Arts & Activities Magazine June 2019 by Arts & Activities

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CONTENTS VOLUME 165, N o. 5

J UNE 2 0 1 9

SUMMER IS COMING ... 12 CREATIVE COLLABORATION, UNDERWATER INSPIRATION: DIGITAL

MANDALAS Don Masse

and Denise Bondi

Glenda Lubiner

14 SOUTHWESTERN LANDSCAPES Matt Mazur 16 RECYCLING RENAISSANCE: CREATIVE CANJOS Kimberly J.B. Smith 23 FIRST-GRADE TEXTURE CAMPFIRES Katie Morris 24 CREATIVE COLLABORATION, PROJECT RUNWAY ... FRANKLIN STYLE!

YEARLONG SECONDARY CURRICULUM SERIES 10 3D INTRO ART, ARTICLE 10 OF 10: NEVELSON-INSPIRED MURAL Debi West

SPECIAL FEATURES AND COLUMNS 8 STEPPING STONES: SUMMER ACTIVITIES TO SHARE WITH STUDENTS Heidi O’Hanley

9 ART IS AT THE CORE: OLEG HOLOSIY, 24 SPECIFIC PLOTS AND THEIR KANGAROO Amanda Koonlaba

38 TRIED & TRUE TIPS FOR ART TEACHERS: SEE WITH YOUR HEART

Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: VICKI SMITH, WEIGHTLESS and SIMPLY DRIFT Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: UNTITLED (STILL LIFE) Marsden Hartley

26 30 31 36

A&A AT YOUR SERVICE VOLUME INDEX CLAY CORNER SUMMER BUYER’S GUIDE 2019 ADVERTISER INDEX

DEPARTMENTS 4 EDITOR’S NOTE 6 MEDIA REVIEWS 7 SHOP TALK

ON THE COVER

UNTITLED (detail) Tempera paint; 12" x 18". By middle-schooler at Dealy Montessori Vanguard and International Academy, Dallas, Texas. See “Southwestern Landscapes” page 14.

ADVERTISING SALES: amy.tanguay@artsandactivities.com; (888) 651-7567. SUBSCRIPTIONS: subs@artsandactivities.com; (858) 842-4443; fax (858) 842-3918. AD PRODUCTION: production@artsandactivities.com; (858) 842-3934; fax (858) 842-3916; EDITORIAL: ed@artsandactivities.com, (858) 842-4443. ADDRESS: 13741 Danielson St., Suite A, Poway, CA 92064. WEBSITE: www.artsandactivities.com.

Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 13741 Danielson St., Suite A, Poway, CA 92064. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy: $4 in U.S.; $10 outside U.S. 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 both old and new addresses. 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®, 13741 Danielson St., Suite A, Poway, CA 92064.

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86 Y E A R S •

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8 3

e d i t o r ’s n o t e

For what seems like forever, millions of fans of

a certain cable TV series have been anxiously aware that “winter is coming.” I must confess, this includes myself, hubby Dave and our dog, Isabella.

I N M E M O R I A M ( 1 9 4 2 – 2 018 ) Thomas von Rosen p r e s i d e n t 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

Setting that aside, we must return to the “real world,” where we are blissfully aware that “summer is coming.” It’s a good thing! To help you prepare, we are sharing ideas that will make the most of the approaching season. From watching a puffer fish create art on the ocean floor, to “channeling”

EDITORIAL ADVISORY BOARD 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

Tim Gunn for your students, this month’s issue aims to assist in smoothly

Barbara Herberholz Art Education Consultant, Sacramento, California

winding down the school year.

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

Generally, Don Masse does not repeat many of his lessons from year to year. Nonetheless, there is one that his young students

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

have experimented with for the past three years. Writes Don, “It’s a fun, low

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

stress, collaborative experiment that touches on a number of key concepts.”

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

Turn to page 12 to find out what Don’s students are doing on their iPads in

Amanda Koonlaba Curriculum Specialist, Teaching Artist, Saltillo, Mississippi

“Underwater Inspiration: Digital Mandalas.”

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

Another collaborative art-room experience is described in “Project Runway ... Franklin Style!” (page 24), where Glenda

Don Masse Heidi O’Hanley

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

Lubiner reports how she was “beyond thrilled” to have been one of the lucky

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada

participants in Tim Gunn’s workshop at a recent NAEA convention. Upon

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

returning, she parlayed her experience into a highly fashionable challenge A D V E R T I S I N G D E PA R T M E N T

for her middle-schoolers. Given bags containing just a piece of fabric, bulletin-board paper, old CDs, tassels and other art-room remains, teams were charged with first designing and then making clothing worthy of a trip down the red carpet … and perhaps motivate Anna Wintour take of f her signature

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

amy.tanguay @ artsandactivities.com 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

sunglasses for a closer look. HOW TO REACH ARTS & ACTIVITIES Subscription Services To subscribe, renew, change an address or buy single copies,

These stories are just two of the successful class-

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

room experiences your colleagues have shared on these pages. We invite you

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

to dive into this month’s issue …

After all, summer is coming!

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

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

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

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

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Maryellen Bridge, Editor and Publisher ed@artsandactivities.com 4

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media reviews

The Comic Book Artist’s Workbook, PERSPECTIVE: A Guided Logbook for Beginners, by Dan Cooney. B.E.S. Publishing Company, $21.99. Let’s just come right out and say it: Kids get a bang out of dramatic, unusual pop-culture visuals, especially odd viewpoints and angles— even tilted ones! Cooney’s latest book is well supplied with such kicky crowd-pleasers. It’s an introductory course in drawing accurate human characters within their comic book habitat, with a few robots thrown in for good measure. The book is loaded with examples and diagrams, beginning with basic information. Cooney is a proponent both of reference photos and observations from life. And of course the imagination plays a part! He also recommends keeping a sketchbook, even to the point of dedicating one to old buildings, one to automobiles, and so on. Following each chapter are ten blank but gridded pages on which to practice bird’s-eye, worm’s-eye, figures in three-point perspective, and more, each with suggestions and pointers. These are like lined sketch-

BOOKS • DVDs Paula Guhin

•

PRINTS

•

RESOURCES

book pages, but with suggestions. Readers will also find three large “Draw and Fill-Ins” in the book, unfinished sketches to which the learner can add more by using the pale guidelines. The chapter on one-point perspective includes convenient instruction on finding the center of a window or door, and how to draw a receding series of them, too. One of the challenges in that chapter is to draw blocks with holes cut into them. Another, very familiar to art teachers, is dimensional block lettering. Some parts, especially the threepoint chapter, might be beyond the average middle-schooler, but the author makes it seem easy. He provides handy advice throughout, sometimes boxed in a “Pro Tip” sidebar. This isn’t the first how-to book on comics and graphic novels that the author has written. Scope out his website at dancooneyart.com.

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Before the final workbook pages, Cooney reiterates key points and briefly discusses several last factors regarding layout and production. There’s even a beneficial two-page glossar y. And if a logbook is a place to record important details and events, then this one can ser ve as a journal, documenting the exercises performed by anyone tr ying to improve his or her drawing skills.–P.G. I AM NOT A TOILET PAPER ROLL: The Recycling Project Book, written, designed, illustrated and packaged by Dynamo Limited. B.E.S. Publishing Company, $8.99. We all want to be environmentally conscious and to reduce waste, although art teachers might be particularly good at it. Considering the abundance of cardboard tubes (not only in toilet paper rolls but also in paper towel rolls and kitchen wraps), it’s relatively easy to accumulate heaps of them. Enlist your family, friends, students’ parents, colleagues—even the custodian! Assuming you teach preschool and primary-level kids and have storage room for plenty of such tubes, this might be the book for you. Projects in the slim paperback require adult super vision, according to a proviso in the book. They also involve inexpensive, readily-available materials. Supplies don’t have to be new, of course. One could substitute old ribbon, yarn bits, and more. There are 10 key projects, but the book’s value is increased by the many offshoots: extra ideas such as a coral reef for the mermaid, a clown from the basic gingerbread man, a ninja’s horse, and other suggestions. The best teachers will allow for independent thinking, an excellent move which the book packager here does with a page that encourages children to plan their own toilet paper roll designs.–P.G.

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shop talk

JACQUARD PRODUCTS Your students will experience the art of sun-printing with Jacquard’s Cyanotype Class Pack. This easy and seemingly magical sun-printing process ties in well with art, science, photography, chemistry lessons and more. The pack includes everything needed to make prints from objects (photograms), drawings or photographs—all you need is a sunny day! Great group activity for up to 30 participants; safe for kids 8 and above.

GENERAL PENCIL Comfortable and easy to hold, General Pencil’s Woodless Coloring Pencil Set features 12 bold, smooth, blendable and erasable colors, which are ideal for art journaling, drawing, coloring or just plain doodling. These pencils also sharpen easily, do not melt, have a hexagonal shape, and are AP Approved, nontoxic.

TANDY LEATHER Since 1919, Tandy Leather has been the resource for generations of leathercrafters, providing quality leather, tools, kits and teaching resources. In addition to a huge variety of leather, Tandy’s 252-page full-color 2019 Buyer’s Guide offers all the tools and other supplies needed to work with the fascinating creative medium of leather.

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EARLY SIGN-UPS RECEIVE A FREE MURAL-SIZE CANVAS AND ACTIVITY KIT. SEE DETAILS ONLINE

2018 MURAL WINNER, 9-12 CATEGORY: MOANALUA HIGH SCHOOL IN HONOLULU, HAWAII

TAKE THE WYLAND ART AND MURAL CHALLENGE

Looking for a great group art activity for your fall lessons? Sign up for the Wyland National Art and Mural Challenge. This annual free program includes over $2,500 in scholarships and prizes. Plus, the first 50 classrooms to enter receive a free mural-sized canvas and lesson kit. Sign up today at www.wylandfoundation.org/artchallenge or call 1 800 WYLAND-0. See complete rules online. PRESENTED BY Founded by famed muralist and conservationist, the Wyland Foundation is a 501(c)(3) non-profit organization In support of the arts, science and our environment AAMagazineAd.indd 1 www.ar tsandactivities.com

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Watch “Wyland’s Art Studio” on PBS for weekly art tips

4/22/19 10:57 AM

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.

SUMMER ACTIVITIES TO SHARE WITH STUDENTS

BY HEIDI O'HANLEY

t’s the end of the school year, and sometimes, parents may be calling you asking for ideas during summer break. Every year, I receive emails from parents and guardians asking what activities to recommend to continue their child’s creative development over the summer break. I’ve listed a few options that I’ve gathered and shared with parents through our school’s social media sites throughout the time away from school.

ART CLASSES. Many local art studios, cultural centers, and park districts offer various art classes throughout the summer for affordable prices. These classes can dive more in depth with methods and materials than a school setting because the workshop time frame can extend up to a few hours past the time in a normal art class setting. Over the summer break, I teach kids classes at a local art studio. When the time constraint is not as crunched, students can dive further in with exploration of materials and processes while creating amazing products.

PRIVATE ART LESSONS. Whether you or a local artist

VISITING A MUSEUM. If you live near a bigger town or

offer the private lessons, it never hurts to recommend individual or small setting lessons to help a student improve their artistic skills. When I was in elementary school, I had the opportunity to take private lessons from a local artist to help with my painting skills. It’s similar to tutoring for improvement of craftsmanship.

city, most likely there are art museums within reach that students and families can visit. In Chicago, Rembrandt’s portraits will be featured at the Art Institute of Chicago. In New York City, the Museum of Modern Art is featuring the works of surreal artist Joan Miró. Many museums will feature artworks created by artists you may have introduced to your students, and it’s really exciting to view the artworks in person.

PRACTICE COMPOSITION WITH PHOTOGRAPHY. Many upper elementary level students now have access to smartphones, so what about encouraging your students to practice their photography? If you’ve had a chance to introduce a few composition tips to your students in any grade level, encourage them to practice those composition shots. Even better, if families have their own camera, students can become more familiar with traditional camera settings.

5 8

BRING A SMALL JOURNAL WHEREVER YOU GO. I encourage my own kids to bring a small journal or

sketchbook whenever we go out. Some of the best sketches we’ve created together are when we sit by the lake looking out over the waterfront. Encourage your students (and parents) to carr y a small journal or sketchbooks when they go out and see if they pick up any interesting details on their visits.

ATTEND A GALLERY. Many towns, whether big or

SUMMER CAMPS. Many summer camps offered in

CREATE A PAINT PARTY. Art studios are beginning to

small, will have local art galleries that feature creations from local artists. Why not encourage families to attend an opening or show within their local community? In visiting local galleries, students and families can meet and learn about local artists within their own community.

your area offer a variety of activities for students to participate in, including visual art projects. There are even camps available specifically designed for the arts. This option is normally on the higher end of a family’s price range, but is an excellent opportunity for students to practice and refine their artistic skills. Many colleges (like the School of the Art Institute of Chicago) also offer an early college program for high school students, similar to a summer camp.

pop up around many towns across the country, which offer classes, parties, and events for painting on canvas, ceramics, or wooden boards. This is also a great idea for a kid’s birthday party over the summer. The art studios normally take care of all the supplies, all you bring is the attendees and snacks. These types of parties follow a step-by-step process with painting; I’ve attended a few just to be a student and see how other teachers lead their classes.

GO ON AN “ART WALK.” Some towns and cities house amazing murals and sculptures around their communities. Why not encourage your families to go for a walk within town and learn the sites? There is an amazing app called “Field Trip” that locates and describes many historic locations and artworks in cities around the globe. This would help the family learn more about their local artworks and history together. I hope you and your students have a great summer break. I also encourage you to continue your own creative pursuits while you have time away from the art room! It’s a good way to focus on your own care and inspire new ideas for the next school year! 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. j u n e 2 0 1 9 • 86 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.

ART is at the OLEG HOLOSIY, ‘24 SPECIFIC PLOTS AND THEIR KANGAROO’

BY AMANDA KOONLABA

leg Holosiy (1965–1993) was a Ukrainian artist associated with the Transavantgarde and Neo-Expressionism art movements. Representative of the postmodern generation of artists in the Ukraine, he was part of the New Ukrainian Wave, which arose during the late Soviet period of the 1960s through the 1980s. Following are ideas for integrating Oleg Holosiy’s 24 Specific Plots and their Kangaroo (1990) with other subjects.

