Arts & Activities Magazine November 2018 by Arts & Activities

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CONTENTS V O L U ME 1 6 4 , No . 3

14 16 23 26 28

LET’S TALK ABOUT PRINTS GYOTAKU FISH PRINTS WITH FIRST GRADE Heidi O’Hanley ALIVE AND KICKING: SOUTHERN CALIFORNIA IN RELIEF Don Masse ON THE ART CAREER TRACK: TV TIMES Irv Osterer NOT JUST PIECES OF WOOD Cynthia McGovern PRINT PARTY PALOOZA! Glenda Lubiner

YEARLONG SECONDARY CURRICULUM SERIES 12 3D INTRO ART, ARTICLE 3 OF 10: WHO AM I? RELIEF SCULPTURES Debi West

8 10 30 38

NO VE M B E R 2 0 1 8

SPECIAL FEATURES AND COLUMNS STEPPING STONES: PRINTMAKING TECHNIQUES Heidi O’Hanley CHOICE-BASED ART: HOW I FOUND TAB Cynthia Gaub POWERED BY STEAM: HANDHELD HOLOGRAMS Kerri Waller TRIED & TRUE TIPS FOR ART TEACHERS: EYE TRAFFIC Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: FULANI MILK WOMAN Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: ADAM NAMING THE ANIMALS Gérard Jean Baptiste Scotin and James Cole

A&A AT YOUR SERVICE 31 WEB CONNECT 36 ADVERTISER INDEX

DEPARTMENTS 6 EDITOR’S NOTE 32 MEDIA REVIEWS 34 SHOP TALK ON THE COVER

DAMON, THE VAMPIRE DIARIES Linoleum block print with color added. By Susma Dhakal, Merivale High School, Ottawa, Ontario, Canada. See “On the Art Career Path: TV Times,” page 23. SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. AD SALES: (800) 651-7567; amy.tanguay@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.

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e d i t o r ’s n o t e

Let’s talk about prints. Among elementary, middle

and high school art teachers and students, printmaking is a consistent hit. When you listen to them talk about printmaking, the words “magical,” “love,” “favorite,” “amazed” and “fascinated” can be heard. We know that

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

you’ll feel the emotions behind these words when you and your students get

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

busy making prints.

Let’s talk about gyotaku: “One of my favorite projects to do with my first-grade students,” writes Heidi O’Hanley in her article, “Gyotaku Fish Prints with First Grade” (page 14). To her, the high-

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

light of this lesson is “The look on the students’ faces when the paper is lifted off the fish. They are amazed and ... in love with their prints!”

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

Let’s talk about relief: “I absolutely love printmaking,” proclaims Don Masse. He also loves sharing it with his students. “There is something magical about the reveal,” he writes in “Alive and Kicking: Southern California in Relief” (page 16). For this activity, he introduces his third-graders to a Los Angeles artist, focusing on his series of landscape prints inspired by the geography of the region. Students incorporated at least three elements from a selection of his work to create their own print designs. Inspired by Native American artist George Morrison’s use of wood in his work, Cynthia McGovern’s “Not Just Pieces of Wood” (page 26) takes students on a journey of discovery where they study wood’s contours, grains and textures, then create prints by incising wood-grain lines on foam printing plates, which they ink and print. Writes Cynthia, “The students were fascinated by the process.”

Let’s talk about intaglio and block prints: Wanting his graphic design students to experience the spontaneity of tactile image-

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 Art Education Consultant, former Art Teacher, Hilton Head, South Carolina

A D V E R T I S I N G D E PA R T M E N T

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

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

making, Irv Osterer asked them to create lino and engraved prints “where the hand of the artist is clearly evident.” Television shows served as the subject,

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which evoked outstanding work. Turn to page 23 and take a look at “On the

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

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I could go on talking about prints, but it appears I am running out of room! I will leave you to discover the other gems in this issue, which are sure to get you talking!

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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DIY Roller Stamps

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Teacher's Palette Light

Like what you see? Go to www.amaco.com/rollerstamps for a simple step-by-step tutorial!

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.

PRINTMAKING TECHNIQUES

BY HEIDI O'HANLEY

rintmaking is one of the integral parts of our art curriculum. We typically introduce the process at a young age and, as students grow, so does their understanding of printmaking’s importance in today’s society. Printmaking is the art of reproducing the same image or design, which includes books, newspapers, posters, fine artworks, and images on clothing. Long ago, the Chinese were using wood block carvings for relief printing, but when Johannes Gutenburg invented the printing press in 1440, artwork and books could be mass produced at a quicker pace. In as early as pre-kindergarten, students are introduced to printmaking by using simple materials to create a pattern or design, using ink or tempera paint. I’ve seen cut celery, pompoms, and even handmade sponge shapes used by early elementary students to create detailed artworks.

GYOTAKU PRINTS are also very popular with early elementary students. The technique was invented by Japanese sailors over 100 years ago to document their catches out at sea. Many artists still enjoy creating fish print artworks. At the elementary level, students can use silicone rubber fish shapes to create prints, either small size with markers for ink, or large sized with paint. In this printmaking issue, I’ve shared a project I enjoy creating with my firstgrade students that I hope you can use for your own classes (see “Gyotaku Fish Printing with First Grade,” page 14).

GEL PRINTING PLATES are a recent trend within the

art class. Students can roll ink or paint onto the gel plates, remove portions of the ink, then press with paper to create a monotype print.

MONOTYPE PRINTS are artworks that can only be produced once instead of multiple times. Gel plates are good for created painted or textured paper for collage projects plus clean up can be easy.

RELIEF PRINTING can be introduced early with stamps, but you can introduce more advanced methods closer to middle or upper elementary. Relief printing happens when a student creates a master surface from which multiple images can be made. Typically, master surfaces for relief printing could be linoleum, foam, cardboard, rubber or any other material that can be pressed into or carved. The students prepare the their projects by cutting, etching or drawing an image onto the master surface. Ink is then applied and paper is pressed onto the surface, either by hand, brayer, or printing press. The finished print is then pulled and the process can repeat to create more prints. 8

PRINTING ON FOAM is one of the two common relief printing techniques used at the elementary level. When using a foam printing plate, students can create a drawing or design on paper, then press down onto the foam to capture the image. When ink is rolled onto the foam, the areas pressed in should remain empty from ink, which will print a negative image for the students. Once a print is made, students can repeat the process until they achieve their desired results.

RUBBER BLOCK PRINTING, a more advanced step of

INTAGLIO. I was introduced to Intaglio printing in

SCREEN-PRINTING is another form of printmaking

reproducing prints, is the other most common technique used at the elementary level. Instead of pressing into a foam plate, students use carvers to remove lines from rubber pads. When a student creates multiple prints, they can go back to the block, remove another part from the master design, and print another color on top. The process can repeat for as many colors as desired.

upper high school, close to college. Intaglio prints are made by cutting a picture into the surface of the printing plate. The students then gouge the lines of an image into the surface of a smooth polished sheet of metal or a piece of plexiglass. To make a print, ink is pushed into the lines of the design. The surface is then wiped clean so that the only areas with ink are the lines. A sheet of paper (soaked in water) is then placed on the plate and ran through a printing press.

that uses stenciling. Screen-printing occurs when you force ink or paint onto a surface through a prepared screen to create a picture or pattern. There are multiple techniques used in screen-printing that can be shared for an after-school art class or middle to high school classes, such as vinyl cutting, Mod Podge fill-in or plastic cut-out stenciling. Screen prints can work with many fabrics, boards, canvas or other material that stencils can be placed upon. The techniques listed are some of the few that I’ve touched upon while teaching kindergarten through sixth grade. I work with different printmaking techniques because when students are creating their prints, it’s not just the final product, but the whole process that matters. Each process is a unique experience that develops students’ appreciation for the art they create and the reproduced works and literature around them. n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling art teacher.blogspot.com. n o v e m b e r 2 0 1 8 • 86 Y E A R S

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Experiences of the Boys and Girls Clubs of America suggest that large, multidisciplinary youth organizations can establish highquality arts programs. Download this report and other resources on afterschool, summer and arts learning free of charge at www.wallacefoundation.org.

