®, Flash® and Photoshop®, CorelDRAW®, QuarkXpress®) • Desktop publishing software (Adobe InDesign® or QuarkXpress®) • Sketchbooks, Prismacolor® colored pencils www.ar tsandactivities.com

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imported into picture boxes in each student layout. If teachers are using printers outside the school network, it is best to export the files to PDF to avoid possible processing issues with fonts and images. Both QuarkXPress and InDesign have a PDF engine built into their respective softwares, with plenty of prompts to facilitate this conversion. This assignment was a terrific learning experience. Students had to combine their artistic abilities, use creative typography, hone their desktop-publishing skills, learn important digital-editing theory, and practice their business English in one project! n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada. 31


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PREPARING EDUCATORS FOR ARTS INTEGRATION: Placing Creativity at the Center of Learning, by Gene Diaz and Martha Barry McKenna. Teachers College Press, $37.95. Is your community committed to improving student learning? Does it value the arts in your schools and other organizations? This paperback guide, also available in a Kindle edition and a (pricier) hardcover, is meant to better equip our students for the future—to help administrators plan training workshops for educators, and to provide assistance with collaborative curriculum development. Preparing Educators for Arts Integration is nearly obligatory for cultural institutions, and a requisite for any teaching artist who wishes to become a better leader. Do you want to be more effective in raising awareness, establishing better arts-assimilation strategies, and implementing change. With 22 contributors, you’ll find numerous interpretations and approaches toward expanding arts education. The editors introduce each of the five parts of the book with an over view. Readers will be aided in identifying resources, possible partners, and successful programs. With this handbook, they can formulate a

ground plan while keeping the challenges and limitations in mind. A poem by Malinda Hopkins called “Not Enough Money” is quoted on page 89 of the book. Her final line: “What does it cost if you don’t do any of these things?”–P.G. DRAWING TREES AND LEAVES: Observing and Sketching the Natural World (The Curious Artist), by Julia Kuo and Michael Wojtech. Quarry Books, $18.39. Right of f the bat, Ms. Kuo raises questions about the plants she obser ves and illustrates, while her par tner, a science writer, answers them. Together they help the reader understand not only the shapes and forms of plants, but also tree behavior and growth. “Curious Ar tist Tips” appear on many pages to fur ther that goal. With Kuo’s line art rather than nature photos, learners can study trunks, branches, and leaves. They can obser ve how to draw tree rings, bark, fruit, nuts, pine needles, buds and flowers. Conveniently, the drawing activities are steppedout. What’s more, the authors haven’t excluded some of the animals or insects that aid forest growth. Middle-school students will recognize photosynthesis, pollination, and seed germination, although various vocabular y words are better suited to high-schoolers and above. Any ar tist who loves nature—and botany in par ticular—will appreciate the book. Some readers might find it awkward to read the flexi-bound book vertically (the cover layout doesn’t reflect that of the balance of the book). Covered in the final section are the many benefits of planting and living with trees. These are advisable, meaningful pages. Nothing’s more important than our ecosystem.–P.G.

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Leonardo da Vinci, and wrote backwards on his card, just like the great master did in his sketchbooks. It was gratifying for my students to introduce each other to new contemporar y artists and see the imaginative work they were creating based on a particular artist’s style/ technique/media.

FRIENDS continued from page 27

THERE ARE ALWAYS WAYS TO IMPROVE

and adjust a lesson to be better. Having students type out their email addresses/URLs and paste them on the backs of their cards would help avoid any legibility issues. Reserving the computer lab so students can use class time to write their critiques and email them would ensure the critiques get to their pen pals by the due date. Also, having a master list of email addresses and the names of their pen pals would make the teacher’s job easier. If you do this earlier in the school year, you can set multiple rounds of cards to exchange. It always helps to have students excited to create and share. It may be fun to have students exchange ATCs within your county and connect during a field trip at a museum. This project could easily be used at any age or grade, and is a great way to tie in technology and critiquing. It can easily be modified to work with any student and any theme.