LOOKING. This is a super engaging work of art

because of the curious and bizarre use of color and imagery. Students will have an array of initial reactions when they first see it. They will immediately want to start blurting out what they think about it. So, before beginning this lesson, be prepared that students will need a good bit of time to view and analyze the work. Also, let them know before you ever start that they will have time to talk about it in a short while, but first they absolutely must keep all of their thoughts inside their brains! In other words, tell them not to talk until you’ve given them the cue. For the initial looking sequence, have students look at the work without talking for about a full minute. Use a visible countdown timer so that students can tell how much time is left. Then, remove the image from view and have them write every word they can think of about the work on a sheet of paper. Give them about two minutes to do this and require them to remain silent. Next, assign the students to work in small groups or in pairs. Give them several minutes to discuss the work. Encourage them to use the list of words they generated to guide their discussions. Monitor to ensure students stay on task. Finally, have them share their generated lists of words with their group. Students should cross out any words that appear on more than one person’s paper. Create a class chart of words from each group. As they share with the whole group the words that were not crossed off, see how many unique words the class can generate that do not appear on more than one list. Go to artsandactivities.com and click on this button for resources and links related to this article.

MORE LOOKING. On a subsequent day from the

AND MORE LOOKING. The students will probably be

initial looking activity, have students get into small groups again (either the same or new ones). Assign each group a row of the artwork to analyze. If there are more than five groups, assign the same row as many times as needed. Instruct the groups to try to figure out how the images are related. They should look for similarities, patterns, and differences. They will come up with a lot of off-the-wall answers about the relationship between the images, and that is okay! In fact, this can be encouraged for thinking outside the box. Finally, have the students try to create a story out of the images in their row. They should treat each frame as a specific plot point in the story. They can use whatever creative licenses they need to transition from one frame to the next. Repeat this activity with columns.

fascinated by the two seemingly unrelated spaces in the grid of the artwork. Avoid going too deeply into an analysis of those until this last looking activity. At this point, tell the students the name of the artwork and have them talk to

They will come up with a lot of off-the-wall answers about the relationship between the images, and that is okay! each other about these two spaces specifically. Any reactions the students have or speculations they make about these two spaces will be appropriate no matter how bizarre. After these three looking activities, students should be able to easily and excitedly complete the next activities.

ART MAKING AND CREATIVE WRITING. Have stu-

dents use a digital camera (iPads, smart phones, tablets, etc.) and photograph each other reenacting each frame of the artwork. Make sure they know to capture the subtleties and nuances that make each one different. They will have to get very creative to recreate the two odd frames. For instance, they may have to use a rolled up shirt or a stuffed bear in place of the kangaroo. Print these in black and white on a grid that fits onto one sheet of paper. Next, have them choose a limited color palette (three or four colors only) and add color on top of their photos. Markers, crayons or colored pencils work well. They can turn see

ART CORE

on page 29

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. www.ar tsandactivities.com

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Yearlong Secondary Curriculum Series | 3D INTRO ART

ARTICLE 10 OF 10

Nevelson-Inspired Mural by Debi West

HERE’S HOW IT’S DONE: Students will bring in recyclable objects from home, such as milk cartons, plastic cups and bowls, straws, mesh bags that hold fruit, containers and plastic lids, paper towel rolls, etc. The list is truly endless, so push your students to think creatively. Since they have already

t the end of the school year, it’s often tricky to come up with exciting, interesting and manageable art lessons that keep our kids engaged. Not to mention coming up with lessons that we still have enough supplies for! If you’re like me, you have used the majority of your media and your budget has run dry, so it’s now time to get super creative! I have always been a big fan of Louise Nevelson’s installations and found that tying her art into a recyclable art lesson is very successful. The best part of the project is that kids are working independently, but in the end, all of their works come together to create a class (or a grade level if you dare) recyclable mural.

brought in shoeboxes for their environmental installation project (April 2019 issue), they should know all the good places to gather old shoeboxes and once again, these are required. Once all of these recyclable objects have been brought in, students will share what they have brought in and begin to organize these items inside their boxes. They can cut and layer and manipulate the items to create interesting and unique designs within their boxes. Several years ago we even had a parent bring in a huge box of wooden pieces, so if you can’t afford to purchase wood pieces, ask your students if they know of anyone who might have access to wood scraps.

Gold is a popular color choice among students to spray paint their Nevelsoninspired murals.

> 10

Close up.

The best part of the project is that kids start out working independently, but in the end, their works come together to create a class mural. Close up.

When students have created a design that they are happy with they begin to glue these pieces together in the box. I have found that wood glue works well and, of course, if you’re comfortable using glue guns, I recommend securing the pieces with hot glue. STUDENTS THEN TAKE their boxes and

put them together on a large piece of sturdy plywood. I usually get this donated from our local Home Depot since it’s a schoolwide project; so again, if your funds are low, don’t be afraid to reach out and ask for donations. As a class, we organize these boxes onto the plywood, creating a class mural. Students work together and discuss the elements and principles of art to create the most eyecatching array of designs. Finally, they decide on one color to spray the mural a monochromatic hue, similar to Louise Nevelson’s work. My students often choose gold, since it’s really beautiful and you don’t need as much paint to cover the objects. I don’t recommend white paint

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ARTICLE 10 OF 10

3D INTRO ART CURRICULUM SERIES

Nevelson-Inspired Mural LEARNING OBJECTIVES

MATERIALS

High school students will ... • learn to think globally and consider environmental issues for final 3D lesson of the semester. • use recycled materials to create class mural using Louise Nevelson’s work as inspiration. • create monochromatic relief sculpture as a teaching instrument for community.

• • • • •

Recycled materials Cardboard shoe boxes 10' x 4' piece of plywood Spray paint (gold, black, red work best) Hot-glue guns and hot-glue sticks

PROCEDURES Students share what they bring in and organize these items inside their boxes to create interesting and unique designs within their boxes.

1. Introduce the lesson by having students discuss what is happening to our landfills. 2. Students will then learn about installation artists such as Louise Nevelson. 3. Students will discuss the items they throw in the trash daily and how those items could perhaps be used to create a piece of art. 4. Students will work in groups and discuss their portion of the class relief mural and how they would like to showcase their recycled materials. 5. Students will work on wood, cardboard or used shoeboxes to create their areas of “trash” art to create a textural piece, while considering form, balance and space. 6. Students will begin to add their portions of the mural to the plywood board.

7. Students will continue work together to create a unified class mural with the simple materials they have brought in. 8. Students will hot glue all of the items securely to the board. 9. Students will take turns spray-painting the entire piece until all areas are covered. 10.Students will write a group performance final about the message behind their mural. 11.Students will exhibit their work in an installation in our commons area where entire school can see it. (Several of the final murals have been purchased by stores and schools in the community! They’re beautiful, educational pieces of collaborative art.)

ASSESSMENT The collaborative murals are spray-painted monochromatic hues, similar to Louise Nevelson’s work.

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

because you will need double, and often triple the amount of the spray paint necessary for coverage. If a class were really adamant about white, however, I would have students independently paint their boxes, then glue them down onto the plywood, and give the final works one good spray after they’ve been adhered securely. Red, black, brown and orange are other colors that have worked well. These collaborative recycled class sculptures are truly beautiful and I have

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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.

found that my school enjoys hanging them for everyone to see. These are a wonderful reminder that “together we ART better” and that together, we all need to continue to recycle for the health of our planet. I HAVE ABSOLUTELY LOVED SHARING

a year’s worth of intro 3D art projects with you all. My hope is that you can use these lessons and springboard to come up with an amazing list of ideas to teach your students how to think and

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be successful with sculptural works. Next up … see you next year with a yearlong series of service-learning projects called “Art with Purpose.” 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. 11

creative COLLABORATION

y students are used to being introduced to a variety of living artists in our art room. This lesson introduces them to yet another artist, but in this case, it happens to be a recently discovered species of Japanese puffer fish. I love their reactions and responses when they discover that the artist is, indeed, an animal, not a human. Before sharing a short video of the fish creating, I ask students to listen for the answers to two questions while watching it: 1) What are the artist’s tools? and 2) How long does it take the artist to create its artwork? Afterwards, students share that for about a week straight, the puffer fish uses its fins to create a large (7-foot) mandala out of sand and shells. They learn that the artist uses these drawings to attract a mate/partner. They also discover that the drawing looks like a giant circle split into many slices, where the lines get thinner and thinner towards the middle.

ONCE WE'VE WATCHED THE VIDEO, out come the iPads, and the buzz of excitement is felt throughout the room. I tell students that, since we did not bring our bathing suits to class, we’ll use our tablets to create colorful radial designs inspired by the work of our focus artist. Then we take a look at a brief how-to video about the free app we’ll be using to create our art: Drawerings – Mandala Kaleidoscope Drawings! If you’re using desktop computers, it can also be used on their website (www.drawerings.com). At the front of the room while the video plays, I model how to use the app’s tools. Our designs are different than the puffer fish mandalas in a few key ways: Ours will have a minimum of three overlapping layers, the lines will get thinner with each layer—thinnest in the foreground, and the lines will get lighter with each layer. In this way, they also resemble the round

stained-glass windows found in many cathedrals. (If interested in including current events, this lesson could connect to the rose windows that survived the recent fire at Notre Dame.) My students have already experimented with color value and overlapping in a landscape collage lesson, so this provides them the opportunity to see how similar concepts can be used and are present in artworks that look a lot different from each other from a style and/or subject point of view. BEFORE DISTRIBUTING THE EAGERLY ANTICIPATED TECHNOLOGY, I explain that this experience will be a lesson in

teamwork as well as art making. They will be working with a partner to create a visual design together. Accordingly, they will need to be kind and respectful toward one another. I enjoy giving students opportunities to collaborate with digital tech. Too often, kids (and adults) have their heads bent down in solitar y experiences when using tablets or cell phones. I love seeing them turn toward one another with the iPad between them, taking turns and talking about ideas. Of course, there will be some struggle with this aspect. When problems arise, I take different steps: giving a team a verbal or timed reminder to switch turns; a quiet talk about the importance of respecting each other; or finding an alternative grouping. By and large though, the kids do well with the experience. WHEN STARTING THEIR DESIGNS, I walk them

through the steps again: Open the app, find the toolbar, change the number of lines of symmetry, change the brush size to large, change the color to something light and, of course,

A persistent puffer fish inspired these works by elementary-level students.

Underwater Inspiration: by Don Masse

DIGITAL

j u n e 2 0 1 9 • 86 Y E A R S

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A lesson in teamwork as well as art making, students worked with partners to create visual designs together.

LEARNING OBJECTIVES

I show them the ever-important clear all/delete button. They are given about 5 minutes to experiment. We then pause to adjust the brush size and color value, and they go at it again for another 5 minutes. Again we pause to make size and color adjustments. These steps are also noted on the dry-erase board in the front of the room as a reminder. After going through all the steps, I give them more time to play. If any team has a design they really like, they can call me over to save it—but only if they can show me thick, medium and thin, and dark, medium and light. Once they have an image saved, the students are expected to continue working on a new design, so they may have the opportunity to choose one from several designs for final printing. This step is important because it gives the team a chance to discuss why they like one design more than the others. It reinforces that visual art component, as well as the social-learning aspect of the experience.

Elementary students will … • collaborate with a partner to create an original work of art. • verbally identify different color values and different line types in their work. • explain their reasoning for selecting one design over others to print as their finished artwork.

NATIONAL ART STANDARDS

• •

CREATING: Engaging collaboratively in exploration and imaginative play with materials. RESPONDING: Classifying artwork based on different reasons for preferences.

• • •

Tablets (we use iPads) or desktop computers, access to color printer App: Drawerings – Mandala Kaleidoscope Drawings! (available at the App Store and Google Play) National Geographic source video (see A&A Online)

MATERIALS

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ONCE THEY HAVE A DESIGN SELECTED for printing, students

delete the others from the iPad photo gallery and turn in their tablets and cards with name/number, so I know whose work is on what iPad. After class, I go through the iPads and print two copies of the design for each partner to keep. I generally don’t repeat many lessons from year to year, but my first-graders have experimented with this digital puffer fish mandala lesson the past three years. It’s a fun, low stress, collaborative experiment that touches on a number of key concepts. It’s got nature. It’s got technology. It’s got talking. Maybe, just maybe, it’s now got you. n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. At a recent NAEA convention, Don was named 2018 Pacific Region Elementary Art Educator of the Year.

MANDALAS www.ar tsandactivities.com

86 Y E A R S •

june 2019

Southwestern ——

—————

by Matt Mazur

L A N D S C A P E S D

esert landscapes are often considered bare, desolate wastelands that lack any form of life or beauty. Through the many years I’ve lived in Texas, spending much time at my family’s ranch, I believe nothing could be further from the truth. The warm colors and vast skies that dominate this boundless landscape have inspired artists like Burt Harwood, Maxfield Parrish and Georgia O’Keeffe for years.

Sarah Norah

LOOKING CLOSE. This lesson begins with examining photos and paintings from the American Southwest, including Arizona (1950), by Maxfield Parrish. I have questions ready for my students, such as “What colors dominate the composition?” and “What do you see in the foreground, middle ground and background?” They are given a few minutes to think and write their answers before we begin a discussion. As students shared their answers and I added to their responses, we began to see how artists can manipu-

late space on a two-dimensional surface by using atmospheric perspective, diminishing sizes, fading colors and overlapping objects. When asked, “What is the largest thing you see?” students begin to recognize that if an object is closest to the viewer, it will be lower on the page and larger than the other objects. In contrast, fartheraway objects are smaller and higher up, toward the horizon line. We took note of the colors in the paintings, as I emphasized the use of warm and neutral colors, and how they become duller as one moves back in space. This is what’s known as atmospheric perspective: as objects move back in space, their color becomes paler, less detailed and somewhat blurry. Being able to compare photographs and paintings right next to each other is also helpful so students can see these elements working in real life.

j u n e 2 0 1 9 • 86 Y E A R S

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LEARNING OBJECTIVES Middle school students will … • recognize and appreciate the unique characteristics of Southwestern landscapes. • create a landscape that shows an illusion of space through use of foreground, middle ground and background. • develop and improve painting techniques.

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.

Gus

MATERIALS

• • • •

Art and photos of Southwestern landscapes 12" x 18" white drawing paper Pencils, sketch paper Tempera, paintbrushes, water bowls

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Nina

Sophie

CREATING DEPTH. While these images were fresh in their minds, I had students begin making sketches. The landscapes students were to create needed to contain a clear foreground, middle ground and background. Overlapping and scale should be used to create depth, like we saw in the examples. Objects in the foreground should be bright and detailed, while those in the background should be duller and slightly “out of focus.” Before painting began, we spent a day mixing tints and shades using both warm and neutral colors. I displayed some photos of west Texas and had students try to recreate as many of the colors as they could from the examples. I like to have students start with the background when doing landscapes. They can create a smooth background www.ar tsandactivities.com

easier and then, as they move forward in space, overlapping with the paint will add to this spatial effect. Then, when they begin to paint cacti and plants in the middle and foreground, the lines and details are clearer and the objects appear to be getting closer. The next step is to begin layering colors, deciding on a general light source and adding appropriate highlights and shadows. I give several demonstrations for students so they can see firsthand how to mix and blend paints to create these realistic effects. OBSERVATIONS. During the course of this project, I noticed how quiet and focused my students were! They were fully engaged in getting the perspective right in their landscapes. Some

86 Y E A R S •

june 2019

could be heard offering others advice, such as “That needs to be higher” or “If that’s close to the horizon, the color should be more dull.” As these sublime landscapes were coming to life, I was mesmerized by the expressiveness of each painting. Students didn’t create a series of bland, empty deserts but instead created a view of the Southwest that was truly their own. It reminded me of what I feel is one of the most important things about being an artist: looking at something often ignored and finding the beauty and sacredness that exists there. n Matt Mazur is an elementary and middle school art teacher at Dealey Montessori Vanguard and International Academy in Dallas, Texas. 15

RECYCLING

renaissance

Owen painted a bear for his canjo art.