Raising the Barre and Stretching the Canvas: Implementing High Quality Arts Programming in a National Youth Serving Organization

Choice-Based Art

Edited by Nan Hathaway

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

HOW I FOUND TAB BY CYNTHIA GAUB

hen I started teaching art at my low-income, highimmigrant, urban-population school, I was presented with classes that were filled with a mixture of sixth-, seventh- and eighth-grade students. Among those diverse emotional and physical age differences there was also the learning diversity from gifted to high learning needs. Then, sprinkle in some behavior-issue kids along with some who were severely physically challenged. I was confounded with how to approach my curriculum and deal with the necessary differentiations that would be required for my diverse population. On top of all this, our district lacked a strong elementary arts program. Most schools had no arts specialists and many of our immigrant students were coming from lives where art supplies were not accessible at home. As I scoured the Internet for lesson plan ideas, I found some online groups where I posted my woes. I was immediately directed to check out the TAB Choice group. There I discovered a studio-style student-focused pedagogy that seemed like it would address all my problems. I found a warm and welcoming group with truly innovative ideas. I DECIDED TO DIP MY TOES INTO THE TAB WATERS and began setting up a few centers. I primarily used the centers for early finishers. After kids finished my teacherdirected projects, they could create artworks of their choice with a variety of drawing tools or use programs on my two computers. This worked well, but it dawned on me that the following year some from my mixed-grade classes would return, so some would have already done my projects and for others these would be completely new. I knew making a middle school student repeat a project would have disastrous results. But I also didn’t want to redesign entirely new projects every year, or even possibly every trimester when students might come back within the same school year. What to do? I really loved the full studio choice I was seeing described on my online group, but it still seemed too unstructured for my middle school kids. I had nightmare visions of wandering gangs of boys wasting supplies and causing trouble without purpose or art making. But I already had this problem 10

with my current set-up, so I guessed it couldn’t get worse. So, I decided to modify the model and give my students a theme to guide them and allow them a choice of media, size and color to interpret the theme. MY FIRST MODIFIED CHOICE CHALLENGE was the “Chair

Project.” I was inspired by a number of schools and arts organizations that held auctions with this theme. I felt that offering multiple choices of media, including 2D and 3D, would allow me to meet the needs of my students, as well as deal with issues of limited space and budget. I opened my chair project with a PowerPoint of chair images in a variety of art media. After the presentation, students developed a plan by first selecting a media that interested them. They drew sketches and did research. Many of the students gathered supplies from home, even purchasing some or enlisting relatives with woodworking tools to assist outside of school. A few decided—or were encouraged—to work in small groups, while others worked independently. The room was a beautiful picture of controlled chaos. Everyone found a niche and explored the idea of the chair in the ways they wanted. The project was a hit and several finished products made it into our district art show. FROM THIS SUCCESS, I WAS ENCOURAGED to continue on this Choice path, each year designing new themes. Many of my art themes included lessons that connected to art history, like Surrealism and Pop art, or touched on cultural crafts like masks and vessels. I tried to pick topics that my middle school students could open up to, like self-portraits and everyday heroes. My practice continues to grow and flux as I experiment with ways to both offer choices and provide necessary guidance and boundaries, while also addressing grade-level learning requirements. I can’t claim to have obliterated discipline problems or failing students in my classroom. But the more I practice, the more I discover the depth with which I get to know my students’ personalities and abilities as I allow them more and more choices and opportunities to explore their artistic passions. n

Cynthia Gaub teaches middle school art an hour north of Seattle, in Everett, Washington. She has been using modified TAB-Choice methods for over 10 years and writes on her blog: www.artechtivity.com to share her “Around the Room” and themed units with fellow teachers. To see more projects in Cynthia’s classroom, check out: www.thevirtualclassroom.org/ n o v e m b e r 2 0 1 8 • 86 Y E A R S

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Yearlong Secondary Curriculum Series | 3D INTRO ART

ARTICLE 3 OF 10

Who Am I? Relief Sculptures by Debi West

think it’s always so important to ask our students to think deeply about who they are. I start off many of my projects with this idea in mind, but for this lesson it’s more about what encompasses them as a person. This lesson has them questioning who they are on the outside—the part of them that the world sees. For example, a girl, a boy, a blonde, a brunette, an athlete, an artist? It then pushes them to think about who they are as a person. Are they spiritual, kind, funny, quiet, loud? The final part of the lesson has them thinking deeply about who they are that no one perhaps really knows. This type of deep thinking then becomes a visual story that becomes a three-layer “who am I” relief sculpture! When we get our students thinking this deeply about who they are, we are not only having them reflect on their personalities and actions, we are showing them that we care about them. We have an interest in wanting to know the whole child.

When we get our students thinking deeply about who they are, we are not only having them reflect on their personalities and actions, we are showing them we have an interest in wanting to know the whole child.

SO HERE’S HOW IT WORKS. I start

off the lesson by having them reflect on the questions mentioned earlier, and sketch out images and thoughts in their visual journals. Once this is completed, we go on an image hunt in magazines. Kids today are used to going to the Internet to find an image they may

Giving your high school art students the opportunity to make this interactive piece—with its three physical and figurative layers—makes it, literally, an uplifting experience.

need so having them go “old school” and seek out images in magazines has them literally going on an aesthetic “ah-ha” hunt! As they find the objects and words that describe their three layers of personalities, they also find colors, textures and other elements that make them stop and say, yes! As they go through this hunt, I have them tear out the pages and hold onto their collection. Once they have at least 20 images, they begin to cut these out neatly. And finally, they then take all of the cutout images and lay them out to create their layered compositions. These three compositions are then laid on top of each other with transparency paper on the top layer so images can be seen through the pages in areas and each layer can be lifted for those who want to look deeper. Giving the students the opportunity to make this an interactive piece makes it, literally, an uplifting experience and has them considering the ways they might want to hinge the layers together.

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ARTICLE 3 OF 10

3D INTRO ART CURRICULUM SERIES

Who Am I Relief Sculptures LEARNING OBJECTIVES

MATERIALS

High school students will ... • show who they are through collaged symbols, colors, shapes, text, etc., and incorporate these images on a front sheet of acetate, and a bottom piece of drawing paper (or material such as fabric, cardboard, poster board or mat board), creating a relief-like image. • manipulate these images in a way that showcases who they are on the outside vs. the inside, thinking deeply about self.

• 9" x 12" white drawing paper • Cardboard, transparency acetate paper • Magazines, collage materials, glue, scissors • Oil pastels, acrylic paint, sponges, mixed media • Reference materials

PROCEDURES

This lesson gives kids the freedom to create something meaningful as they learn the art of seeing, collage and composition.

THESE PIECES ARE THEN MANIPULATED

with dry printing, where students take a dry sponge and add a bit of acrylic paint to blend and “artify” their images. This technique takes a traditional collage and turns it into more of a painted finish and often I encourage students to consider adding soft burnished oil pastel marks as well. I have used Robert Rauschenberg’s Overcast III as a wonderful inspirational piece to motivate my students. I’ve found that giving students freedom over their size and surface adds to the individual personality of each layer. They really dive deep into the images and words on each of the three layers of their final collage relief sculptures. I have had students bring in personal objects and build little areas on their boards to house the objects and some have even brought in locks and keys to hide the third, very personal layer of who they are.