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FEEDBACK FROM STUDENTS was reveal-

ing. One student wrote, “ ... we send off the cards and never really know when we are going to get them back ... when we do, it’s a really pleasant surprise. ... It’s really cool to meet someone through their artwork. I’ve really enjoyed the whole process.” “This was an amazing opportunity ... we got to integrate our own voice onto a card to send to someone else,” wrote another student, “...then, that other person would reciprocate with their own voice on a similar subject. It was ... getting to know someone not from their words but from their art. Truly, it was a beautiful and amazing process, and I am thankful that my art teacher allowed us to experience such a personal and new way of learning.” n Kathleen Petka teaches art at Walton High School in Marietta, Georgia. www.ar tsandactivities.com

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Piet Mondrian (Dutch; 1872–1944). Broadway Boogie Woogie, 1942–43. Oil on canvas; 50" x 50". / Museum of Modern Art, New York. Public Domain ©

STUDY PRINT


“I was always making things. Even though art was what I did every day, it didn't even occur to me that I would be an artist.” — Maya Lin

H

appy October! This month we celebrate Hispanic Heritage Month (Sept. 15–Oct. 15). This is a great time to do some paper work for Day of the Dead, which is celebrated on the first of November. Paper garlands with colorful skulls and/or collaged skulls with bright neon paper are always a fun project. So, this month we will have some great tips on collaging, paper projects, ideas for early finishers and some great quick projects for your substitutes.

tip #1

A BARRAGE OF COLLAGE IDEAS. Octo-

ber is a time to introduce collage and art history into your curriculum. Have your students create a story though collaged magazine photos in the style of Romare Bearden. We can’t talk about collage without mentioning Picasso. When

lot with very little information.” Have students write a story, either fictional or non-fictional, and then use the scrap black paper to illustrate it. Some of Walker’s work is large. High school students can collaborate and create a life size story in silhouette. Some ideas may incorporate social justice, world hunger, and pollution.

tip #3

Glenda L

ubiner

“I’M DONE!!” WHAT NEXT? Here is a

list of quick projects to do once students have completed their assignments— that is after they really finished! Kindergarten through Fourth Grade: • Have centers in your classroom. You can have LEGOs (architecture) center, a drawing center, a texture rubbing center, a rubber stamp printing center, and a painting center—I find that tempera cakes work the best as they are not too messy. • If you are on a cart you can have a box of art games and puzzles. Get coloring-book pages of famous paintings, cut them up in puzzle shapes and

minute “do now” at the beginning of class and sometimes the early finishers do an exercise from the book.

tip #4

SUB PLANS TO THE MAX. Here are

some sub plans that can be modified for almost every grade level. • Show a reproduction of a famous piece of art and have the students write a short critique. Have a list of elements

Barrage of Collage Picasso and Georges Braque were transitioning from analytic cubism to synthetic cubism they used “papier collé,” glued paper. They added calling cards, labels from wine bottles, newspaper, and a variety of other paper products, creating the first of many collages. Study these artists with your students and let them roam free in the magazine box…my students never cease to surprise me.

tip #2

SILHOUETTES. Don’t get rid of any scrap black paper. Use it to make silhouettes. Study the work of Kara Walker, a contemporary American conceptual artist. She is well known for her paper cutout silhouette stories of the American South. Walker states that she “says a ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com 38

put each one in a zip lock bag. Students have to make the puzzle, glue it on a sheet of paper and color it. When several were done, I would show them a reproduction of the artwork and they would compare their colors to the original. We would then discuss the artist, country of origin and the meaning of the artwork. Fifth through 12th Grade: I usually have 3 or 4 projects going on at one time so students are working, however there is always one that finishes everything and does it well. What to do… • Have your students get or make a sketchbook • Sketchbooks can be used for visual journaling, sketches for a project, or just drawing things around the room • Students can do color theory projects in their books • Create a personalized painted cover • I also use a book called Caffeine for the Creative Mind: 250 Exercises to Wake Up Your Brain, by Stefan Mumaw. Sometimes I give them a 5

of art and principles of design and have them check off what they see. They can add a sentence or more to each checked off item. • Read the book Where the Wild Things Are, by Maurice Sendak. Younger students can draw and color their own wild thing. Older students (grades 5 and up), can create their own wild thing as well, but draw it with pen an ink using hatching, cross hatching, and stippling. Once dr y, watercolors can be added. HAPPY BIRTHDAY to Annie Leibovitz (Oct. 2, 1949); Pierre Bonnard (Oct. 3, 1867); Maya Lin (Oct. 5, 1959); Faith Ringgold (Oct. 8, 1930); Robert Rauschenberg (Oct. 22, 1925);, and Johannes Vermeer (Oct. 31, 1632). n

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

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