Abrielle using stencil and Ben painting.

Ava, Zoie-Ann and Mason working together to attach can to the neck of canjo.

Creature

Canjos

by Kimberly J.B. Smith and Denise Bondi

n opportunity to create a memorable art/music experience presented itself at our school. A speaker on Project Based Learning (PBL) inspired us to develop a unit on “canjo” making and embellishment. What is a canjo? It is a relative of banjos but is made with … you guessed it: cans! There is a long history of making “folk art” musical instruments from cast-off materials. Denise (music teacher) and I (art teacher) created the unit with the help of Glenn Watts from C.B. Gitty Co. in Rochester, N.H. (www.cbgitty. com). It was a fabulous success and has become a tradition at our school for our third-graders. Regarding Project Based Learning (PBL), according to the Buck Institute for Education (BIE), PBL is a student-centered pedagogy that involves a dynamic classroom approach in which it’s believed that students acquire a deeper knowledge through active exploration of real-world challenges and problems. ... It is a style of active learning and inquiry-based learning. (Source: www.pblworks.org.) WE STARTED WITH A DRIVING QUESTION: How can we as successful engineers create canjos that are visually, as well as aurally, pleasing? This question was posed to our students after learning the Engineering Design Process through STEAM units. Our age-appropriate explanation of this design process is: 1. Identify the problem. 2. Explore/Research/Brainstorm. 3. Design your best-bet solution. 4. Create model/prototype. 5. Try it out. 6. Make it better! 16

WE ALSO INCORPORATED THE EIGHT COMPONENTS OF PBL:

1. Challenging Problem or Question (Driving Question). Yes, we asked the question! We reviewed resources and encouraged collaboration. We demonstrated building the canjos and making the art. We scaffolded the content. 2. Sustained Inquiry. Inquire, seek and investigate are the gold standards of PBL. We provided the roots and wings through a “go forth and problem-solve” vibe, combined with easy access to adult input when needed. 3. Authenticity. Using the tools that a folk artist would use, C.B. Gitty Co. supplied a roadmap of sorts for students to experience using the materials to create a quality canjo. Our goal was to create a format for students to create a beautiful and tuneful instrument. Our students were very excited to create something that they would own. In a low socioeconomic district, it is vital to provide examples of art/music that can be made with very little outlay of money. 4. Student Voice and Choice. We witnessed this through the collaborative problem-solving conversations that occurred in student groups while they constructed their instruments. The art featured animals from art history, but students had voice and choice in color selection and in personalization beyond the basic animal stencils they used. 5. Reflection. We asked students to respond via essay, to questions about canjos, animals in art history, process, and C.B. Gitty. This helped us move forward with revisions. 6. Critique and Revision. Our revisions involved the development of personal and group rubrics to be used after instruction on constructive criticism techniques. 7. Public Product. After much practice playing their canj u n e 2 0 1 9 • 86 Y E A R S

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Sam attaching can to canjo neck.

Kylee’s canjo art features turtles.

Student-made canjos.

Snake and quadruped by Shaylee.

LEARNING OBJECTIVES

MATERIALS

Elementary students will ... • identify materials to use to create canjos and canjo art. • assemble canjos using the information and materials provided. • design and personalize art for their canjos. • revise canjo construction as needed. • assess their own success in creating canjo, canjo art and use of canjo to create music. • assess their own success in creating a visually and aurally pleasing experience.

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.

jos, students have the opportunity to play at monthly assemblies, for small group settings and are filmed for local access TV. Some students learn songs from the collection while others composed new songs. 8. Key Knowledge, Understanding, Success Skills. The components of the National Core Art Standards are comprehensively addressed via both art and music in our canjo unit. www.ar tsandactivities.com

86 Y E A R S •

june 2019

Art • Examples of animals in art • Basic plastic stencils of animals • Peal and stick paper for canjo design • Pencils • Small and medium paintbrushes • Acrylic paint Music • Canjo Kits (each includes can, neck, basic hardware, filament), Directions Packet (step-by-step, with great visuals) and Beginner Music Packet from C.B. Gitty (www.cbgitty.com) • Screwdrivers (small and regular size) • Pencils, rulers

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THE ART FOR OUR CANJOS. Who doesn’t love animals in art?

In the first year of this project, we found, that animal themes were overwhelmingly selected. As a result, our second year featured only animals from art. Basic animal plastic stencils (cut by me) were the jumping-off point for layers of color (limited color scheme and light/dark contrast were encouraged). Fine-art visuals were see

CANJOS

on page 29 17

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JUNE pp.2-21

4/27/06

COVER

2:03 PM

4/27/06

2:03 PM

Page 21

LEARNING

stor y

Masterpieces in R

SIDEWALK

of portraiture.

Vermeer

complete.

arts

ties activi

❘

2006

• study and be encouraged

sketches and planning • Newsprint for preliminary • Pencils and erasers Canson (little or no surface texture), • Black drawing paper • Prismacolor pencils • Colorless blenders create a still life, or clean • Objects with which to be used for detail photographs that could

to apply the principle of utilizing various resources and techniques to produce a work of art. of artistic techniques and apply them to new artistic challenges.

• use prior knowledge

• use “metacognition” in problem solving.

• recognize the beauty

LEARNING OBJECTIVES

world around us.

Students will... • compose space. up from dense black. • build and blend color and texture of objects. • learn to assimilate color

Ou t of the

B lu e

artistic/creative

in the everyday

MATERIALS • Digital camera • Overhead transparency • Laser printer • 18" x 24" Masonite board • White primer or gesso paint • Tempera paint • White and black charcoal pencils • Kneaded eraser • Watercolor paints Jill Allaway

G reat Por tra its

Annie Sam Dinh Lai

tic field trip. Although they were surprised appointed when and a little diswe arrived at our With my students’ destination within minutes—the experience help, we located five a wing chair used was very pleasant. We had previously in a past production. classic English-type completed a very Our fabric was draped over the chair identifying and and allowed to emphasizing shadows successful project “drape” across pointed out how the floor. I pus, and I wanted found around cam“perfect” the natural to follow-up on lighting was being ated by our skylights, the aspect of how ows, light and dark, creand shadvalues, and contrast advantage of positioning how the students should take situation—but in full themselves to capture particular, portraiture. add drama to any dramatic effect of the most At the rear of our the sunlight. Each cafeteria student posed first pose of his or her is our where our drama complete stage in a choosing, and then area department performs me. I alerted them a pose suggested wonderful plays. to make sure their by face was both in ow and highlighted shadby the light. The pose was to be natural, casual, reflective of their personality, and not silly or pretentious. Each student took two or three digital pictures of each other. I took advantage of this situation by emphasizing to my photographe rs how their point-of-view might heighten the “drama” with either an extremely high or low point of view or an unusual angle. I also informed them to totally ignore the background. All they should be interested in was their subject/center of interest, the drapery, and the drama. I also told them not to “crop in the camera.” Cropping was to be done later in the process. For the pas t few years, my students have used Masonite panels for the execution of their projects. They are inexManuel Enriquez see BLUE on page

byJen Len Cacioppo Mathes

his multi-media project began as a whim dents “out of the box” (my classroom), to get my stuthese mediums ronment that might up at every opportunity. and into an envinot be considered I continue to make to the school’s cafetorium “arty.” So ... all levels of my their prior artistic (cafeteria/auditorium). it was off art students rely I had a wonderful knowledge and on I challenge them bunch of advanced opportunity to be Aneesa Farooq up of juniors and at every art students made creative in their seniors. Besides approach to every presented to them. being artistically they were also—and project talented, more importantly— With their I introduce most with tive. They were projects artistically inquisiDuring this pleased I was verylesson all eager to attempt to my students, I a historical begin any artistic challenge andathe built the threw at them. I they with wayof relevance and an assignment, must admit with choices,I introduction to the ious artists whom stu- be a slight chuckle, occasions, they might var-stronger art of my unpopular with my on significant to this couple I wasparticular many were color. lesson. With thisPrismacolor project, abstracdown which I took concerned with the artistic avenues their however, I discovered the dents when I challenged them. They were to do things students I grabbed couple ofelected backwards. was part many and various well-steeped in of boldly patterned Blender. This colorless, and size, as athis of scale the art mediums—b always Colorless fabric samples have lying about ut I enjoy(ed) tion spentaround, assignment. We mixing moved Iand blended my the actual announced “pencil” 34 digital creamy camera, and once to butwe them, class onmy we all ended up were about toso three and a half weeks colors gobeautifully, on a mini-artispencils like piece. they were buffed up (colored it somewhere on the a layr t s & using when a cloudy c Jose Torres t “zoom in” i vities a p r students these sometimes seem ❘ the il 2005 By having were stunning! that makes w w w . a r t s a n d a c t i v i t i e ered), then matted, they s.com and really see the detail matted pieces we focused on are, they On a few of the finished, what objects their actual drawrendering I had the kids protect the objects and the colorful n black mat board, ing and the face of their of our subjects. of the mat board and then color the bevel color pencil (the teaching, Arts & in a complementing Recently retired from beveled). This Editor Geri GreenContributing points of which had been Activities eye into the art department of served to pull the viewer’s man was head of the of the drawing in Villa Park, frame, while pulling some Willowbrook High School out to the viewer. 15 Arnold

colors together. a rag to blend Kirsten using mer u n e •s u m

ment program/tools. • utilize the language of art vocabulary. • actively participate in artistic processes. • Recognize and enjoy the artistic creative processes.

MATERIALS

such as stamps, lated, either as a group, RECIPEcorn, peppers or fruit, pencils, CHALK Indian to fit together, or things that seemed

3 ⁄4-cup

employing related object. sketches, as I had the students do objects or ima form of arranging the were all satisfied ages. Then when we they drew the with the composition, promise. newsprint. Evenis showing size they wanted on hard work their sketch Students’ tually, they transferred lighter chalk to the black paper with of the sketch. back the on rubbed paper, which (This protects the black in that erasures is especially important color.) affect its surface and local color, The students started with layers. I was with color up built and then universe. color’s compleview of the adamant about using the An abstract out those objects ment as a way to dull than using straight rather accua drawing in shadow, in keeping theto the lights— in up will assist work willtowork black, dand organize process. well. as the rate. Being avoidingout white through straight starting by experienced some difartists’ favor students The ished accompl working andblack This can be paper with objects grid the on the complete. ficulty of to room, help willor at the top Van Gogh’s yellow; several laywhite wereThis thatend. other the work. toward the in because they damagin tog be laid g orneeded ers made against the avoid smearin drawingrather s can be greenish appeared for Sidewalk chalk are a great project paper. and in any size black were varof subject or groups. Their choicesfor this individuals tion inspiraor vegetables were popular, The trueied, fruit named Kurt choice, an artist feathers were a beautiful project is while odger.co m/wenn er/ in that they challenging, incorthough very Wenner (www.d Lisa Modelevsky s images Wenner’ linear and delicate. that is together to gallery.htm). werehic geometry Sara work the anamorp ts Nick and Hoppers’ porate of Edward ated and represen start a copy that goes very sophistic nding of skill Night Hawks. whether temgreat understa art, of piece into any fine k lover. nt. it > The comic-boo the rain do porary or permane r’s simple—let is carpente a students Cleanup using washer. Many grids are created lines are a carpenor use a power spend so much time Chalk lines in conGeri Greenman bystraight why we chalk line. away. to create chalk wonder to create long needed the will only wash Patuse it to lay mally used ter’s tool used when in that I have rendering,” artwork that a “box The students on often If you be erased students hadthat itcan prostruction. to quote General ■ drawing of color. a composition, y advanced linesasmake upwhen areas response is students straight My medial obdown large just a mixed-media is fleeting.” own pastel finished and are perfectly your and with at. least one three-dimension ton, “All glory grays correctly choose to make ties black, white, duced are endless box. In doing smallthe in a laid, been Leyden down signment in mostly gluedhas ject, grid to get art at West into um, the possibili available time for them Once the It was online. objects stay in position Lappe teaches are and brown. in Steveart this way, the drawing it freehand e, Ill. to many recipes tools abstraction to assist them in Northlak to fit on their artists can lly, a coloring colorful small enough need and move from High School and are , essentia For this 21 Artists completed The grid le images. students had to place creating large scale. classes. These large-sca shelves in in between and a image creatingrealism. s are usedcourse book was to introductory assignment measure this of requisite and the tape object es The reason, Guidelin class, so they were tonality, coldrawing large areas. visually capture the scale, measurebeginning of working with chosen objects challenge the es.com up for or and textures of the ctiviti ® and achievtsanda students possibly w w w . a r their Prismacolor pencils, as realistically as the This semester, ing photographic realism. could in this rendering. their artisblack paper and Students often measure I had decided to use can duplicate to the highlights. tic skills by how well they have them work up all, most of us less dauntsubject matter. After paper is oftentimes Black have we a when it already has have experienced praise ing than white, in that using color or it and it appears accomplished a likeness sensation of mass to simplifying, disis somewhat texture, as opposed to that the negative space a subject as a torting or exaggerating suggested. on some way of abstracting it. I had the students decide before— that are reI have done this assignment sort of collection of objects graphite—calling ties x february arts & activi though usually in

the history

and techniques in dramatic portraiture.

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LEARNING OBJECTIVE S

Students will ...