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1. Introduce the lesson by having students brainstorm via a list of personal traits and then complete several thumbnail sketches of “who they are.” Ask questions such as: What do they enjoy doing? What are their religious or political views, what are their hobbies, and what activities are they involved in. This is their opportunity to truly reflect on who they are. This is also an opportunity for me to gage where the class is in terms of technical and creative ability. 2. Students will search for images, words and symbols in magazines that connect with them personally. They will cut these out

and begin to make a small pile to put into a creative composition. 3. Students will use their symbols and sketches to create a composition creatively showcasing who they are, outer images showcase the obvious while hidden, inside images showcase the more private aspects of the artist. 4. Students will then add blended oil pastel and dry sponged paint to create a unique piece of art inspired by the work of Robert Rauschenberg’s Combines (specifically, Overcast III). 5. Final artworks will be hung in a class display to introduce the class to the school.

ASSESSMENT I use a project evaluation form for each lesson I teach. This allows my students to appropriately reflect on the learning at hand and leaves room for them to comment on the process and how they feel the final piece turned out. It also allows me to comment and give them a grade based on their learning and their final work. We also do in-process critiques using my “2 Glows and a Grow” model.

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THIS LESSON IS ALWAYS SUCCESSFUL

and ver y personal and starts off our 3D intro art course really well. Students have the freedom to create something ver y meaningful while learning the art of seeing, the art of collage, and the art of composition as a means to tell a visual stor y. Not to mention, it has them learning about the art of relief sculptures. It is my hope that your students enjoy this lesson and push their own creatively

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so this becomes an “uplifting” experience for them as well! Next up …Wonderful Weavings! n Arts & Activities Contributing Editor Debi West recently retired from her job as department chair and art educator at North Gwinnett High School in Suwanee, Georgia. She owns and operates WESTpectations Educational Consulting and she and her husband now reside in Hilton Head, South Carolina. 13

ne of my favorite projects to do with my first-grade students is gyotaku fish prints. My first-graders are familiar with fish printing because the year before, I introduced a similar technique with small silicone rubber fish and markers instead of paint for the prints. They are now a year older, so I can begin discussing more of the history of gyotaku printing and how artists use the technique today. Gyotaku (gyo=fish, taku=rubbing) is a traditional Japanese method of printing fish. This practice dates back to the mid-1800s, when fishermen wanted a way to document their prized fish caught at sea. There are many popular artists who use the technique today, including Naoki Hayashi from Kaneohe, Hawaii. Naoki began making gyotaku prints at age 11 and, over time, mastered his unique process. Like traditional Japanese fishermen, Naoki creates prints from fish he shares as meals with his friends and family. THIS PROJECT TAKES TWO TO THREE 40-minute periods. On

the first day, I introduce gyotaku to my students through pictures and YouTube videos I’ve found that demonstrate how professional artists apply paint or ink to the fish they print. After showing the children what style printmaking they will be learning, we brainstorm where our printed fish might live. Will they be living in the ocean, at the bottom of a lake or in a fish tank? What details can the students add to their

pictures to show where their fish live underwater? Students then receive their project paper, and are asked to draw their underwater pictures, starting with pencil. The children are shown how to draw a sandy or rocky bottom, seaweed, coral, shells, and anything else they wish to add to their background. Sunken ships, boat bottoms with fishing line, other fish and schools of fish, were some of their ideas. Once the students complete their drawings, they are asked to trace their pencil lines in black marker and color the background entirely with crayons—including the blue water. ON DAY TWO, students are asked to complete the coloring of their underwater backgrounds. Once these are finished, students are called up in small groups to select their silicone fish designs for their prints. For students waiting to print, I have a side project. The “mini project” could be anything from a fish design sheet, to creating patterns on fish (which is a ver y easy worksheet for you to design and copy). When each small group is ready to print, I work with one student at a time in painting their fish with a few of the colors I make available. My painting station is right next to the sink, so once the print is complete, the silicone fish can be placed right in the water to rinse for another student to use. The student first paints the silicone fish, then the fish is placed After showing the children what style of printmaking they will be learning, we brainstorm where our printed fish might live and what details to include.

fish prints with first grade

by Heidi O'Hanley

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LEARNING OBJECTIVES First-grade students will … • discover a new technique in printmaking. • demonstrate how to create a print using the gyotaku technique.

NATIONAL ART STANDARDS

•

CREATE: Explore uses of materials and tools to create works of art or design.

MATERIALS

•

10.5" x 16" white paper (a lighter weight paper works best with picking up fish details) • 12" x 18" colored paper (for frame) • Pencils, black markers, crayons • Silicone rubber fish molds • Tempera paint, wide paintbrushes • Paper or foam plates • Glue • Water source

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The look on the students’ faces when the paper is lifted off the fish is priceless. They are amazed and immediately in love with their prints!

on a clean paper, painted side up. The student then carefully places his or her project paper on top of the fish and we work together to rub the paper to catch all the details for the print. The look on the students’ faces when the paper is lifted off the fish is priceless. They are amazed and immediately in love with their prints! I then place the fish prints on the drying rack and move on to the next student ready to print. With small groups, be sure to keep an eye on the clock. Most of the time, an entire class of 20–25 student prints, can be completed. If necessary, however, you can stretch another class for completing the printing and framing of the project. To frame the projects, we apply small dots of glue to the back of the prints and place them onto the 12" x 18" colored paper. Once all of the fish prints are framed, they are hung in the hallway. We usually coincide the display with the winter parent/teacher conferences, so family members can enjoy the hallway gallery. The students are always so proud of their work and ask where they can buy their own fish molds to print on their own! n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. www.ar tsandactivities.com

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ALIVE

and kicking

absolutely love printmaking. It was my major in undergrad and grad studies (although my thesis exhibit was entirely charcoal drawings, but that’s a different story for another time), and I have always been enamored with the moment of the “reveal”—when the paper is removed from the plate and you see how the matrix image has translated to the paper. So, obviously, I love sharing printmaking with my students—relief printing in particular. There is something magical about the reveal and students will often ask, “Mr. Masse, is this when the magic happens?” I respond, “Why, yes it is when the magic happens.” The students’ landscapes were inspired by the variety found in California’s geography.

Southern

California in Relief by Don Masse

LAST YEAR, I INTRODUCED MY THIRDGRADERS to the work of Joseph Vorg-

ity, a printmaker based in Los Angeles, who also was a teacher for many years. He has a range of subjects, and the ones that resonated with me the most were the series of landscapes he has created, which are inspired by the variety found in California’s geography. 16

Vorgity often creates prints with what is called the “Provincetown” or “white-line” technique. Basically, on his carved relief plate, he paints small areas with watercolors, which are then transferred to a piece of paper that is hinged to the plate. He then adds color to another small section, transfers, and repeats the process until the print is complete.

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LEARNING OBJECTIVES Elementary students will … • be introduced to art that uses the state geography as subject matter. • use multiple sketches to come up with a satisfying plan for their final design. • use multiple resources to develop an original idea for an artwork.

NATIONAL ART STANDARDS

•

CREATING: Elaborate on an imaginative idea. • CONNECTING: Develop an artwork based on observations of surroundings.

MATERIALS

• • • •

Foam printing plates Pencils, practice paper Washable color markers Student-grade watercolor paper, spray bottle, sponge • Resource handouts

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The third-graders were required to include in their sketches at least three elements from the Vorgity handout I had prepared.

to define shapes and create patterns and value changes throughout his work. We also discussed how the variety of topography and vegetation he depicts in his ar t can all be found in Southern California. Color was added with washable markers, making sure that the tips of the markers were at an angle.

This process creates a white “halo” around each painted section, thus the name, “white-line” technique, which lends itself quite well to a student print experiment with foam printing plates and water-soluble markers. For this experience, I shared a number of Vorgity’s landscapes with my students and while doing so, we looked for how he used white lines www.ar tsandactivities.com

I GAVE EACH STUDENT A HANDOUT

I had put together that featured five of Vorgity’s landscapes. Students were then challenged with creating at least two sketches with a minimum of three elements from the different prints. I modeled sketching and talking through my thinking before letting the kids loose. When I modeled, I also pointed out how I was overlapping layers to create more depth and space and I emphasized doing so in their compositions. Once they had a sketch they liked, I

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asked them to write a sentence explaining why they were going to use that one over the other, emphasizing the what and the why. After reflecting and writing, students verbally shared these with one another. Students then moved on to transferring their sketches to the foam printing plates. I reminded them that if their drawing changed a bit, it was okay, but I should be able to identity which sketch it came from. Also, since the plate was bigger than the sketch, I encouraged them to add more detail to their final image. WHEN THEIR IMAGES WERE SCRATCHED

into the foam plates, students added color with Crayola® markers, doing their best to keep their hands off the plate while coloring. Another point of 17

Once they had a sketch they liked, I asked them to write a sentence explaining why they were going to use that one over the other, emphasizing the what and the why. After reflecting and writing, students verbally shared these with one another.

emphasis during this color step was to use the marker tip on an angle. If students draw more with the point, especially with thin tip markers, it indents the plate and these unwanted lines show up in the print at the end. Once coloring of the plates is complete, students are ready to print their images. I have a rectangle outlined in blue on my center table and students place their plates there. We spray the watercolor paper with water and sponge it so the moisture is even, then lay it on top of the plate. The image is transferred with consistent, medium hand pressure. Then, the magic happens ... the print is revealed! If a student is not satisfied with how the final image looks, they can color the plate again and reprint, or they can hand color their print with marker directly.

MY STUDENTS RESPONDED WELL to this visual experiment. Many enjoyed the idea of bringing together parts of different images to create something new, and the handout of images provided support for those who were more hesitant about coming up with original compositions. This activity doesn’t have to be done as a print; it could be used as a

The kids enjoyed the sketching and printing process, and loved their final prints. 18

painting experience or a digital drawing where students can add the white lines at the end as a separate layer. If you would like to do something like this, I encourage you to explore your state’s geography for inspiration and to research local/state artists who are creating landscapes inspired by it. Your students will love the print process and the connections you make to your region and artists will bring engagement up even more. So, get busy printing and enjoy the magic! n Arts & Activities Contributing Editor Don Masse is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. Don is also the 2018 NAEA Pacific Region Elementary Art Educator of the Year.

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A&A Art Print: Respond and Connect Bruce Onobrakpeya. Fulani Milk Woman, n.d.

“Art itself is a reflection of the life of the people . . . The art that we create is helping to give our people self-identity. For one to call himself an artist, one has to take a leadership role. Not just merely producing art works, but producing art works which are backed by ideas and philosophies which are calculated to help upgrade and uplift the life of the people.” Bruce Onobrakpeya

MAIN VISUAL ART CONCEPTS: Line • Shape • Value • Variety • Space

•

POSITIVE AND NEGATIVE SPACE: The beauty of this print is the interplay of positive and negative elements. For example, some leaves are dark with light veins and other leaves are light with dark veins. The interplay of lights and darks animates the work, adding liveliness to the subject.

•

• •

DESIGN STYLIZATION: The background of this piece implies a lush, almost jungle-like environment. Much of the landscape in the herding territories of West Africa is quite arid; with the nomadic lifestyle of the Fulani, however, one might see a variety of plants and trees while traveling from place to place. Some of the plant-like forms in this print are reminiscent of the “cutout” works of Henri Matisse, or perhaps Matisse borrowed those similar forms from African designs.

•

• •

•

CULTURE & FASHION: This Fulani woman seems to be wearing her hair in multiple small braids, and her jewelry consists of hoop earrings and four necklaces. The Fulani usually dress modestly, with spare decoration. This may be a more formal “portrait” or one that blends the artist’s impressions of several different Fulani women. Dress and adornment vary depending on gender and location.

•

ECONOMY: Traditionally, Fulani men tend herds of cows, and the Fulani women milk them. The production, consumption and sales from milk help women care for their families. Some Fulani are nomadic, and move their herds from dry-season (November to March) to wet-season (March to October) camps. Others have chosen to be sedentary and to coordinate with extended family in various locations so cattle may be seasonally moved among them.

BOTANY: Fulani women often transport milk in a decorated bowl made from a dried gourd called a “calabash.” That fruit, when dried, is cut and hollowed for use as a basket or for carrying liquids. Gourds are used worldwide for similar purposes, and are also eaten as food. Fulani women pad the top of their heads with a circle of twisted fabric and then balance the calabash on their heads as they walk. Many of the calabash bowls are incised with lovely geometric designs.

BIOGRAPHICAL NOTE: In 1998, Bruce Onobrakpeya (pronounced OH-no-brock-PAY-uh) and his foundation founded an artist cooperative called the Harmattan Workshop in his hometown of Agbarah-Ottor, Delta State, Nigeria. The building is a place where artists can collaborate, produce and experiment with numerous art forms. This is his way of giving back to the community that supported his artistic growth. He was awarded the Nigerian National Merit Award in 2017. He is well documented on the Internet and there are some wonderful videos about him on YouTube.

ANTHROPOLOGY: The Fulani (also called Fula, Fulbe, Peul, Hilani, or Wolof) live, for the most part, in West and Central Africa. Because of their nomadic lifestyle over the centuries, there are numerous theories about their origins. Today they comprise the majority of the population in Guinea, but live in most of the West African countries. More than 99 percent of Fulanis practice the Islam religion.

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NOVEMBER 2018

Bruce Onobrakpeya (Nigerian; b. 1932). Fulani Milk Woman, n.d. Linocut print. The Harmon Collection. National Archives / Public domain. at College Park. ÂŠ

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

GRADES K–6

GRADES 7–12

BEYOND PHOTOSYNTHESIS. Art teacher, Anne Ernst, makes

SUBJECT MATTERS. It is no wonder that Marie Tripp is also the National Art Honor Society Adviser in her school. Her multifaceted lesson has yielded spectacular results from her students. The central subject in each work is created separately and then cut out and applied on top of a linoleum print designed to relate in some way to the main idea. It helps that her students have excellent drawing and painting skills.

connections with science and botany through her striking leaf print lesson. She also teaches printmaking techniques and unique applications of pattern while looking carefully at craftsmanship and design fundamentals. These are all hallmarks of a successful lesson.

Art by third-grade students of Anne Ernst at Alum Creek Elementary School in Lewis Center, Ohio.

Anne says, “I love teaching this lesson in the fall when my thirdgrade students are learning about different trees in their regular science classrooms.” The important “twist” is that her students print with white paint on black paper. This choice provides sharp contrast between the students’ in-filled color selections and their printed leaves. Ernst describes the process: “I use premium tempera paint and hard sponge brayers for the ink, also I use a clean pressing cloth (which is really a paper towel) to press each leaf as it is printed. If any smudges of white paint get in the background, we use sharpie over them the following week.” As a special extra, Ernst has provided a PDF of her lesson plan, which is available at the A&A Online page on our website: artsandactivities.com. NATIONAL ART STANDARDS: Grade 3

CREATE: Elaborate visual information by adding details in an art-

work to enhance emerging meaning. • Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. • Create personally satisfying artwork using a variety of artistic processes and materials. CONNECT: Synthesize and relate knowledge and personal experiences to make art. 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 22

Art by students of Marie Tripp at Wayne Hills High School in Wayne, New Jersey.