• become familiar with

• recognize approaches

• utilize computer photo-enhance

repetiwarm water even if it was simply through tubes In showing my example, Toilet-tissue Paris of color. paints of tion very 11⁄2 cups plaster powdered temperafor them to see that s my aim was space was used, 2–3 tablespoon little “paper” negative mixing of the Container for instead, another layer

Lappe

by Steve enlarges it as the artist of the drawing for visual impact. halls bear onto the sidewalk used to achieve the through the students passing evolving images. The As for the chalk little. The the we cheat a ’ faces as blue and cadmium to witness to vivid colors, for a means on the students d at the ed violet, cobaltthe surface of an raise funds expressions dents first money is used intense over the courtyar yellow cover ends. The terrace with they look out is telling—their expressupply us our creative day pastels that open-air concrete chalk. Children and end of the feeling of surpurchase hard hues. Added to the tely sidewalk to pleasant of a immedia hues sions convey ere are ent. with rich colored line chalk,” which adults everywh of all ages plying their is all the “straight prise and amazem and is norpastel is to our audience organizadrawn to artists the outdoor surfaces variety of sizes Unknown and on comes in a hard work creative skills summer day. the muralpreliminary point in y to create during a warm er at some tion necessar in vivid color. on all All of us rememb down images to sized hunched may choose our lives being g away at the rough Some students work, while fours, scrubbin sidewalk with intense copy a master’sto create their the images surface of others choose trying to create drawing. Either colors of chalk, characters, abstract own original is the ook of faraway prepara tion of comic-b creor scenes way the of artists first swirls of colors like to visit. Some same. Sidewalk in pencil on a would and study places we successful This ate a value1 were quite ⁄2" x 11" paper. also our efforts sheet of 8 not. map, which organization others were is the value for drawing and with a little es, it However, techniqu on s. grid a has Miserable The grid classic drawing art in large from Les accuracy. and a few nt Cossette amazing proportion create map for placeme you can create at our school acts as the chalk scale. Art students scale, sidewalk fantastic, large in annually drawing s, of courtyard the center school buildthe circular remark able The ing. be seen from images can floor and both the first corridors second floor the courtthat surround possibly yard and quite land. from the airplanes to the courtyard airport. the rooftop ing at O’Hare day, stu- A view from the Throughout

OBJECTIVES

… of tion process Students will the representa • understandat, public-space art. large-form work. master-artist of a master• copy a a values study reference. • reproduce for a value of the work in pencil grid on a photocopy • place a study for reference.drawing student value a masters’ and transfer the grid. • enlarge accurately using to a onto a sidewalk colors of pastels • apply particular concrete surface.

Page 20

Article ChaChlalkk Archives JUNE pp.2-21

Tomasa Tolentino 35

Jessica

2004

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A&A Art Print: Respond and Connect Vicki Smith. Weightless, 2014, and Simply Drift, 2012.

“The female figure has always been central to my work. Water became the solution for where to place the figures. Watching my daughter swim in a northern lake was an “aha” moment. Slipping in and out of the surface of the water was pure poetry, no gravity, no boundaries, just a lovely fluid movement. It gave my figures a recognizable place to exist, without confining them to a specific statement. Also, because water and swimming are universal, it allows the viewer to bring their own story to the painting.” Vicki Smith, 2016

MAIN ART CONCEPTS: Color • Line • Space • Value • Light • Reflection BIOGRAPHICAL NOTE: As Smith was growing up, she says, “I didn’t really understand what an artist was, but I never doubted that art was my path.” When she was in high school, she was most comfortable in the art room and reflects that she learned the most about making art at that time. Still, she furthered her education, and graduated from the Ontario College of Art in 1981. She spent her last year studying in Florence Italy.

SCIENCE: Is water really blue? The answer is yes. Chemically speaking the material of water absorbs red/orange/ yellow and reflects back various shades of blue from that range from turquoise to a deeper cobalt color.

•

PHYSICS: Refraction vs. Reflection: Most of the colorful distortions at the waterline in Smith’s underwater images are caused by refraction. As light rays move through the dense water, they bend, bounce off the subject, bend again and finally reflect light to the eye. Smith’s painting from above the lake shows pure reflections; the light is bouncing directly off the surface of the water itself.

Above left: Weightless, 2014. Oil on linen; 48" x 48". Above right: Simply Drift, 2012. Oil on linen; 48" x 48".

•

GEOGRAPHY: The lake depicted in A Conversation with Summer is located in northern Ontario, Canada. The rock formation that created the lake is part of the Canadian Shield, an 8-million square mile area of glacially compressed rock. Lakes in these areas, such as this one, often contain very little soil at the bottom. They are the oldest exposed Precambrian (4 billion to 451 million years ago) rock formations in the world.

RECYCLING: Pool noodles are almost impossible to recycle, because they are made of polyethylene foam. People, therefore must re- and up-cycle them and use them for all sorts of alternative purposes.

•

A Conversation with Summer. Oil on canvas; 48" x 60".

MOOD: Vicki Smith expresses two very different moods in her work. The piece above is set in a dark lake, and seems more mysterious (perhaps even a little dangerous) in comparison with her well-lit figures in swimming pools.

FASHION: The conservative-looking red bathing suits worn by the subjects in these paintings are Smith’s nod to growing up in the 1950s and ’60s. There is a fresh innocence about the attire, which was often constructed from thicker fabric and printed in plaids, stripes, ginghams and spots.

PHOTOGRAPHY: Smith’s largescale works are paintings, yet they have a photographic sharpness. Her references come from digital photographs. She says, “A photo shoot will usually last about 2 hours, and I will take about 500 shots, from which I may get a dozen images that are inspirations for paintings. Because I don’t swim and I’ve never put my head underwater, the best I can do is hold the camera under the surface, point in the general direction of the model and hope for the best.”

WORKING IN SERIES: Smith says she usually works in sets of three paintings at once. She works on pieces with similar themes, moods, and color schemes.

Wherever you see this symbol, it means there are resources related to this article available online. Visit artsandactivities.com and click on this button to explore these topics further. Annotations on this page and online by Tara Cady Sartorius. www.ar tsandactivities.com

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JUNE 2019

Vicki Smith (Canadian; b. 1958). Left: Weightless, 2014. Oil on linen; 48" x 48". Right: Simply Drift, 2012. Oil on linen; 48" x 48". Images courtesy of the artist (website: vickismith.ca) and Bau-Xi Gallery, Canada.

In the Studio: Create and Present Lesson connections by Tara Cady Sartorius, Program Director, Alabama Arts Alliance

GRADES K–6

GRADES 7–12

PERKY WATER WORKS. The brightly colored digital art by these

ACTIVATION BELOW THE SURFACE. Tricia Oliver is an adventurous

second-graders seems to bubble over with joy. Since their school is only about a mile from the coast of Florida, it is no wonder these students demonstrate such affection for sea life.

teacher who will go to great depths to provide inspirational opportunities for her students. In this case she and her students collaborated with the City Pool, and they even provided a lifeguard during their photo shoot. Oliver may have found a great way to combine art with physical education, as this lesson requires stamina and athleticism. Working in an unusual environment still requires understanding the basics. “I enjoy the marrying of traditional art with technology in the art room whenever I can. This project not only allows me to cover the history of photography and concepts such as composition, lighting, and theme, but it also gives the students the opportunity to experience what a professional photographer might experience on the job.”

Digital art by grade 2 students of Eleni Strawn, Garrison-Jones Elementary in Dunedin, Florida.

There is a special art-making app for the iPad named Percolator. Teacher Eleni Strawn brought her students from making art with traditional media on paper, then on their iPads, and then imported their digital work into the Percolator app. “This lesson could easily be done with more traditional media (paint, crayon, pastels, etc.) instead of the drawing app,” Eleni explains. “The bubble effect would be difficult to achieve without Percolator on the iPads. The bubbly effect lends itself to the underwater theme.” Apparently, there is some adjustability within the algorithms of Percolator. “In Percolator they experimented with the different styles to create the mood they were looking for,” says Eleni. She believes this lesson could be successful with any grade level. Try it! NATIONAL ART STANDARDS: Grade 2 CREATE: Make art or design with various materials and tools to explore personal interests, questions and curiosity. 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

Underwater photography by high school students of Tricia Oliver, High School Fine Arts Chair, Lee-Scott Academy, Auburn, Alabama.

Her students used disposable Fuji underwater cameras for their original photographs. After the images were developed by commercial means, students scanned and uploaded their images into Snapseed, a free app owned by Google. Oliver then showed “students how best to use the tools to improve composition, edit exposure or pool lines, manipulate the image as needed, and export.” At the high school level, Oliver expects her students to take their work seriously, with an eye toward advanced degrees or employment. She wants them to know themselves and understand others. “Since students will choose props and costumes that reflect who they are and their interests and experiences, we discuss how that could potentially be conveyed through the images. In the end, they usually discuss how challenging it was to do the work and respect what photographers do to get ‘the shot.’” NATIONAL ART STANDARDS: High School CREATE: Through experimentation, practice, and persistence, dem-

onstrate acquisition of skills and knowledge in a chosen art form.

RESPOND: Hypothesize ways in which art influences perception and

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first-grade by Katie Morris

y elementary school chooses an annual theme for each school year, and this year has been “outdoor adventures.” As summer approached, I wanted to present a fun project to my first-graders that would connect to the theme, while reviewing art techniques and vocabulary. After a bit of brainstorming I came up with the idea to make campfires using several different materials with unique textures.

LEARNING OBJECTIVES Primary-level students will ... • review the art element of texture. • consider how artists can create texture in their art work. • apply skills learned earlier in the year in making an artwork.

NATIONAL ART STANDARDS WE PREPARED FOR THE PROJECT by discussing textures, and the

fact that texture is how something feels or looks like it feels, and then brainstorming different texture examples. I explained that we were going to make artwork with lots of different textures. The first step in creating our campfires was to create the logs. Students crumpled up 6" x 9" pieces of tan or brown paper, flattened them out, and rubbed black or brown crayons across the surface to emphasize the wrinkles. When the paper was sufficiently texturized, the students tore the paper into log-shaped strips before gluing them onto black construction paper for lots of contrast. At first, a few students struggled to get started tearing the paper, but I think it’s good practice for manual dexterity and created interesting organic shapes. After the logs were made, we needed fire! I passed out piles of warm- colored tissue paper—yellow orange and red. Students then tore and manipulated the tissue paper into flames, securing them with just a bit of glue, which allowed the “flames” to rise up off the surface of the paper. Some students even discovered that by rolling up little pieces of the tissue paper, they could create “embers” drifting away from the fire.

•

CREATE: Explore uses of materials and tools to create works of art. • Demonstrate safe and proper procedures for using materials, tools, and equipment while making art.

MATERIALS

•

9" x 12" black construction paper • 6" x 9" brown/tan construction paper • Red, orange and yellow tissue paper

• • • •

Pencils, black or brown crayons Natural sticks Cotton balls White glue

OF COURSE, EVERYONE’S FAVORITE part of this project was making the roasting marshmallows! I had collected some small sticks outside before class. We attached them with a line of glue, angled over the fire, and then glued a cotton ball on the end to represent the marshmallow. My students really enjoyed this textureand camping-themed art lesson, and I think yours will too! n

Katie Morris is a preK–12 art teacher for the Jackson Heights Schools in Holton, Kansas.

Ruby

London

Brandin www.ar tsandactivities.com

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creative COLLABORATION

Emma and Arnaldo working hard.

t a recent National Art Education Association conference, I got lucky. No, I didn’t win the lottery, but I did get to meet, and take a workshop with, Tim Gunn of Project Runway. And boy, that has been one the highlights of my life. If you watch Project Runway, you should know that Mr. Gunn is exactly the same in person as he is on the show. He is a nice, kind man and was willing to even take the time to take pictures with us. But, the best part was getting to be designers—yes, designers—with Tim Gunn, runway show and all. SINCE BEING A “DESIGNER” WITH TIM GUNN was such a terrific experience

for me (and so much fun), I thought that, at the end of the year, it would be fun to have my students do a challenge with all our leftover scraps and recyclables from the year. The class that would experience this was a small mixed class of seventh- and I was beyond thrilled to meet Tim Gunn in eighth-graders. New Orleans. After dividing the class into four groups of three, I explained what Project Runway was before presenting their challenge. Some students had seen the show, so they had an idea of what to expect, while the others had no clue—and I think they were pleasantly surprised! Then came the challenge. Each group was given a black

Designers at work.

plastic garbage bag that had multiple items in it. Not in the bags were glue, tape, scissors and a stapler, but these materials were on another table where students had access to them as needed. Students were told that once the challenge starts and they look in their bag, they had to create a piece of clothing, decide what their inspiration was from the materials they received, pick a model, and a spokesperson. All three in the group had a say in the design. Each bag contained a piece of fabric, approximately 36" x 36", and a piece of bulletin-board paper, approximately 36" x 48". Some bags had bookmarks with tassels, some had old CDs, there were maps, ribbons, foil, and a multitude of other supplies that I took out of my bucket of leftover “stuff.” The kids couldn’t wait to open the bags and get started. But, before they did, I went into my Tim Gunn mode and announced, “Designers, you have 45 minutes for this challenge—make it work!” Off they went to create their incredible designs. After they unpacked their bags, it was good to see that each group had a discussion about what they were going to create. One group started with Dylan being the model, but that changed quickly to Sydney. I don’t think he felt ver y comfortable knowing that he would have to walk the “red carpet,” a.k.a. red bulletin-board paper! Despite this hiccup, I was pleasantly surprised to see how involved the boys were. I did not hear any arguing or disagreements, but I did hear a lot of positive conversation and laughter. Like Mr. Gunn, I walked around the room, briefly speaking with each group as it worked, giving small suggestions here and there. The students were very creative with the materials, and trying very hard to think outside of the box. When they had 15 minutes left, I recommended that they start finishing up, as they had a runway show to put on.

Project Runway by Glenda Lubiner

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Sydney walking down the red carpet in “Rock and Roll” outfit.

WE ARE A K–8 SCHOOL, and very fortunate to have three art teachers: one elementary, one middle school digital art and myself, who teaches visual art to all the sixth-graders and one mixed class of seventh- and eighth-graders. We invited the digital art class to view our fashion show and judge the designers’ creations. The fashion show took place on our patio for lack of a better location. It was quite windy outside, so we lined the “red carpet” with ceramic bowls and boxes of clay—we couldn’t have it blow away! My students did a practice run, then they were ready for the real show. Our audience was extremely respectful and did a great job judging. The kids really had a great time doing this. “I loved this project,” said one. “It had a lot of wonderful things ... like having people design your clothes and coming up with a work of art. It was hard though, with the materials we were given.” “It helped us to express our creativity, and have fun,” said another. Saying that her experience was great, one young lady explained, “You had to use your imagination and get to work with your friends and classmates. We were being timed, so it somehow seemed like a mystery to solve,” and her classmate added, “We learned how to work fast, how to value time, strive for success, and never give up.” Another student was thinking more globally: “The project was a creative idea that really helped me think. By doing more projects like this, people can communicate and create better skills in general. Plus, it was really fun!” Isn’t that exactly what we want our students to experience as summer approaches? n

Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Florida.

Erica, “Starlight Star Bright.”

Talia, “Outer Space.”

EARNING OBJECTIVES Middle school students will … • work collaboratively with their team. • create a piece of wearable art within a time limit with limited supplies. • create an artist’s statement that reflects their influences.

NATIONAL ARTS STANDARDS

• •

CREATING: Generalize and conceptualize artistic ideas and work. PRESENTING: Develop and refine artistic techniques and work for presentation. • RESPONDING: Apply criteria to evaluate artistic work. • CONNECTING: Synthesize and relate knowledge and personal experiences to make art.