Tripp says, “The inspiration for this lesson came from the fact that after teaching for 18 years, I have learned that students need to be taught how and when to get rid of the negative blank space in a piece of artwork. I used linoleum block printing for the medium of the background of this piece of art.” While the results are eye and mind catching, Tripp continues to reflect on her own lesson, already thinking ahead of new possibilities. “I would want to use a larger block of linoleum, and try to have only one print, instead of the multiple of four on one piece of paper. Currently, students use a 6" x 6" block, and print it four times on one piece of paper. I would also love for students to try to experiment more with collaging the prints in the background, and use various colored inks against different colored pieces of paper.” NATIONAL ART STANDARDS: High School

CREATE: Generate and conceptualize artistic ideas and work. • Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept. PRESENT: Convey meaning through the presentation of artistic work. 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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on the

ART CAREER TRACK

generation of design students has missed many tactile imagemaking experiences in favor of less messy cutting, pasting, drawing and painting options in the virtual environment. This approach can lack the spontaneity, passion and energy invested in traditional media, where the hand of the artist is clearly evident. Our junior and senior graphic design classes have been experimenting with collagraphy, monoprinting, linoleum printing, plexiglass engraving and chine collé techniques to create illustrations that could not be generated with the best computers and image creation software. For most students, this is their first exposure to printmaking and the graphic arts— they find the often serendipitous experience of inking a plate and using an intaglio press to make an impression surprising and rewarding.

After discussing how television programming has evolved over the past 50 years, and how important these shows are to popular culture, students were asked to declare their favorite program, and gather a few reference photos from the Internet featuring a prominent character in the series. Since these images were only to be used as references, low-resolution copies were sufficient for this exercise.

Students were then shown a variety of linoleum prints to introduce them to the process, which calls for images to be converted to linear compositions with the absence of continuous tone. The class was shown how artists were able to manipulate their use of line to give the illusion of value, texture and space and was then asked to tr y some of these linear techniques in their sketchbooks

TV TIMES by Irv Osterer

TELEVISION PROVED TO BE A TERRIFIC VEHICLE for our introduction to print-

making—as secondary school students are very engaged in popular programs, which are making even more inroads with them due to their easy access on iTunes, Netflix and other streaming platforms. No one has to miss an episode, as everything is online. This has meant that even the “classics” are being rediscovered by today’s teens.

Jenny Berndt. “Criminal Minds.” www.ar tsandactivities.com

The student prints were compiled into a “Book of Famous TV Personalities.”

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Jenny Owen s. “The Twili ght Zone.”

s.” mpire Diarie al. “The Va Susma Dhak

using the image of their television star. After a few attempts, students grasped this concept and were able to translate their reference photos into convincing black-and-white images. The class was also encouraged to arrive at design solutions that activated the area surrounding the portrait Students then transferred their images onto their linoleum blocks. To be right reading, images were inverted with the aid of tracing paper. A variety of carving tools were used to incise the

images into the blocks, which were then rolled with black, oil-based ink and printed. Besides superior image fidelity, an advantage of using oil-based inks is that when these prints are dry, one can then selectively “tip” them with watercolor without the risk of disturbing or moving the original black and white print to render a very convincing painted image. Water-based inks are fine, but the surface can be reactivated with any water-based media. Oil-based inks do present problems, but using a well-ventilated area and an odorless mineral spirit product to clean rollers and blocks circumvents this dif ficulty. wearing disposable plastic gloves during the inking process helps avoid ink migrating to skin. If needed, ink can be removed from skin with a heavy-duty waterless hand cleaner. THE SENIORS were

assigned the same project, but instead of carving linoleum, this smaller group

> 24

Michael Fieser. “Breaking Bad.”

was asked to do a plexiglass engraving. This is also a linear process, but this labor-intensive technique provides a much finer line. With the engraving process, everything that is scribed with the graver will be black, where with linoleum, the opposite is true—only what is left on the block will print. The printing of the engraved plates takes considerably more time and for acceptable results, oil-base ink must be used. Ink is distributed across the surface of the plate, which is carefully wiped until the surface is clean, and the ink remains only in the engraved lines. High-quality rag paper such as BFK Rives is then soaked, blotted and carefully placed over the engraved plate. A number of felt blankets are used to cover the block to force the damp paper into all the areas of the plate as it is run through the press. THE TV-SHOW PRINTS ranged from drama to comedy, with most students admitting that they truly were loyal fans of the shows they chose. We did have some old-school linoleum solutions, like Jenny Owens’ impressive portrait of “The Twilight Zone’s” Rod Serling. Jenny Berndt admitted that she followed the episodes of longtime CBS drama “Criminal Minds.” Susma Dhakal did a terrific job with her rendering of Damon from “The Vampire Diaries” (seen on this month’s cover) and one of the most successful efforts was Michael Feiser’s meticulously carved portrait of “Breaking Bad’s” Walter White. All the prints were subsequently

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Paul Sch wan-K

ekanovich

r. Who.” Eric Erickson. “D

LEARNING OBJECTIVES High school students will … • gain an appreciation of traditional graphic arts image-making techniques. • understand what is involved with linear conversion of images. • simulate value and texture using line. • learn how to properly ink and print a plate. • apply previously acquired skills for publishing.

MATERIALS Linoleum Blocks • Soft-cut linoleum, linoleum carving tools, soft rubber roller, ink slab, printing press • Watercolor sets, brushes, palettes Plexiglass Engraving • Clear plexiglass ( 3/16-inch thick) • Sandpaper to bevel edges of plexiglass • Engraving tools • Printmaking paper, ink slab, rubber roller

scanned, and each student was required to do a two-page layout that combined a quote from their character and the logo from their chosen television series. These were then compiled into “The Merivale High School Book of Famous TV Personalities.” AS THE ARTS AND CRAFTS MOVEMENT was a reaction to the excesses

of the industrial revolution in the last centur y, there has been a groundswell of interest in hand-rendered images, type and letterpress printing as ar t directors, tiring of the endless stream of stylized vector graphics that proliferate the industr y, search for new directions. I am not advocating the demise of

. “Tales fr om the C rypt."

the computer—it is a significant production tool and in many ways has democratized the publishing industry. I am suggesting that physical interaction with the art experience leaves a recognizable handprint that encourages a personalized investment with the design process. Using vehicles such as our modest publication, we hope to better prepare our student designers for post-secondar y success by embracing some old technologies, while mastering new. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada.

Both • Internet access • Black oil-based printing ink • Low-odor solvent for cleanup (we use Gamsol from Gamblin® Artists Colors Co.) • Plastic gloves, waterless hand cleaner • Computer with desktop-publishing and photo-editing software, scanner

Cory Savage. “One Tree Hill.” Above, Cory pulls the print off of the engraved plexiglass plate. www.ar tsandactivities.com

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here is no better time than during the elementary school years to begin cultivating compassion and respect for all people, past and present. Art endures, merging the histories of diverse cultures. When we guide students in their application of visual thinking strategies, we ask them to consider an artwork or an artist’s methods and reasoning. In doing so, we are also encouraging admiration and respect of all peoples. This lesson, “Not Just Pieces of Wood,” inspired by the Native American artist George Morrison (1919–2000), accomplishes this. Born in Chippewa City, Minnesota, George Morrison was a member of the Grand Portage Band of Chippewa, and spent much of his childhood along the shores of Lake Superior. Morrison said that he drew inspiration for his wood collages from his memories of the lake, the rock and the driftwood formations along its north shore. This lesson was inspired by my first encounter with Morrison’s wood collage, Collage IX: Landscape, displayed in the Minneapolis

Museum of Art. The piece reminded me of my own childhood along Lake Michigan, picking up driftwood, feeling the smooth surfaces, examining the grain lines and water-sculpted contoured edges, and imagining its origins. I knew my third-graders would find inspiration in Morrison’s use of wood for their printmaking. MORRISON IS RECOGNIZED as having been a leader in open-

ing the public’s eyes to the wider reality of Native American art. He is respected as a vibrant force in contemporary art. Thus, this lesson asks students to consider the big question: “What is Native American Art?”

by Cynthia McGovern

The children’s prints were inspired by the wood collages of Native American artist George Morrison (1919–2000). 26

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LEARNING OBJECTIVES Elementary students will ... • identify textures and patterns used in Minnesota Native American artwork. • create a variety of lines in their artwork. • use line to express their ideas. • reproduce real and visual texture.

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

•

Foam printing plates, black water-based printing ink, brayers, ink trays • 12" x 18" medium-weight drawing paper • 12" x 18" black construction paper • Scissors

•

• • • •

Watercolor paints, large paintbrushes Elmer’s Glue-All multi-purpose liquid glue Graphite pencils, colored pencils Wide masking tape Drying rack Paper to cover tables, baby wipes

Many online sources are available for collecting information on Morrison. In preparation for this lesson, I put together a PowerPoint and flip chart with pictures of the artist, his wood collages and other works of art. The presentation also included photos of actual pieces of wood to acquaint students with wood’s varied natural grain lines and textures. I also passed out scraps of wood to my students, which I had collected from my walks along Lake Michigan and other sources, so that students could examine actual wood grains and texture, looking for line designs. THE LESSON BEGAN with students applying watercolor washes (in all directions) on large pieces of drawing paper, which would later be used as our printing paper. These were then put on the rack to dry. Next, students viewed the PowerPoint presentation and discussed George Morrison’s work, Collage IX-Landscape in particular. We compared and discussed differences in wood textures and the lines as we passed around the wood scraps. Students then practiced drawing wood-grain lines on sketch paper. The next day, students lightly drew woodgrain lines on 4" x 6" foam printing plates. Once satisfied with them, they pressed firmly over their lines to create deeper impressions, being careful not to cut through the foam. (Sometimes this is bit tricky, so I put wide masking tape on the backside of the plates to help reinforce them.) As I demonstrated how to ink the incised foam plate and then create a print, I explained that the impressed lines will not print (negative space), but the rest of the plate will receive and transfer the ink to the paper. The students were fascinated by the process. www.ar tsandactivities.com

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On 4" x 6" foam printing plates, students drew and incised wood-grain lines. Prints were made on painted paper, and once dry, the prints were either left intact or cut apart, often following the lines present in the “wood grain.”

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IT WAS TIME FOR THE STUDENTS TO MAKE THEIR PRINTS.

First, they applied ink to their printing plates with brayers. When the plates were sufficiently inked, they lined their prints up by setting the plates (ink side down) on an edge of their painted print paper (any edge will do). Then, holding the paper and printing plate securely together, they flipped them over and thoroughly rubbed the paper on top of the inked plate. Of course, the children got very excited when they pulled their paper to expose the prints! They repeated inking and printing until the entire printing paper was filled. Any areas that were too small for the full plate impressions were then filled with impressions made by cutting the original plate into medium and then smaller pieces. Students could stop there and have wonderful “wood-grain prints” (I shared some of Morrison’s wood grain prints for examples). IN THE FINAL STEP, after the prints were dry, students cut

them apart and experimented with placement of the “wood pieces” before gluing them down onto a sheet of black construction paper. I suggested there be no more than “pinky width” between the printed shapes. Some students left their pieces large and others enjoyed the challenge of cutting them down and then fitting them together. After all their pieces were glued in place, the students signed their work with a light colored pencil. We also completed a class collage, where everyone contributed a print, which we glued onto one large board. The piece was entered at the Minnesota State Fair, and we won first place! The students were so proud of themselves and everyone else was quite impressed. What a success! n Cynthia McGovern teaches art at Kenny Community School, Minneapolis Public Schools, and is an adjunct professor at Hamline University. 27

by Glenda Lubiner

absolutely love to print! It started many years ago when I took my first (and I will admit, only) printmaking class with a ver y inspirational teacher, Boyd White, at McGill University in Montreal, Canada. My love for printmaking has spilled over into my classroom. I now teach middle school, but even when I was teaching at the elementar y level, I always included a printmaking project (or two) in my curriculum throughout the year. I introduced my middle school students to printmaking (again) during class last year, but I wanted to have them do a little printmaking experimenting with me. They are always up to making art and trying something new, especially printing. I wanted to incorporate image transfers, gel printing plate monoprints, stencils. Did it work? Of course it did! My students even experimented with other techniques too! TO START this printmaking les-

Jenessa gently rubs off the white paper to reveal her design. Her final artwork.

son, we looked at the different styles of printmaking from the woodcuts of Ando Hiroshige to the serigraphs of Andy Warhol and, of course, the image transfers of Robert Rauschenberg. We star ted by making highcontrast balanced designs using black Sharpie ® markers on white paper. Marina (opposite page) covered the entire

> LEARNING OBJECTIVES Middle school students will … • create a black-and-white balanced design. • use multiple layers of paint to create texture and depth. • use mixed media to create a visually aesthetic composition.

Emma uses a stencil.

Here, she rubs off the paper.

NATIONAL ARTS STANDARDS

• • • •

CREATING: Organize and develop artistic ideas and work. PRESENTING: Develop and refine artistic techniques and work for presentation. RESPONDING: Apply criteria to evaluate artistic work. CONNECTING: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

MATERIALS

• • • • • Her final artwork. 28

Acrylic matte medium, acrylic paint Hard rubber brayers 5" x 7" canvas panels Gel printing plates (we used 5" x 7" and 6" x 6" Gelli® Arts plates) Bubble wrap and other plastic items with which to create textures— bottle caps, yarn, netting, stencils, etc. • Black permanent markers • Scanner, laser printer n o v e m b e r 2 0 1 8 • 86 Y E A R S

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Marina rolls green paint onto bubble wrap.

She reveals her bubble-wrap print.

Marina’s final artwork.

paper, while Jenessa decided she was going to tr y and design opposite corners, Once these were completed, we photocopied them on a laser printer for better results with transferring them to the canvas. The kids loved making their “doodles” and probably could have spent hours just working on these. Next round, we decided we would try it with photos. THE STUDENTS THEN GOT OUT the gel printing plates, canvas

boards, acrylic paint, bubble wrap (and other odd materials for texture), stencils and brayers. Because my students do a lot of printmaking, we saved a lot of time explaining what the materials were and how to use them. Many of my advanced seventh- and eighth-graders have been printing with me since they were in fourth grade! When doing gel-plate monoprints, I encourage my students to print many layers of color and texture, making sure that some color shows through from every layer. Sometimes this happens and sometimes it doesn’t. Often, they just don’t like their first layer, so they cover it completely and start over—and that’s perfectly acceptable. I always tell them that sometimes their biggest mistakes end up being their best works of art! Marina, an eighth-grader, decided that because it was easier to do gel prints with paper instead of canvas, she reversed the process. Instead of layering paint on the plate then lifting the paper off of the bubble wrap, she added paint with a brayer to the bubble wrap and printed it on the canvas. It worked beautifully. Some of the students had to reprint some of their colors, because they didn’t press hard enough on the canvas, but after they got the hang of it, they went full force with their mission. www.ar tsandactivities.com

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All the kiddos wanted to use stencils! I had purchased about 20 new designs, and they wanted to try all 20 of them! Some worked well, some did not. Even though some stencils didn’t work well, the kids didn’t give up—they added more texture and printed with stencils a second time. WHEN THE CANVASES WERE DRY, it was time to add the pho-

tocopied images. I suggested that they cut out their designs and leave as little white paper as possible. The reason for this is because after the design has dried on the canvas, they will have to rub off all the white paper. Students then painted a thick layer of matte medium on the area of the canvas where their design was going to be placed. The paper was placed design-side down on the wet medium. Using old gift cards, the students smoothed out the paper and got rid of any air bubbles. (If there are air bubbles, the paper will not adhere correctly and the image/design will be lost.) We let the designs dry overnight, and then it was time to rub off the paper and see the results. The students wet the paper, let the water soak in for about 30 seconds, and then started to gently rub off the white paper (the backing of the design). This process takes a little while. Caution: If you rub too hard, you run the risk of rubbing off the acrylic paint. Our experiment worked well and the finished products were all different and beautiful in their own way. I am so fortunate to teach students who are passionate about the arts and are always willing to try new things. n Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Florida. 29

Students turn their 2D transparency cutout into 3D by creating folds.