MATERIALS

• Fabric • Paper • Ribbon

• Feathers • CDs • Plastic bags

• Foil • Found objects

Examples of materials found within the bags.

... Franklin Style! www.ar tsandactivities.com

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volume index

In every January and June issue, Arts & Activities magazine publishes a Volume Index. The Index lists, by category and author, the articles that ran during a particular five-issue volume. We recommend keeping all of A&A’s Volume Indexes on your computer, in a binder or in a file for reference when looking for articles dealing with a particular topic, medium, artist, art technique, and so on.

VOLUME 165, FEBRUARY–JUNE 2019

A&A ART PRINTS Acoma Pueblo, Water Jar, Feb., p. 19 Caillebotte, Gustave, Paris Street; Rainy Day, Apr., p. 19 Egyptian, Book of the Dead for the Singer of Amun, Nany, Mar., p. 23 Strebtvorwärts Collective, Homage to Kurt Schwitters (1887–1948), May, p. 19 Smith, Vicki, Weightless and Simply Drift, June, p. 19 A&A STUDY PRINTS Hartley, Marsden, Untitled (still life), June, p. 37 Hassam, Childe, Rainy Day, Boston, Apr., p. 37 Miles, John Lewis, Face Jug, Feb., p. 37 Renoir, Pierre-Auguste, A Girl with a Watering Can, Mar., p. 45 Schwitters, Kurt and Theo van Doesburg, Small Dada Evening, May, p. 37 ADVICE FOR ART TEACHERS Art is at the Core: Barrington Watson, Conversation, Feb., p. 7 Art is at the Core: Oleg Holosiy, 24 Specific Plots and their Kangaroo, June, p. 9 Art is at the Core: Pat Lipsky, Sandwich, Apr., p. 7 Choice-Based Art: Art Trap, May, p. 7 Choice-Based Art: Grading Artistic Process Instead of Product, Mar., p. 8 Don’t Give Up: Making a Difference in Our Students‘ Lives, Mar., p. 20 Forum: Cool, Calm and Collected, Mar., p. 10 Stepping Stones: Designing Collaborative Projects, May, p. 6 Stepping Stones: Spring Art Shows in your Community, Feb., p. 6 Stepping Stones: Things I Have Learned About My Students, Apr., p. 6 Stepping Stones: Youth Art Month and Advocating for Art, Mar., p. 6 Stepping Stones: Summer Activities to Share with Students, June, p. 8 Tried & True Tips for Art Teachers: Art Gives Life, May, p. 38 Tried & True Tips for Art Teachers: Color is a Gift, Apr., p. 38 Tried & True Tips for Art Teachers: Feelings for Art, Mar., p. 46 Tried & True Tips for Art Teachers: See With Your Heart, June, p. 38 Tried & True Tips for Art Teachers: Transformed by Art, Feb., p. 38 ALIVE AND KICKING Artists Up Close, May, p. 23 Mirroring, Heather Hanson Style, Mar., p. 14 Paint to the Maxx, Apr., p. 16 ART APPRECIATION/ART HISTORY Art Print: Acoma Pueblo, Water Jar, Feb., p. 19 Art Print: Caillebotte, Gustave, Paris Street; Rainy Day, Apr., p. 19 26

Art Print: Egyptian, Book of the Dead for the Singer of Amun, Nany, Mar., p. 23 Art Print: Strebtvorwärts Collective, Homage to Kurt Schwitters (1887–1948), May, p. 19 Art Print: Smith, Vicki, Weightless and Simply Drift, June, p. 19 Study Print: Hassam, Childe, Rainy Day, Boston, Apr., p. 37 Study Print: Miles, John Lewis, Face Jug, Feb., p. 37 Study Print: Renoir, Pierre-Auguste, A Girl with a Watering Can, Mar., p. 45 Study Print: Schwitters, Kurt and Theo van Doesburg, Small Dada Evening, May, p. 37 Study Print: Hartley, Marsden, Untitled (still life), June, p. 37 ART IS AT THE CORE Barrington Watson, Conversation, Feb., p. 7 Oleg Holosiy, 24 Specific Plots and their Kangaroo, June, p. 9 Pat Lipsky, Sandwich, Apr., p. 7 CHOICE-BASED ART Art Trap, May, p. 7 Grading Artistic Process Instead of Product, Mar., p. 8 CLAY: EARTHEN AND AIR-DRY 3D Intro Art, Article 6: Clay Vessels, Feb., p. 10 Enchanted Environments, Feb., p. 24 Face Jugs, Feb., p. 26 Peeps of the World, Unite! Decorative Peep hole Plugs for the Classroom Kiln, Feb., p. 16 Pinch-Pot Animal Bowls, Feb., p. 12 Symbolic Ceramic Totem Poles, Feb., p. 14 Where I‘m From: Narratives in Clay, Feb., p. 23 COLLABORATIVE PROJECTS Alive and Kicking: Mirroring, Heather Hanson Style, Mar., p. 14 Creative Collaboration: Classroom Color, Apr., p. 12 Creative Collaboration: Up For Auction!, May, p. 28 Creative Collaboration: Underwater Inspiration: Digital Mandalas, June, p. 12 Community Connections: Immortalizing America’s Generous Spirit, May, p. 26 The Happy and Sad Book Project, Mar., p. 18 Project Runway ... Franklin Style!, June, p. 12 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 COMMUNITY CONNECTIONS Alive and Kicking: Artists Up Close, May, p. 23 Art on the Go!, Apr., p. 24 Creative Collaboration: Up For Auction!, May, p. 28 Dotty Wotty Houses: The Heidelberg Project, Apr., p. 23

The Happy and Sad Book Project, Mar., p. 18 Immortalizing America’s Generous Spirit, May, p. 26 COMPUTER/DIGITAL ART Creative Collaboration: Underwater Inspiration: Digital Mandalas, June, p. 12 On the Art Career Track: Revisiting Renoir, Mar., p. 30 DRAWING AND PAINTING Alive and Kicking: Artists Up Close, May, p. 23 Alive and Kicking: Mirroring, Heather Hanson Style, Mar., p. 14 Alive and Kicking: Paint to the Maxx, Apr., p. 16 Colorful Boxes, Apr., p. 26 Community Connections: Art on the Go!, Apr., p.24 Community Connections: Immortalizing America’s Generous Spirit, May, p. 26 Creative Collaboration: Classroom Color, Apr., p. 12 Creative Collaboration: Up For Auction!, May, p. 28 Dotty Wotty Houses: The Heidelberg Project, Apr., p. 23 Erase Me!, Mar., p. 32 The Emotion Breakdown, Mar., p. 27 Experimenting with Chalk: Vibrant Reptiles, Mar., p. 16 The Happy and Sad Book Project, Mar., p. 18 The Lovely Bones, Apr., p. 14 On the Art Career Track: Revisiting Renoir, Mar., p. 30 Peter Max and the ‘60s: Students Get Their Groove On, Apr., p. 10 Recycling Renaissance, Creative Canjos, June, p. 16 Scaffolding Artistic Accomplishment with Stories and Art, Feb., p. 30 Southwestern Landscapes, June, p. 14 ELEMENTARY (grades K-5) 3D Art is Dino-Mite!, May, p. 10 Alive and Kicking: Artists Up Close, May, p. 23 Alive and Kicking: Mirroring, Heather Hanson Style, Mar., p. 14 Alive and Kicking: Paint to the Maxx, Apr., p. 16 Community Connections: Art on the Go!, Apr., p. 24 Creative Collaboration: Up For Auction!, May, p. 28 Creative Collaboration: Underwater Inspiration: Digital Mandalas, June, p. 12 Dotty Wotty Houses: The Heidelberg Project, Apr., p. 23 Enchanted Environments, Feb., p. 24 Experimenting with Chalk: Vibrant Reptiles, Mar., p. 16 Face Jugs, Feb., p. 26 First-Grade Texture Campfires, June, p. 23 Integrating the Curriculum: Magnanimous Beetles, May, p. 14

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Peeps of the World, Unite! Decorative Peep hole Plugs for the Classroom Kiln, Feb., p. 16 Peter Max and the ‘60s: Students Get Their Groove On, Apr., p. 10 Recycling Renaissance, Creative Canjos, June, p. 16 Sailors‘ Valentines, Feb., p. 28 Scaffolding Artistic Accomplishment with Stories and Art, Feb., p. 30 FORUM: THOUGHTS TO SHARE Calm, Cool and Collected, Mar., p. 10 INTEGRATING THE CURRICULUM Magnanimous Beetles, May, p. 14 MIDDLE AND HIGH SCHOOL (grades 6-12) 3D Intro Art, Article 6: Clay Vessels, Feb., p. 10 3D Intro Art, Article 7: Environmental Installations, Mar., p. 12 3D Intro Art, Article 8: Chopstick Sculptures, Apr., p. 8 3D Intro Art, Article 9: Indoor Sculpture Garden, May., p. 8 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 Colorful Boxes, Apr., p. 26 Community Connections: Immortalizing America’s Generous Spirit, May, p. 26 Creative Collaboration: Classroom Color, Apr., p. 12 Creative Collaboration: Project Runway ... Franklin Style!, June, p. 12 The Emotion Breakdown, Mar., p. 27 Enchanted Environments, Feb., p. 24 Erase Me!, Mar., p. 32 Experimenting with Chalk, Mar., p. 16 Integrating the Curriculum: Magnanimous Beetles, May, p. 14 The Lovely Bones, Apr., p. 14 On the Art Career Track: Revisiting Renoir, Mar., p. 30 Peeps of the World, Unite! Decorative Peep hole Plugs for the Classroom Kiln, Feb., p. 16 Pinch-Pot Animal Bowls, Feb., p. 12 Recycling Renaissance, Books As Art, May, p. 12 Recycling Renaissance, Creative Canjos, June, p. 16 Sailors‘ Valentines, Feb., p. 28 Sculpting Hand-in-Hand, May, p. 16 Symbolic Ceramic Totem Poles, Feb., p. 14 Where I‘m From: Narratives in Clay, Feb., p. 23 MIXED MEDIA 3D Art is Dino-Mite!, May, p. 10 3D Intro Art, Article 7: Environmental Installations, Mar., p. 12 Alive and Kicking: Mirroring, Heather Hanson Style, Mar., p. 14 www.ar tsandactivities.com

Colorful Boxes, Apr., p. 26 Community Connections: Art on the Go!, Apr., p. 24 Community Connections: Immortalizing America's Generous Spirit, May, p. 26 Dotty Wotty Houses: The Heidelberg Project, Apr., p. 23 The Emotion Breakdown, Mar., p. 27 Erase Me!, Mar., p. 32 Experimenting with Chalk: Vibrant Reptiles, Mar., p. 16 First-Grade Texture Campfires, June, p. 23 Integrating the Curriculum: Magnanimous Beetles, May, p. 14 Peter Max and the ‘60s: Students Get Their Groove On, Apr., p. 10 Recycling Renaissance, Creative Canjos, June, p. 16 MULTICULTURAL Alive and Kicking: Artists Up Close, May, p. 23 Community Connections: Immortalizing America’s Generous Spirit, May, p. 26 Creative Collaboration: Underwater Inspiration: Digital Mandalas, June, p. 12 Face Jugs, Feb., p. 26

Symbolic Ceramic Totem Poles, Feb., p. 14 Where I‘m From: Narratives in Clay, Feb., p. 23 MURALS Alive and Kicking: Artists Up Close, May, p. 23 Creative Collaboration: Up For Auction!, May, p. 28 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 ON THE ART CAREER TRACK Revisiting Renoir, Mar., p. 30 PAPER/PAPIER-MACHE/COLLAGE 3D Art is Dino-Mite!, May, p. 10 3D Intro Art, Article 7: Environmental Installations, Mar., p. 12 Colorful Boxes, Apr., p. 26 Creative Collaboration: Project Runway ... Franklin Style!, June, p. 12 Creative Collaboration: Up For Auction!, May, p. 28 Dotty Wotty Houses: The Heidelberg Project, Apr., p. 23 The Emotion Breakdown, Mar., p. 27

WHEREVER you see this symbol, it means there are RESOURCES related to this article AVAILABLE online. VISIT artsandactivities.com and click on this button to EXPLORE these TOPICS further.

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Erase Me!, Mar., p. 32 Experimenting with Chalk: Vibrant Reptiles, Mar., p. 16 First-Grade Texture Campfires, June, p. 23 The Happy and Sad Book Project, Mar., p. 18 Recycling Renaissance, Books As Art, May, p. 12 READY-TO-USE RESOURCES Art Print: Acoma Pueblo, Water Jar, Feb., p. 19 Art Print: Caillebotte, Gustave, Paris Street; Rainy Day, Apr., p. 19 Art Print: Egyptian, Book of the Dead for the Singer of Amun, Nany, Mar., p. 23 Art Print: Strebtvorwärts Collective, Homage to Kurt Schwitters (1887–1948), May, p.19 Art Print: Smith, Vicki, Weightless and Simply Drift, June, p.19 Study Print: Hassam, Childe, Rainy Day, Boston, Apr., p. 37 Study Print: Miles, John Lewis, Face Jug, Feb., p. 37 Study Print: Renoir, Pierre-Auguste, A Girl with a Watering Can, Mar., p. 45 Study Print: Schwitters, Kurt and Theo van Doesburg, Small Dada Evening, May, p. 37 Study Print: Hartley, Marsden, Untitled (still life), June, p. 37 RECYCLING/USING FOUND OBJECTS 3D Intro Art, Article 8: Chopstick Sculptures, Apr., p. 8 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 Creative Collaboration: Project Runway ... Franklin Style!, June, p. 12 Enchanted Environments, Feb., p. 24 First-Grade Texture Campfires, June, p. 23 Integrating the Curriculum: Magnanimous Beetles, May, p. 14 Recycling Renaissance, Creative Canjos, June, p. 16 Recycling Renaissance, Books As Art, May, p. 12 Sailors‘ Valentines, Feb., p. 28

SEE HOW teachers have used Arts & Activities PROJECTS in their ART ROOM.