After tracing patterns onto transparency sheets, students cut them out.

Four-sided hologram videos are available online to work with their devices.

A small piece of transparent tape is added to the open edges to hold the hologram device together.

Students can create their own foursided hologram video from one of their drawings. Here, a drawing was created using Osmo and uploaded into the Holapex Hologram app.

1. Review the following: line vs shape; shape vs form; 2D vs 3D; craftsmanship; use of traditional vs. nontraditional media. 2. Lead class discussion on where they see technology being used in art. 3. Demonstrate how to create a 3D hologram device from a 2D piece of transparency. 4. Create pattern for “holographic pyramid.” a. Create pattern for students to trace onto transparency with black permanent marker. b. Give students patterns you found online to trace onto transparency with black permanent marker. c. Have students create their own pattern (incorporating angles, circles, triangles, lines, radius) and then trace it onto the transparency with black permanent marker. 5. Students create their holographic pyramid with transparency with traced pattern. a. Cut out patterns (to avoid mix-ups, have them write their

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initials small near an edge). b. Create folds in cut transparency and tape together using care and craftsmanship to create balanced hologram device. 5. Students will use the newly created hologram device with technology to create a hologram. a. Teacher can search YouTube for “four-sided hologram videos” and copy links onto class blog/webpage/Edmodo for students to easily pull up. b. Students can create their own four-sided hologram video/ picture using the Holapex Hologram app. (Try creating a speed art video using Osmo’s Masterpiece app, and then upload the video into the Holapex Hologram app to create an individualized four-sided video.) c. Put the hologram device on the tablet or smartphone playing the four-sided video in a dark area. d. Watch as students are amazed at what they created!

by Kerri Waller

ne of my favorite intro to art activities is handheld holograms. It would be great to teach any time, but I have found that it’s perfect for early in the semester. It gets the kids psyched and incorporates a vocabulary review. While researching STEAM-y stuff for our school’s summer STEAM camp, I stumbled across the idea of holograms. I was certain I could incorporate them into the camp—and into my art class. I started by creating a practice hologram alone in my classroom, tested it out in my semi-dark supply closet, and was hooked. I literally ran around my school showing every science teacher I could find. Not only would this project be 30

a tie-in to art, it was awesomely easy! There are many ways to create the hologram devices using plexiglass, CD cases, etc., but I like old transparency sheets best. Our school has a huge supply of them, due to our moving away from projectors to smartboards. One of the things I like best about this lesson is that can change its complexity to fit the level of your students, focus more on line, shape and form if you wish, or you can pull light, reflection and focus more on the science aspects. n Kerri Waller teaches art at Simpson Middle School in Marrietta, Ga., and is the GAEA Middle Level Teacher of the Year. n o v e m b e r 2 0 1 8 • 86 Y E A R S

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media reviews

A LIFE AMONG FISHES: The Art of Gyotaku, by Christopher M. Dewees. ORO Editions, $50. Christopher Dewees is a masterful color gyotaku artist. His hardcover is big (nearly 10" x 12"), beautiful and beghasting (informative). Even if a reader weren’t enamored of the numerous travelogue-type photos, the incredible art and the anecdotes are worth the price of this coffee-table book. Right down to the handmade endpapers, the tome is elegant and superb. A Life Among Fishes is an imaginative combination of research, autobiography, and even humor. The author makes things personal with his stories, all of which are illustrated with fish prints. He’s been all over the world in pursuit of his fascination with fishes— rightfully earning the professional name of Silver Salmon. Dare we say he’s obsessed with the entire subject? A Marine Fisheries Specialist Emeritus at the University of California, Dewees colors and highlights the eye in his prints, as if the animal were alive. His skillful use of color and composition prove that gyotaku is a bona fide art form. He provides both the common and the scientific names for the fish, as well as the locations where the prints were captured. From the history of Japanese gyotaku and its methods to the howto, tips, and advice, the book is for all ages. The two techniques of fish printing, direct and indirect, are adequately explained. Prints of a variety of marine animals are included: octopi, crabs, a squid, shrimp, even a fish skeleton! The author ends with ideas for printing surfaces other than papers and fabrics. Visual arts educators, especially those teaching printmaking, will covet this book. Students could imprint shirts, tiles, scarves, and more.–P.G.

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

BEGINNING ACRYLIC: Tips and Techniques for Learning to Paint in Acrylic, by Susette Billedeaux Gertsch, M.F.A., Walter Foster Publishing, $21.95. Acrylic paint is an agreeable, userfriendly medium. The same could be said for Beginning Acrylic. The brilliant cover draws the reader in, and the pleasing illustrations hold the learner’s interest. Ms. Gertsch provides relevant instruction on color, the art elements and principles and a number of acrylic m e d i u m s . Much of this is already common knowledge to painting teachers, but a blessing to beginners. Same story for the many recommendations: not for the very experienced, but invaluable to newbies. Fledgling painters should carry out the recommended practice activities, many of which are accompanied by large, sequential examples. Directions and words to the wise are easily followed. The author includes sketching and drawing suggestions, and she explains at least 15 painting tactics—or about 30 if you count the list of unusual tools with which to apply paint. With an interest in plein air painting, she focuses slightly more on outdoor scenes, although she covers still life objects as well. The book ends with a sentiment that bears repeating: “Keep painting!” And a quote by Carter Ratcliff, American art critic: “Talent counts for much, but effort counts for more.”–P.G.

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Introducing a heavily insulated Paragon glaze test kiln

shop talk

The Max-119 is heavily insulated so you can fire to 2300°F (1259°C) on 120 volts. The kiln is 11” wide x 9” deep. The walls are 4 ½” thick! The 2 ½” thick firebricks are backed with an extra 2” of block insulation. Optional colors at no charge If you don’t like the black shown here, order your kiln in turquoise, hot pink, purple, berry, navy, jade, or blue. Ideal for classes Buy a Max-119 for your classroom. Students can make gifts for special occasions without waiting until the school’s large kiln is fired. New teachers inherit bags of unlabeled clay. Many ceramic firings have been ruined because the clay was fired to the wrong temperature. With a small kiln, you can test unlabeled clay. Test glazes while you feel the momentum instead of waiting to fire them in your large kiln. A test kiln creates enthusiasm for a clay program. A glaze test kiln vastly increases students’ knowledge of glazes. 18” tall deluxe rolling stand The rolling stand raises the kiln to a convenient height. Should you need a vent, merely slide the Orton collection cup into a mounting bracket on the top of the stand.

SPEEDBALL ART PRODUCTS Create one-of-a-kind prints with Speedball’s Gel Printing Plates. Available in four sizes, their smaller profile allows them to create unparalleled levels of detail that add unexpected and rich dimension to prints. Their construction also makes them lighter weight and leaves them occupying less storage space between uses—ideal for classrooms, traveling teachers and shared spaces. Bulk packs are available.

The walls are 4 ½” thick! The firebricks are backed with an extra 2” of block insulation.