STEPPING STONES Designing Collaborative Projects, May, p. 6 Spring Art Shows in your Community, Feb., p. 6 Summer Activities to Share with Students, June, p. 8 Things I Have Learned About My Students, Apr., p. 6 Youth Art Month and Advocating for Art, Mar., p. 6 THREE-DIMENSIONAL DESIGN 3D Art is Dino-Mite!, May, p. 10 3D Intro Art, Article 6: Clay Vessels, Feb., p. 10 3D Intro Art, Article 7: Environmental Installations, Mar., p. 12 3D Intro Art, Article 8: Chopstick Sculptures, Apr., p. 8 3D Intro Art, Article 9: Indoor Sculpture Garden, May., p. 8 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 Colorful Boxes, Apr., p. 26 Community Connections: Immortalizing America's Generous Spirit, May, p. 26 Creative Collaboration: Project Runway ... Franklin Style!, June, p. 12 Enchanted Environments, Feb., p. 24 Face Jugs, Feb., p. 26 First-Grade Texture Campfires, June, p. 23 Integrating the Curriculum: Magnanimous Beetles, May, p. 14 Peeps of the World, Unite! Decorative Peephole Plugs for the Classroom Kiln, Feb., p. 16 Pinch-Pot Animal Bowls, Feb., p. 12 Recycling Renaissance, Books As Art, May, p. 12 Recycling Renaissance, Creative Canjos, June, p. 16 Sailors‘ Valentines, Feb., p. 28 Sculpting Hand-in-Hand, May, p. 16 Symbolic Ceramic Totem Poles, Feb., p. 14

It Works! 85th ANNIVERSARY

& Activities. plans and resources found in Arts in this past September’s lesson the following accounts “A&A: It Works!” was announced The original articles that inspired celebration. We were page at issue, launching our 85th Anniversary on our website. Visit our home started coming in from are available exhilarated when the testimonials 85th Anniversary “A&A: It artsandactivities.com, click on the successful ideas and around the nation. icon, and a veritable treasure of comments and we were Works” Our hearts were warmed by the will be yours. the young generation of art lessons thrilled with the response from daily in their art rooms. We Publisher teachers who use the magazine — Maryellen Bridge, Editor and they are using the ideas, enjoyed reading their stories of how

Hands On

Sumi-e Samurais | BY DAVID LAUX

BY IRV OSTERER

JANUARY 2014

he article that inspired this project was in the September 2017 issue, Hands On, by Irv Osterer. I made a short slide presentation work to about how artists can use their Edvard send a message. I started with BarMunch and Pablo Picasso, showed with bara Kroger’s work, and ended the street artist, JR. This coincided with the publicity border about JR’s current work on the I wall between Mexico and California. played an audio interview from National show. Public Radio with the slide it This proved to be powerful because mix and brought current issues into the to it the students seemed to respond with interest. The way that JR describes the work was open ended and personal. my prompt to asked I The question use the students was, “How can you with imagery of hands to send a message your artwork?”

& he January 2014 issue of Arts Activities is one of my favorites. in I was really drawn to the images David Laux’s article, Sumi-e Samurais. open I remember leaving that article I could on my desk for weeks, just so was so see those images every day. I out to inspired by it, that I reached Adopt-a-Classroom for sumi-e brushes. the I’d had a difficult time finding right projects to engage my fifth-gradkey. ers that year. This one was the workThey loved the whole concept of the ing on samurais and learning about spehistory. They also felt it was super cial to have the new sumi-e brushes. had One student in particular, who up havnever liked to create art, ended local ing his samurai displayed at our came to art museum! His whole family deal. big a see it. It was

Alive and Kicking: Round and Round BY DON MASSE

| DECEMBER 2015

Submitted by Amanda Koonlaba Visual Art Specialist Lawhon Elementary School Tupelo, Mississippi

A&A Art Prints and more EVERY ISSUE OF ARTS & ACTIVITIES

www.artsandactivities.com 28

| MAY 2016

he idea of providing Submitted by Hallie Levine 1990s TO PRESENT “time, space and Art Teacher support” to students who choose to spend time with High School have enjoyed Pickney Community many of Arts & a process, idea, Activities’ Henri technique or medium, dating Pickney, Rousseau lessons backMichigan as far as the early can transform art and resources 1990s. What class incorporate them into an authentic art-studio experience. into my two schools—wh I’ve done with all the project ideas is severe multiple ere I teach students, Following Julie impairments and Toole’s example, aged 5 to 26, with autism spectrum I project focusing allow my students disorder—as a on animals in Rousseau’s to decide how long collaborative school was assigned to stay with an artwork paintings, and in the rainforest. Each different animal or line of thinkgroupings. We paper, 3D, texture ing and making, have a combination and rubbings and paint, to continue of cut ing until workmarkers and stamping! “done.” This attitude supports the developmen t of individual style, Submitted by Lori the creation Reuben, Art Teacher–Spe of series of works, Lincoln Developmen (which can cial Needs span t Center and Pine years), encourages Grove Learning a connection Center between Grand Rapids Public school and home, Schools, Michigan productive collaboration and nurtures 1992 s between likeBY PAULA SLEMMER | OCTOBER, minded learners. Win-win-win! ivities.com x www.ar tsandact m a y 2 0 1 8 • 85 Y E A R S Submitted by Nan Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont

Autumn Leaves: An Experiment in Cubism

ers.) My students & have been a subscriber to Arts working were a Activities for the last 20 years (and on 3D clay garuse the writer for the past six), and I still goyles (from the pull-out Art Prints with my students. Feb. 2000 issue). I started using I showed them them as an elethe Ar t Print from mentary teacher May 2011—a 3.3and now, as a cm Japanese netschool middle (miniature suke teacher, I use sculpture), depictthem even more ing a monkey with … and not just the current ones! The baby. her clay I always start my students on gargoyles that we around the beginning of February, but not as a one- were making were small, thinking that it will be about While love small as the 3.3 cm netsuke. month project. Not! My students analyzing the print, we discussed working with clay—as most do—and sculptures figurative into miniature my one clay project usually turns texture, and form. (scale), three or four more. I pulled out two magazines—the Submitted by Glenda Lubiner 2000. y Februar May 2011 issue and Art Teacher, Franklin Academy by (Yes, I have them all categorized Pembroke Pines, Florida bindmonth and years in several 28

BY JULIE TOOLE

Choice-Based Art: Diving Deep

Assorted Henri Rous seauLessons, Art Prints, Inspired etc.

ound and Round is an 26 example of how art teachStudents layered the ers can incorporate modern, circles the same way living artists within our as shown in the article. ® classroom walls. The article Students used Sharpie focuses on artist Matt Moore and marker to color symfrom Maine. While Masse metrically. The work was teaches a younger group, the displayed on bulletin boards to project was easily transferred adminin the hall. Students, teachers, my seventh-graders. My students parents have all comand istration narand examined Moore’s website the work is murals. mented on how beautiful rowed in on his more organic of the and how they love the display Masse mural same the on We focused work together. did with his students—a colorful We piece painted in Portland in 2010. Submitted by Kerri Waller y, reviewed vocabular y like symmetr Art Teacher, Simpson Middle School murals shape, line, space, overlapping, Marietta, Georgia and collaboration.

Visit our website and click on the “IT WORKS!” icon to learn more.

| SEPTEMBER 2017

Old-School Inspiration BY ANNE HOFFMAN

| MARCH 2017

tried this wonderful lesson by Anne Hoffman in the issue, on the artist March 2017 WRDSMTH. I never and I was intrigued heard of this artist before, by his work. I thought to spread some it would be a great kindness in our way middle school, the does, with his positive way WRDSMTH messages of hope and perseveranc I contacted Anne, e. and she was so gracious her PowerPoint, and generously her typewriter printout, gave me links to the stencils and lots of encouragem she uses, ent. I followed her format, and with fantastic this project not results! The students only for the power loved of the quote they because they were chose, but also so successful with every aspect of the project. www.ar tsa ndacti

vities.com

❘

85 Y E A R S • may

his project was a starting point for numerous variations on cubist it, we leaves. The first time I taught white used colored marker on plain same copy paper. We followed the used 4 directions as in the article, but color 5 leaf shapes. They looked very step. orful, but seemed to need another The next time I taught the lesson, in conwe added another layer of leaves ® tour lines with black Sharpie . Students onto paper” the who had time went “off much another paper. This version looked sprayed more finished. We have also water to the colored marker lightly with another make the colors bleed for yet to the look. This past fall, we added salt wet markers to add some texture.

m a y 2 0 1 8 • 85 Y E A R S

Submitted by Donna Staten, Art Specialist, Gattis Elementary School, Round Rock, Texas ❘

ties.com www.ar tsandactivi

2018

Submitted by Stephanie Stamm, Boyertown West Middle School, Boyertown, Art Teacher Pennsylvania 29

Where I‘m From: Narratives in Clay, Feb., p. 23 TRIED & TRUE TIPS FOR ART TEACHERS Art Gives Life, May, p. 38 Color is a Gift, Apr., p. 38 Feelings for Art, Mar., p. 46 See With Your Heart, June, p. 38 Transformed by Art, Feb., p. 38 YEARLONG SECONDARY ADVANCED ART SERIES 3D Intro Art, Article 6: Clay Vessels, Feb., p. 10 3D Intro Art, Article 7: Environmental Installations, Mar., p. 12 3D Intro Art, Article 8: Chopstick Sculptures, Apr., p. 8 3D Intro Art, Article 9: Indoor Sculpture Garden, May., p. 8 3D Intro Art, Article 10: Nevelson-Inspired Mural, June, p. 10 YOUNG ARTIST Newell, Ahnnah, Mar., p. 35 AUTHORS Arnold, Alice, Feb., p. 30 Bondi, Denise, June, p. 16 Clark, Tammie, Feb., p. 26; Apr., p. 23 Dionne, Suzanne, Mar., p. 16; May, p. 10 Esrum, Eva K., Mar., p. 20; May, p. 26 Fletcher, Tina S., May, p. 16 Gamble, David L., Feb., p. 16 Gaw, Clyde, Mar., p. 8 Giampietro, Megan, Apr., p. 24 Giobbia, Terese, Feb., p. 14 Guhin, Paula, Apr.., p. 14 Hathaway, Nan E., May, p. 7 Hamilton, Jennifer, May, p. 28 Hildebrandt, Barbara, Apr., p. 10 Hinshaw, Craig, Feb., p. 24 Kim, Nanyoung, Apr., p. 26 King, Maria, May, p. 16 Koonlaba, Amanda, Feb., p. 7; Apr., p. 7; June, p. 9 Lipscomb, Courtney, Mar., p. 35 Lubiner, Glenda, Feb., p. 38; Mar., p. 32; Mar., p. 46; Apr., p. 38; May, p. 38; June, p. 24; June, p. 38 Masse, Don, Mar., p. 14; Apr., p. 16; May, p. 23; June, p. 12 Mazur, Matt, June, p. 14 Moll, Emily, Feb., p. 28 Morris, Katie, June, p. 23 O’Hanley, Heidi, Feb., p. 6; Mar., p. 6; Apr., p. 6; May, p. 6; June, p. 8 Osterer, David, Mar., p. 18 Osterer, Irv, Feb., p. 12; Mar., p. 30; Apr., p. 12 Sartorius, Tara Cady, Feb., p. 19; Mar., p. 23; Apr., p. 19; May, p. 19; June, p. 19 Smith, Kimberly J. B., June, p. 16 Stockdale, Tera, Feb., p. 23 Vitulli, Paige, May, p. 14 Waller, Kerri, Mar., p. 270 West, Debi, Feb., p. 10; Mar., p. 12; Apr., p. 8; May, p. 8; June, p. 10 Wade, Michael, May, p. 12 Wetzler, Pat, Mar., p. 10 n

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also available for student reference. Among them were: Gyotaku fish print, Albrecht Dürer’s Rhinoceros (Nov 2013 Art Print) and Young Hare (Oct. 2016 Art Print), cave-art bull, Chinese horse, Egyptian art image of a rhinoceros and ducks, Aboriginal kangaroos and emus, Native American elk, wolf, bear and crane

CANJOS continued from page 17

PAINTING THE IMAGE. Each student

selected a pastel color of acr ylic paint to cover the neck of the canjo and the background of the ar t to go on the canjo. The ar t was painted on peel-and-stick paper so the design could be wrapped around the can. Once the background was dr y, students did a quick stencil sketch of their animal, then they added detail, texture, background and borders (optional). Writing their name on the

their stuffed frames. Carr y this writing throughbear or rolled out the entire writing process. Disshirt into a kan- play it in a hallway or digitally with the images of the students. garoo during this step of the process. Students can share by reading Then, have the students reflect back on the rows/columns activity their works to partners or to the class. and the word list activity from before Look for cohesiveness between the images and the writing. If as inspiration for creating students have images a stor y out of the that match their images of themThis is a super engaging stories and stoselves. They can use some ries that make work of art because of the of the ideas sense, they’ve curious and bizarre use from those eardone well with of color and imagery. this project. Keep lier activities as in mind, though, that they initially write bizarre and off-the-wall stories this stor y on paper in the should be expected because of the form of one-liners for each frame. After they have an idea written ver y nature of the artwork and artfor each frame, have them begin to making process. Bizarre and off-theweave it together with transitions and wall stories are fun to read and can n details. A lot of these frames are quite still make sense! similar. So, remind them to focus on the differences and similarities Arts & Activities Contributing Editor, as needed. Also, tell them to use dia- Amanda Koonlaba (NBCT), is a Curlogue or quotations in their writing. riculum Specialist and Teaching Artist This will help them with the similar from Saltillo, Mississippi.

ART CORE continued from page 9

A trusted nAme in drYinG & stOrAGe rACKs fOr Over 30 YeArs! HeAvY-dutY rACKs

Group of C.B. Gitty canjos.

• Welded steel frame and heavy-duty construction • Sheet sizes up to 52” x 80” • Rust-resistant, powder-coated shelves

back of the peel side was essential so no designs were misplaced! Once the art was embellished and made unique, students were asked to sign their name on their art painting. Once the art was stuck to the can, the signature really finished the statement that signified that the canjo was their creation! INVOLVEMENT

AND

INVESTMENT.

This unit has been a dream come true, the “home run” unit in which students are fully engaged. Each child dove deeply into the content, both artistically and musically. They took great pride in their accomplishments—the canjo itself, as well as the many skills each of them developed along the way. n

• 1” or 2” shelf spacing for effciennt sollennt elaporantion • Permanent steel bumpers - never need replacing • Outside bumper position allows full use of shelf capacity

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Untitled-2 1

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Kimberly J.B. Smith teaches K–3 art and Denise Bondi teaches music at Valley View Community School in Farmington, N.H. www.ar tsandactivities.com

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Introducing a heavily insulated Paragon glaze test kiln 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. Join the Clayart pottery forum here: lists.clayartworld.com

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

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Summer Buyer’s Guide 2019 This directory of sources of art and craft supplies and equipment, schools, publications and services ... a ready reference for teachers, administrators and purchasing agents. Be sure to say you found them in Arts & Activities magazine!

A Aardvark Clay & Supplies 714-541-4157 www.aardvarkclay.com CE SP Academy of Art University 800-544-2787 www.academyart.edu SH ACMI www.acmiart.org SH Activa Products, Inc. 903-938-2224 www.activaproducts.com CE HC SH SP AMACO/Brent 800-374-1600 www.amaco.com BR CE CT FN HC SA SH SP American Ceramic Supply Co. 866-535-2651 www.americanceramics.com AB AD BR CE CT HC JM PT RS SA SG SH SP

Ampersand Art Supply 800-822-1939 www.ampersandart.com CE DG FI FN HC JM LO PH PR SG SH SP

BigCeramicStore.com 888-513-5303 www.bigceramicstore.com AB BR CE HC JM PR RS SP

Clay Times 800-356-2529 www.claytimes.com PB

Armada Art, Inc. 800-435-0601 www.armadaart.com BR CT HC

Bisque Imports 888-568-5991 www.bisqueimports.com CE SH SP

ColArt Americas, Inc. 800-445-4278 www.colart.com AD BR CA CY DG EP HC PC PS PT

Armory Art Center 561-832-1776 www.armoryart.org CE DG JM SP

Blick Art Materials 800-447-8192 www.dickblick.com AB AD AV BR CA CE CO CT CY DE DG DR DS DY EP FD FI FN FR GR HC JM LO LT PC PH PR PS PT RS SA SG SP

Columbus College of Art & Design www.ccad.edu SH

Arnold Grummer’s Paper Making 800-453-1485 www.arnoldgrummer.com HC RS Arrowmont Sch. of Arts/Crafts 865-436-5860 www.arrowmont.org SH Art Boards 800-546-7985 www.art-boards.com EP FN PR Art Image Publications 800-361-2598 www.artimagepublications.com PB

AMEP-Crystal Productions 800-289-9299 www.amep.com AV DE PB

Artisan 800-331-6375 www.artisan-santafe.com BR EP FN FR HC PC PS PT SH

American Ed. Products LLC 800-289-9299 www.amep.com BR CE CY DE DG DR EP PC PR PT

The Art of Education www.theartofed.com SH

CODES AB Airbrush AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy CE Ceramics CO Computers/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing DR Drafting DS Dispensers/Containers DY Dye/Batik EP Easels/Palettes FD Fundraising FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats GR Graphic HC Hobby/Craft JM Jewelry/Metal LO Looms/Weaving LT Leathercraft PB Publishers/Art Reproductions PC Paper/Canvas PH Photography PR Printmaking PS Pastels PT Paints/Pigments RS Rubber Stamps SA Safety Equipment SG Stained Glass SH Schools/Workshops SP Sculpture

www.ar tsandactivities.com

Artograph, Inc. 888-975-9555 www.artograph.com AV DG DR FN HC JM PH Art Supplies Wholesale 800-462-2420 www.allartsupplies.com BR CY DG EP FR PC PR PS PT Art Trek 415-868-9558 www.arttreks.com SH

A.W.T. World Trade, Inc. 773-777-7100 www.awt-gpi.com FN

Badge-A-Minit Ltd. 800-223-4103 www.badgeaminit.com HC Bailey Ceramic Supply 800-431-6067 www.baileypottery.com AB AV BR CE FN HC SA SP Bamboo Tools 604-723-2900 www.bambootools.com BR CE CT 86 Y E A R S •

Bracker’s Good Earth Clays, Inc. 888-822-1982 www.brackers.com CE DS HC Brent Pottery Equipment 800-374-1600 www.brentwheels.com CE FN Bright Ring Publishing Inc. 800-480-4278 www.brightring.com PB

Canson Inc. 800-628-9283 www.canson.com PC Carolina Clay Connection 704-376-7221 www.carolinaclay.com CE HC SH Ceramic Supply Chicago 847-425-1900 www.ceramicsupplychicago.com BR CE Chavant, Inc. 732-751-0003 www.chavant.com SP

Aves Studio 800-261-AVES www.avesstudio.com CE HC SP

Boston Univ. School of Visual Arts 866-347-6876 www.bu.edu/cfa/visual-arts/ SH

june 2019

Chesapeake Ceramics LLC 800-962-9655 www.ceramicschoolsupply.com CE Chroma Inc. 800-257-8278 www.chromaonline.com PT Clay Mat 559-360-9770 www.claymat.com CE Clay Planet 800-443-CLAY www.clay-planet.com CE FN PT SP Clay Stamps from Socwell LLC 608-295-1415 www.4clay.com CE JM RS

Concordia Univ. 888-628-9472 www.cuw.edu SH Conrad Machine Co. 231-893-7455 www.conradmachine.com FN GR PR Continental Clay Co. 800-432-CLAY www.continentalclay.com AB AD BR CE DS FN HC JM PC PT RS SA SH SP Copic Markers www.copicmarker.com AB DG DR Cornell Studio 937-454-0357 www.cornellstudiosupply.com CE Coyote Creek Productions 760-731-3184 www.coycreek.com AV Crayola 800-272-9652 www.crayola.com CY DG HC PT SP Cress Mfg. Co. 800-423-4584 www.cressmfg.com CE SP Crizmac Art & Cultural Ed. Matls. 520-323-8555 www.crizmac.com FI PB SH

Daler-Rowney, USA 609-655-5252 www.daler-rowney.com BR DG EP FN GR HC PC PR PS PT SH Debcor, Inc. 708-333-2191 CE FN Delphi 888-281-5780 www.delphiglass.com/teach AD HC JM SG SH Diversified Woodcrafts 877-348-9663 www.diversifiedwoodcrafts.com FN Dixon Ticonderoga Co./Prang www.prang.com CY DG PS PT

E-F

Earth Guild 800-327-8448 www.earthguild.com AD BR CA CT DY FI HC LO LT PT SA SP Elmer’s Products, Inc. 888-435-6377 www.elmers.com AD HC Euclid’s Elements 800-296-5456 www.euclids.com CE FN Faber-Castell USA 800-642-2288 www.faber-castellusa.com CY DG HC PS

Graphic Display Systems 800-848-3020 www.graphicdisplaysystems.com DE Graphic Products Corp. 847-836-9600 www.gpcpapers.com PC Graphik Dimensions Ltd. 800-221-0262 www.pictureframes.com FR Great Lakes Clay 800-258-8796 www.greatclay.com AB AD AV BR CE FN HC SA SH SP

H-K

Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC

Handy Art 800-236-6873 www.handyart.com AD BR DS PR PT

Fiskars 866-348-5661 www.fiskars.com CT HC

Harrisville Designs/Friendly Loom 800-338-9415 www.harrisville.com FI HC LO

FM Brush Co. 718-821-5939 www.fmbrush.com BR

iLoveToCreate, Duncan Ent. Co. 800-438-6226 www.ilovetocreate.com AD BR CE DY HC JM PC PT SH

The Folding Art Horse 909-596-2180 www.thefoldingarthorse.com FN

Imagination Int’l Inc. www.iii.global SH

F & W North Light Book Club 800-448-0915 www.fwmedia.com PB

Geil Kilns 714-847-6135 www.kilns.com CE SH Gelli Arts 800-580-4198 www.gelliarts.com HC PR General Pencil Co. 800-537-0734 www.generalpencil.com CY DG DR HC PS Getting To Know, Inc. 312-642-5526 www.gettingtoknow.com AV PB Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE Glue Dots Int’l.(GDI) 888-688-7131 www.gluedots.com AD HC Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC Golden Artist Colors 800-959-6543 www.goldenpaints.com CY PT Graphic Chemical & Ink 800-465-7382 www.graphicchemical.com PR 32 32

Incredible Art Department 317-332-6292 www.incredibleart.org DG HC PT SH Inovart Inc. 800-292-7622 www.inovart.net CA CT DG EP FR HC LO PR RS Jack Richeson & Co, Inc. 800-233-2404 www.richesonart.com AV BR DG DS EP FN HC PC PR PS PT SH SP Jacquard Products 800-442-0455 www.jacquardproducts.com AB AD BR DG DS DY FI HC JM LT PH PR PT RS SG SH SP Jiffy Mixer 800-560-2903 jiffymixer.com CE PT Kids Can Press 800-265-0885 www.kidscanpress.com DG PB PR PT SP KopyKake Ent. 800-999-5253 www.kopykake.com AB GR Krueger Pottery, Inc. 800-358-0180 www.kruegerpottery.com AD BR CE FN SH Krylon Products Group 216-515-7693 www.krylon.com HC PT

Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP

Lightfoot Ltd, Inc 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH

North Star Equipment 800-231-7896 www.northstarequipment.com CE FN

Liqui-Mark Corp. 800-486-9005 www.liquimark.com DG HC

Olympic Kilns 800-241-4400 www.greatkilns.com CE HC JM SP

Liquitex Artist Materials 888-422-7954 www.liquitex.com AB AD GR HC PT SP

The Original Hi Roller 828-308-2585 www.originalhiroller.com CE

L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG

Orton Ceramic Foundation 614-895-2663 www.ortonceramic.com CE FN PB SA SH

Loew-Cornell, Inc. 201-836-7070 www.loew-cornell.com BR CE PT

M-N Marywood University 570-348-6207 www.marywood.edu SH

Pacon Corporation 800-333-2545 www.pacon.com DG FR PC

Mayco Colors 614-876-1171 www.maycocolors.com BR CE HC PT SH

Paragon Industries, L.P. 972-288-7557 www.paragonweb.com CE SG

Midlantic Clay 856-933-0022 creativehobbies.com CE

PCF Studios, Inc. 585-229-2976 www.pcfstudios.com AV CE SH SP

Midwest Products 800-348-3497 www.midwestproducts.com CT DG HC SP

Pentel of America 800-262-1127 www.pentel.com DG DR

Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP

Perfectone Mold Co. 800-828-2634 www.perfectonemolds.com HC SP

MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP

Peter Pugger Mfg. 707-463-1333 www.peterpugger.com CE FN

Molly Hawkins’ House www.mollyhawkins.com AD BR CA CT CY DG DR DS EP GR HC JM PC PR PS PT SP

Phelps Publishing 216-752-4938 www.phelpspublishing.com DG PB

Nasco Arts & Crafts 800-558-9595 www.enasco.com AB AD CE DE DG DS EP FN PC PH PR PT SA SP

Picasso People 716-684-0244 www.picassopeople.com SH Polyform Products 847-427-0020 www.sculpey.com CE HC SP

National Artcraft Co. 888-937-2723 www.nationalartcraft.com AB AD BR CE DE DG DS EP HC PC PS PT

Q-R

National Art Education Assoc. 703-860-8000 www.arteducators.org PB

Quarry Books www.quarrybooks.com PB

New Century Arts 206-284-7805 www.paperclayart.com CE SP

Quarto Publishing www.quartoknows.com PB

New Mexico Clay 800-781-2529 www.nmclay.com BR CE JM SP

Renaissance Graphic Arts, Inc. 888-833-3398 www.renaissancegraphics.com PC PR PT

New York University 800-771-4698 www.nyu.edu SH

Ringling College/Art & Design 941-955-8866 www.ringling.edu SH

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Royal & Langnickel Brush Mfg. 219-660-4170 www.royalbrush.com BR CE EP HC PS PT

Staedtler-Mars, Limited 800-776-5544 www.staedtler.ca DG DR GR HC PS

Western Michigan University 269-387-2436 www.wmich.edu/art SH

Royalwood Ltd. 800-526-1630 www.royalwoodltd.com FI HC LO

Standard Ceramic Supply 412-276-6333 www.standardceramic.com CE

Wikkistix 800-869-4554 www.wikkistix.com HC SP

Runyan Pottery Supply, Inc. 810-687-4500 www.runyanpotterysupply.com AB AD BR CE CT DS FN HC RS SA SH SP

Strathmore Artist Papers 800-353-0375 www.strathmoreartist.com PC

Winsor & Newton 800-445-4278 www.winsornewton.com BR CA CY EP HC PC PS PT

SUNY New Paltz www.newpaltz.edu SH

Witzend Workshop, LLC 203-393-2397 www.twisteezwire.com CY DY FI HC JM SP

Sakura of America 800-776-6257 www.sakuraofamerica.com DG DR GR PS SH Sargent Art Inc. 800-424-3596 www.sargentart.com AB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP Savannah Coll. of Art & Design 912-525-5000 www.scad.edu SH School of the Art Inst. of Chicago 800-232-7242 www.saic.edu SH Sax/School Specialty 888-388-3224 www.saxarts.com AB AD AV BR CA CE CT CY DE DG DR DS DY EP FD FI FN FR HC JM LO LT PC PH PR PS PT RS SG SH SP Segmation 858-206-3289 www.segmation.com DG HC SH Sheffield Pottery 888-774-2529 www.sheffield-pottery.com BR CE SA Shimpo Ceramics 800-237-7079 www.shimpoceramics.com CE HC SH Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR Skidmore College Summer 6 518-580-5052 www.skidmore.edu SH Skutt Ceramic Products 503-774-6000 www.skutt.com CE FN JM SA SG SP Smith-Sharpe Fire Brick Supply 612-331-1345 www.kilnshelf.com CE Socwell LLC www.4clay.com CE Spectrum Glazes, Inc. 800-970-1970 www.spectrumglazes.com CE PT Speedball Art Products 800-898-7224 www.speedballart.com CA DG PC PR PT RS Square 1 Art 888-332-3294 www.square1art.com FD

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T Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT Teachers College Columbia Univ. 212-278-3270 www.tc.columbia.edu SH Testors Corp. www.testors.com AB BR PT Traveling Exhibits 248-340-7210 www.teachersdiscovery.com DE Triarco Arts & Crafts, Inc. 800-328-3360 www.etriarco.com AB AD AV BR CA CE CT CY DE DG DS DY EP FN FR GR HC JM LO LT PC PH PR PS PT SG SP Trinity Ceramic Supply 214-631-0540 www.trinityceramic.com CE Truro Center for the Arts 508-349-7511 www.castlehill.org SH Tucker’s Pottery Supplies 800-304-6185 www.tuckerspottery.com BR CE CT FN SP

U-Z

United Art and Education 800-322-3247 www.unitednow.com AB AD BR CA CE CT CY DG DR DS EP FI FN HC JM LO PC PR PS PT SG SP University of the Arts 215-717-6000 www.uarts.edu SH Utrecht Mfg. Corp. 800-223-9132 www.utrecht.com AD BR CT DG DR DY EP FN FR GR PC PR PS PT SP Vent-A-Kiln Corp. 716-876-2023 www.ventakiln.com CE SA Wacom Technology Corp. 360-896-9833 www.wacom.com CO DG HC PH PT The Wallace Foundation www.wallacefoundation.org SH

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Wyland Foundation www.wylandfoundation.org DE Zebra Pen 800-247-7170 www.zebrapen.com DG