The lid is 3” thick, and the bottom is 4 ½” thick.

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JACK RICHESON According to the folks at Jack Richeson, their linoleum was born out of the need to find a product that would be easy for artists of all ages to carve on. Working with traditional lino tools, it “cuts like butter,” leaves clean edges and works well on curves and tight corners. It really is the answer for those who have wrestled with tough or hard linoleum in the past because it has a longer shelf life than most. Their unmounted lino can also be carved on both sides.

www.richesonart.com 34

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ROYAL BRUSH MFG. Monoprint pads from Royal Brush provide an ideal surface for any type of media. Create monoprint patterns on these smooth, flexible, washable, reusable, odorless and latex-free pads. Simply apply color, roll with brayer, draw design and press with paper to lift the colorful design away. Pads come in the following sizes: 8-inch circle; 4" x 6"; 6" x 6"; 8" x 10"; 9" x 10"; and 12" x 18".

INOVART Inovart’s Printfoam is a soft, dense foam material that easily takes an impression made by pencils, sticks or other objects. For printing textures, its sensitive surface will accept any shape that can be pressed into it. There is no need for sharp tools, which makes it an excellent choice for use by young children. Class packs are available.

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Bioluminous Fish Lesson Plan featuring

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Artwork by: Christian Fusco, Sue Woo, and Tiffanie Mang

HANDY ART Full-bodied water-soluble Handy Art® Block Printing Ink offers highly pigmented colors and superior transfer tack. Ideal for block printing with linoleum, wood block, polyfoam and flexible vinyl plate. Available in a variety of rich, bright colors including fluorescents and metallics in gold and silver (above). Handy Art® Block Printing Ink is certified AP nontoxic.

• Make fish shapes easily with bold Permapaque opaque markers • Detail with the fun, vibrant fluorescent colors of Gelly Roll Moonlight pens • Put under UV Light for surprise glow

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See full lesson plan by Jodi Schmidt: https://tinyurl.com/Fish-Lesson-Plan 35

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STUDY PRINT

Gérard Jean Baptiste Scotin (1698–1755) and James Cole (1715–1774), after H. Gravelot and J.B. Chatelain. Adam Naming the Animals, 1743. Etching, with engraving; 5.3" x 7.3". Wellcome Library No. 15589i. © The Wellcome Trust, London, England.

“Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.” — Walker Evans

e are all in the swing of things now and getting ready for Thanksgiving break—a time for a little personal and professional reflection. This month, we have some great tips for you on printmaking, photography and digital art.

tip #1

TAKE BLOCK PRINTING TO THE NEXT LEVEL. Have students wrap a block of

wood with yarn or string. Once this is done, apply the ink with a brayer and start printing. Students can print multiples of the block, either in direction or changing directions. Once the prints are dry students can add color with watercolor, crayon or oil pastel.

tip #2

VARIETY IS THE SPICE OF LIFE! Ever try

printing on something other than white paper? Here are some unique surfaces try. Glue pieces of colored tissue paper onto a white piece of paper, leaving

tip #3 SHOT LIST NEEDED. Cher yl Maney,

Visual Arts and Dance Curriculum Specialist from Charlotte-Mecklenburg Schools in Charlotte, North Carolina, would divide her students into “photo teams” when going on a field trip. Each team would be given a “shot list.” (The team members would need to have access to a smart phone or digital camera.) While on the field trip, they would take photos to complete their shot list. The students would then send her the photos to print. Some suggestions for the shot list can include a person working, different types of transportation, signs, architecture and photos about the elements of art and principles of design. Once the photos are printed, give to students to cut out and make a large collaborative, collaged mural.

tip #4

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

ubiner

packet to apply the Inkodye onto the surface of your object. Step 4: Expose your design to the sun (12–15 minutes). Step 5: Bring everything back inside a dim room, and take the items off and rinse the object under the sink to reveal the design. If you are going to wear your creation—wash it twice in the washing machine before wearing outside.

tip #5

TIPS AND TECHNIQUES USING PHOTOSENSITIVE EMULSION. Dr. Jackie Hen-

son-Dacey from Venice High School in Venice, Florida, has her students make

Eye Traffic some white spaces (use a one-to-one ratio of white glue to water). Once completely dr y, tr y printing with black ink. Linoleum-block prints, foam-plate prints and monoprints work beautifully on this rich-colored paper. Printing a piece of paper with bubble wrap can make a great print on its own or a surface for another print. When doing silkscreen, tear two contrasting colored papers in half and use half of each to create a full sheet of paper to print on. In addition, for smaller sized prints, Origami printed papers are a beautiful surface.

Glenda L

some pretty cool products using the cyanotype process. Cyanotypes have become popular again and can be created using shadows. A new product, “Inkodye,” is photosensitive emulsion that can be painted onto any surface. Once painted, the surface can be prepared with objects—like a photogram. For older students, you can present the origins of cyanotypes with artistbiologist, Anna Atkins, or introduce them to Man Ray’s rayographs. Step 1: Find some design items (the best objects are not translucent)— keys, paper cutouts, lace, pins, etc. Step 2: Prepare the workspace (in a dim light)—dark closets work best. Inkodye reacts to ultraviolet (UV) rays from the sun. Inkodye is permanent— use caution. Step 3: Apply and blot the surface of any object: pencil bag, folder, T-shirts, etc. Snap the packet open and use the

GRAPHIC DESIGN. Here are a few quick lessons that even a substitute can facilitate for a graphic design class. Once your students have the basics under their belt, they can make a self-portrait comic strip, a reverse figure-ground design or a single-letter collage. Jen Pulliam from Franklin Academy in Pembroke Pines, Florida, had her middle school students create “word art.” They also used printed pages (old books) and created images that went with the text. The designs were printed directly on the pages. Thank you Cheryl, Dr. Jackie and Jen for your great tips. HAPPY BIRTHDAY to Walker Evans (Nov. 3, 1903), El Lissitzky (Nov. 10, 1890), Wayne Thiebaud (Nov. 15, 1920). Louis Daguerre (Nov. 18, 1787), Kara Walker (Nov. 26, 1969) and Clyfford Still (Nov. 30, 1904). 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. Be sure to check out her lesson, “Print Party Palooza!” featured on page 28.

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20th Annual Holocaust Art & Writing Contest Chapman University and The 1939 Society

Purposeful Telling Through Memory to Action

Listen purposefully... Connect meaningfully... Create imaginatively...

â&#x20AC;&#x153;When you listen to a witness...

...you become a witness.â&#x20AC;? Elie Wiesel

Entry postmark date: February 1, 2019 Digital submission due date: February 4, 2019 Awards Ceremony: March 8, 2019

Open to middle and high school students Entries in art, film, poetry and prose First place students (with parent) and teacher receive a four-day, expense-paid trip to Los Angeles with special programs and multiple opportunities to interact with Holocaust survivors.

Luminous Fossil Prints Lesson Plan for Grades preK–8

Step 1: Roll a small amount of clay into a ball, then flatten it.

Step 2: Place a leaf onto the clay, then roll over it to press it into the clay.

Step 3: Gently rub powdered pigment onto the front and back.

Jacquard Pearl-Ex Pigments Das Modeling Clay

Step 4: If desired, tint your “fossil” with additional pigment in a contrasting color.

Make a clay impression, then make it impressive with a shimmer of color. Press leaves and other natural materials into soft clay to form a modern-day “compression fossil,” then apply a layer of “sediment” in the form of lustrous powdered pigments to create detailed outlines. When dry, these shimmering, colorful fossils can be made into pendants, ornaments, or charms.

DickBlick.com/lessonplans/luminous-fossil-prints CHECK OUT NEW lesson plans and video workshops at DickBlick.com/lessonplans. For students of all ages!

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