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Giffin Tec Inc. Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Jiffy Mixer Krueger Pottery, Inc. Laguna Clay Co. L & L Kiln Mfg., Inc. Loew-Cornell, Inc. Mayco Colors Midlantic Clay Minnesota Clay USA Nasco Arts & Crafts National Artcraft Co. New Century Arts New Mexico Clay North Star Equipment Olympic Kilns The Original Hi Roller Orton Ceramic Foundation Paragon Industries, L.P. PCF Studios, Inc. Peter Pugger Mfg. Polyform Products Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Shimpo Ceramics Skutt Ceramic Products Smith-Sharpe Fire Brick Supply Socwell LLC Spectrum Glazes, Inc. Standard Ceramic Supply Triarco Arts & Crafts, Inc. Trinity Ceramic Supply Tucker’s Pottery Supplies United Art and Education Vent-A-Kiln Corp. (CO) COMPUTERS Blick Art Materials Lightfoot Ltd, Inc Wacom Technology Corp. (CT) CUTTING INSTRUMENTS AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Bamboo Tools Blick Art Materials Earth Guild Fasteners4schools.com Fiskars Inovart Inc. Midwest Products Molly Hawkins’ House Runyan Pottery Supply, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (CY) CRAYONS American Educational Products LLC Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Crayola Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Golden Artist Colors MKM Pottery Tools Molly Hawkins’ House Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton Witzend Workshop, LLC (DE) DISPLAYS AMEP-Crystal Productions American Educational Products LLC Blick Art Materials Graphic Display Systems 34

Nasco Arts & Crafts National Artcraft Co. Sax/School Specialty Traveling Exhibits Triarco Arts & Crafts, Inc. Wyland Foundation (DG) DRAWING American Educational Products LLC Ampersand Art Supply Armory Art Center Artograph, Inc. Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Copic Markers Crayola Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Incredible Art Department Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Lightfoot Ltd, Inc Liqui-Mark Corp. Midwest Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Pentel of America Phelps Publishing Sakura of America Sargent Art Inc. Sax/School Specialty Segmation Speedball Art Products Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Wacom Technology Corp. Zebra Pen (DR) DRAFTING American Educational Products LLC Artograph, Inc. Blick Art Materials Copic Markers General Pencil Co. Molly Hawkins’ House Pentel of America Sakura of America Sax/School Specialty Staedtler-Mars, Limited United Art and Education Utrecht Mfg. Corp. (DS) DISPENSERS/CONTAINERS Blick Art Materials Bracker’s Good Earth Clays, Inc. Continental Clay Co. Jack Richeson & Co, Inc. Jacquard Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (DY) DYE/BATIKS Blick Art Materials Earth Guild iLoveToCreate, Duncan Ent. Co. Jacquard Products Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. Witzend Workshop, LLC

Blick Art Materials Conrad Machine Co. Daler-Rowney, USA KopyKake Ent. Liquitex Artist Materials Molly Hawkins’ House Sakura of America Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp.

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(HC) HOBBY/CRAFT Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armada Art, Inc. Arnold Grummer’s Paper Making Artisan Artograph, Inc. Aves Studio Badge-A-Minit Ltd. Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Bracker’s Good Earth Clays, Inc. Carolina Clay Connection ColArt Americas, Inc. Continental Clay Co. Crayola Daler-Rowney, USA Delphi Earth Guild Elmer’s Products, Inc. Faber-Castell USA Fasteners4schools.com Fiskars Gelli Arts General Pencil Co. Glue Dots Int’l.(GDI) Great Lakes Clay Handy Art Harrisville Designs/Friendly Loom iLoveToCreate, Duncan Ent. Co. Incredible Art Department Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Krylon Products Group Laguna Clay Co. Liqui-Mark Corp. Liquitex Artist Materials L & L Kiln Mfg., Inc. Mayco Colors Midwest Products MKM Pottery Tools Molly Hawkins’ House National Artcraft Co. Olympic Kilns Perfectone Mold Co. Polyform Products Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Segmation Shimpo Ceramics Staedtler-Mars, Limited Tandy Leather Factory Triarco Arts & Crafts, Inc. United Art and Education Wacom Technology Corp. Wikkistix Winsor & Newton Witzend Workshop, LLC

(FD) FUNDRAISING Blick Art Materials Sax/School Specialty Square 1 Art (FI) FABRIC/FIBERS Ampersand Art Supply Blick Art Materials Crizmac Art & Cultural Ed. Matls. Earth Guild Harrisville Designs/Friendly Loom Jacquard Products Royalwood Ltd. Sax/School Specialty United Art and Education Witzend Workshop, LLC (FN) FURNITURE/EQUIPMENT AMACO/Brent Ampersand Art Supply Art Boards Artisan Artograph, Inc. A.W.T. World Trade, Inc. Bailey Ceramic Supply Blick Art Materials Brent Pottery Equipment Clay Planet Conrad Machine Co. Continental Clay Co. Daler-Rowney, USA Debcor, Inc. Diversified Woodcrafts Euclid’s Elements The Folding Art Horse Great Lakes Clay Jack Richeson & Co, Inc. Krueger Pottery, Inc. Laguna Clay Co. Lightfoot Ltd, Inc MKM Pottery Tools Nasco Arts & Crafts North Star Equipment Orton Ceramic Foundation Peter Pugger Mfg. Runyan Pottery Supply, Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (FR) FRAMES/MATS Artisan Art Supplies Wholesale Blick Art Materials Graphik Dimensions Ltd. Inovart Inc. Pacon Corporation Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp.

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iLoveToCreate, Duncan Ent. Co. Jacquard Products L & L Kiln Mfg., Inc. Molly Hawkins’ House New Mexico Clay Olympic Kilns Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education Witzend Workshop, LLC (LO) LOOMS/WEAVING Ampersand Art Supply Blick Art Materials Earth Guild Harrisville Designs/Friendly Loom Inovart Inc. Royalwood Ltd. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (LT) LEATHERCRAFT Blick Art Materials Earth Guild Jacquard Products Sax/School Specialty Tandy Leather Factory Triarco Arts & Crafts, Inc. (PB) PUBLISHERS AMEP-Crystal Productions Art Image Publications Bright Ring Publishing Inc. Clay Times Crizmac Art & Cultural Ed. Matls. F & W North Light Book Club Getting To Know, Inc. Kids Can Press National Art Education Assoc. Orton Ceramic Foundation Phelps Publishing Quarry Books Quarto Publishing (PC) PAPER/CANVAS American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Canson Inc. ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Gold’s Artworks Graphic Products Corp. iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Sargent Art Inc. Sax/School Specialty Speedball Art Products Strathmore Artist Papers Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PH) PHOTOGRAPHY Ampersand Art Supply Artograph, Inc. Blick Art Materials Jacquard Products Nasco Arts & Crafts Sax/School Specialty Triarco Arts & Crafts, Inc. Wacom Technology Corp. (PR) PRINTMAKING American Educational Products LLC Ampersand Art Supply www.ar tsandactivities.com

Art Boards Art Supplies Wholesale A.W.T. World Trade, Inc. BigCeramicStore.com Blick Art Materials Conrad Machine Co. Daler-Rowney, USA Graphic Chemical & Ink Handy Art Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Molly Hawkins’ House Nasco Arts & Crafts Oregon College of Art & Craft Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Sax/School Specialty Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. (PS) PASTELS Artisan Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Jack Richeson & Co, Inc. Molly Hawkins’ House National Artcraft Co. Royal & Langnickel Brush Mfg. Sakura of America Sargent Art Inc. Sax/School Specialty Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PT) PAINTS/PIGMENTS American Ceramic Supply Co. American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Chroma Inc. Clay Planet ColArt Americas, Inc. Continental Clay Co. Crayola Daler-Rowney, USA Dixon Ticonderoga Co./Prang Earth Guild Golden Artist Colors Handy Art iLoveToCreate, Duncan Ent. Co. Incredible Art Department Jack Richeson & Co, Inc. Jacquard Products Jiffy Mixer Kids Can Press Krylon Products Group Laguna Clay Co. Liquitex Artist Materials Loew-Cornell, Inc. Mayco Colors Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Sargent Art Inc. Sax/School Specialty Spectrum Glazes, Inc. Speedball Art Products Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Wacom Technology Corp.

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Winsor & Newton (RS) RUBBER STAMPS American Ceramic Supply Co. Arnold Grummer’s Paper Making BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co. Inovart Inc. Jacquard Products Runyan Pottery Supply, Inc. Sax/School Specialty Speedball Art Products (SA) SAFETY EQUIPMENT AMACO/Brent American Ceramic Supply Co. A.W.T. World Trade, Inc. Bailey Ceramic Supply Blick Art Materials Continental Clay Co. Earth Guild Great Lakes Clay Laguna Clay Co. Lightfoot Ltd, Inc Minnesota Clay USA Nasco Arts & Crafts Orton Ceramic Foundation Runyan Pottery Supply, Inc. Sheffield Pottery Skutt Ceramic Products Vent-A-Kiln Corp. (SG) STAINED GLASS American Ceramic Supply Co. Ampersand Art Supply Blick Art Materials Delphi Jacquard Products L & L Kiln Mfg., Inc. Paragon Industries, L.P. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education (SH) SCHOOL/WORKSHOPS Academy of Art University ACMI Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Arrowmont Sch. of Arts/Crafts Artisan The Art of Education Art Trek Bisque Imports Boston Univ. School of Visual Arts Carolina Clay Connection Columbus College of Art & Design Concordia Univ. Continental Clay Co. Crizmac Art & Cultural Ed. Matls. Daler-Rowney, USA Delphi Geil Kilns Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Imagination Int’l Inc. Incredible Art Department Jack Richeson & Co, Inc. Jacquard Products Krueger Pottery, Inc. Lightfoot Ltd, Inc Marywood University Mayco Colors New York University Orton Ceramic Foundation PCF Studios, Inc. Picasso People Ringling College/Art & Design Runyan Pottery Supply, Inc. Sakura of America Savannah College of Art & Design School of the Art Inst. of Chicago

Sax/School Specialty Segmation Shimpo Ceramics Skidmore College Summer 6 SUNY New Paltz Teachers College Columbia Univ. Teachers, Art Center College Truro Center for the Arts University of the Arts The Wallace Foundation Western Michigan University (SP) SCULPTURE Aardvark Clay & Supplies Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Aves Studio Bailey Ceramic Supply BigCeramicStore.com Bisque Imports Blick Art Materials Chavant, Inc. Clay Planet Continental Clay Co. Crayola Cress Mfg. Co. Earth Guild Great Lakes Clay Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Laguna Clay Co. Liquitex Artist Materials Midwest Products Minnesota Clay USA MKM Pottery Tools Molly Hawkins’ House Nasco Arts & Crafts New Century Arts New Mexico Clay Olympic Kilns PCF Studios, Inc. Perfectone Mold Co. Polyform Products Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. Wikkistix Witzend Workshop, LLC

When contacting these companies, be sure to tell them you found them in Arts & Activities magazine!

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advertiser index ADVERTISERS Company Page

Company Page

Aardvark 30

Blick Art Materials

Runyun Pottery

Arts & Activities

Cress Mfg. Co.

Skutt Ceramic Products

Aves Studio LLC

L & L Kiln Mfg., Inc.

Spectrum Glazes

A.W.T. World Trade

Lightfoot/Cartoon Supplies

Wyland Foundation

Bailey Ceramic Supply

Paragon Industries, L.P.

Bamboo Tools

Royalwood Ltd.

30 2 30 7

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Marsden Hartley (American; 1877–1943. Untitled (Still Life), 1919. Oil on board; 32" x 25.75". Birger Sandzén Memorial Gallery. ©/ Public domain.

STUDY PRINT www.ar tsandactivities.com

86 Y E A R S •

june 2019

“What I wish to show when I paint is the way I see things with my eyes and in my heart.” — Raoul Dufy

nother great year is coming to an end. I’m sure we are all ready for a break, but if you’re like me, you’re already planning great things to do in your classroom next year. At the end of the year, I try to reflect on my teaching, my learning, and my overall environment—what worked, what didn’t and what needs to be changed to make it better for my kids. Having a somewhat small classroom that I share with an amazing art teacher is great, but we definitely need to stop hoarding and get better organized. This month, as we wind down another creative year, we will celebrate World Environment Day, Flag Day, Father’s Day and the end of school for the majority of us. Let’s have some fun, relaxation, and some time to regroup!

tip #1

LEFTOVERS FOR EVERY“BOW”DY. Many

of us have a soft spot for puppies and kittens, especially Lauren Greene’s art students from Coastal Middle School in Savannah, Georgia. Lauren has a folder

students from Lawrence Middle School in Lawrence, N.J., they refuse to touch the brush when cleaning it. This then results in paint being stuck on the inside part of the brush. Kar yne came across dog grooming gloves at the dollar store and a light bulb went of f in her head. She just cut ever ything of f around the brush and now the kids use the brush to get their paintbrushes clean. The dog grooming brush can be laid flat in the sink and the kids just use that to clean their brushes instead of their hands.

tip #3

As Margaret Weinberg’s second- through sixthgraders entered the last month of school for the academic year, the nowretired art teacher from Charleston, S.C. would ask them to fill out a brief questionnaire: What was your favorite experience in Art this year and why? What are you looking forward to for next year in Art? The answers to those questions were interesting and fun to report back to each class, after tallying which were the favorites. Another question

WORDS

ADVICE.

Glenda L

ubiner

down what they liked and didn’t like about the museum, and if they found a piece of art that they loved and one that they didn’t care for. It’s kind of like fun summer homework. There are some great museums out there—you do not have to go to Paris or Florence to find some fabulous pieces of art. Some of the best little museums are hidden in small towns. In Stockbridge, Massachusetts, you will find the Norman Rockwell Museum, and in Bentonville, Arkansas, there is the Cr ystal Bridges Museum of American Art. In the south, you will

See With Your Heart hanging on the wall with strips of leftover paper. 2.5" x 9" strips were used to create bookmarks and when they were completed and laminated they sold for $1 to raise money for a charity of their choice. Her students voted for an animal shelter.

tip #2

AND, SPEAKING OF DOGS … Paint-

brush cleaning hack! If your students are anything like Karyne Richardson’s

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

was, What single piece of advice would you give to an incoming student for success in Art? She took many sentences of good advice and lettered each into individual word balloons, using a different color for each grade level. She made sure the lettering was large enough to be seen at a distance. She displayed these words of advice in the front of the Art room for the new students in the fall.

tip #4

A DAY AT THE MUSEUM. At the end of the school year, I suggest to my students to try and visit at least one art museum during the summer. This year I’ll be suggesting it in my end-of-the year email to parents as well. I always ask the kids to take a picture and write

find the Boca Raton Museum of Art in Boca Raton, Florida. Many universities around the countr y have art museums as well. HAPPY BIRTHDAY to Raoul Dufy (June

3, 1877), Gustave Courbet (June 10, 1819), Egon Schiele (June 12,1890), Jim Dine (June 16, 1935), Magdalena Abakanowicz (June 20, 1930), and Allan Houser (June 30, 1914). Thank you Lauren, Karyne, and Margaret for these wonderful tips. I want to wish everyone a very happy summer vacation! 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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