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Easily installed. email@example.com www.chicagocanvas.com (773) 478-5700 Crystal Productions Crystal’s new interactive programs, featuring Elements of Art and Principles of Design. • Ideal for whole class or for centered learning. • Standards-aligned digital content for grades 4 and up. • Interactive lesson plans with video examples and printable worksheets. • Use with any PC or MAC computer, any whiteboard or any projector. www.crystalproductions.com (800) 255-8629 • visual interest. could be included for februar y 2012 ❘ activit www.ar tsand ies.com www. 14 by Linda Welling 22 march 2012 www.artsandactivities.com 34 d e c e m b e r 2 0 1 3 • 81 y e a r s > Sharing successful creative ideas . V feel most comfortart students they find in secondar y or images er y often, from photographs these drawing experiable drawing do find and Although I to drawing, books or magazines. in the introduction art, it is imporin important role ences play an students interested images keep from life. that these lessons in drawing from life in my advanced drawing tant to encourage meanentire unit to a still life of I dedicate an include drawing space, an expresThese projects art course. interior or exterior assignments— drawing an of my favorite ingful objects, really drawing and—one reflective object project sive hand(s) object. The drawing a reflective observation skills. motiFries, in the a student’s the y artist, A.J. challenges exemplifies contemporar a His artwork I include of this lesson. possess. and materials vational section he received reflective objects N.Y., where beauty that in Buffalo, then, he has and works in 1995. Since Fries lives College > Buffalo State Colored pencil. his BFA from Leslie. “Mask.” pastel. “Fork.” Oil Alexandra. M their to challenge are expected and depth. of view. They including space set it ferent points solo exhibig of composition, with their object, they it with several understandin return to class arts world, T-pins to keep His photorealistic in the visual Once students secure it with been active board and art residencies. and white clearly on a piece of foam exhibits and them to classes. done in black tions, group to explore. life, I require moving between ordinary objects of the still a direct paintings of I want my students for a reflec- from the interest them to use home the objectives To add to and to search at lighting, asking have demonstrate mid-tones are expected with dramatic or it can simply the highlights, My students the object. encour- work exaggerate can be metallic, source to the light on The object students are of to light the media tive object. and cast from surface. The with regards of reflective shadows reflected colored pencils are generally to re-create is interesting some sort choose objects an object that the opportunity pastels and Oil choose students students to Some aged or they provides my surface texture. in the object’s surface, of choice, which shape and with great success. can capture the look way. image their own n what they observe in an interesting to learn they that reflect students reflect light by looking! It excites students that simply still-life object, this objects simply pick items of this single for reflective drawings search metal and thumbnail During the High School. from difto create several at Ardsley (N.Y.) have collected) are expected is an art teacher they may com any others vities. Stephanie Rosen for links to websites ndacti object (or on this button .artsa om and click x www 12 arch 20 artsandactivities.c Capturing Metal the Look of Rosen by Stephanie ost of us have worn a mask at one time or another. Masks represent can so many things, such as emotions (happy, sad, fearful) and power. The “comedy familiar by David L. Gamble and tragedy” masks, Colored pencil. derived from ancient pencil. Katie. “Jewelry.” S Box.” Colored OBJECTIVE Greek theater, are Sydney. “Heart LEARNING just one example from . still-life drawing. the students will mask histor y. compose a High-school see within as a tool to the of images they Death masks from • use a viewfinder thumbnail sketches well-balanced compositions. uenced and ancient Egyptians inﬂ • create several to find interesting into creviewfinder the ancient Romans direct observation. for their • draw from object. ating similar masks a reflective qualities and • choose single-object still life. represent the reflective departed. Masks can • set up a dramatic lighting to enhance or gods animals, many things: • explore of their object. of course, there textures pastels effectively. even past kings. And, pencils or oil and opulent gold• use colored is King Tut’s familiar about 1343 B.C. MATERIALS inlaid death mask, from difonly distinguish paper African masks can not or satin drawing (black, white signify fertility, pencils or larger sulphite and animals, but also ferent tribes, areas • 9" x 12" and Prismacolor® colored have always wooden masks of Mexico • Oil pastelstones) social place, etc. The red face of El and gray as the sharp horns and me—such board intrigued foam The masks of • T-pins and a frightening expression. Diablo sculpted with to Lent—have S time celebrated just prior ART STANdARd “Carnival”—a festive di Venezia), NATIONAL Venice, Italy (Carnevale their roots in France and and processes Orleans. New and de Janeiro media, techniques and have spread to Rio and apply Good (Lone and functions symbols and ideas lled with masks: The • Understand of structures matter, My childhood was ﬁ Clay Mask • Ancient Egyptian Kings • Ancient Greek Theater Biombo, etc.) • African (Senufo, Goma, topeng) • Indonesia (Balinese dramatic) • Chinese (Tibetan, Shamanic, • Japanese (Noh, Kyogen) • Superheroes and Villains (1950s to present) • Lucha Libre Wrestlers Workshop NATIONAL ART STANDARDS • • and cultures. arts in relation to history Understand the visual processes. media, techniques and Understand and apply ch OBJECTIVES LEARNING x mar om ities.c tiv 2012 of their • Use knowledge a range of subject and merits and evaluate the characteristics • Choose and assess others • Reflect upon the work of work and Masks shown 25 c . tsanda adult students will www.ar Second-grade through tools. are from art-teacher workshops in Florida, Georgia and Alaska. Go to article. related to this m • • • minimal create a clay mask with engobes. red masks with vitreous create and decorate unﬁ cultures. learn about masks of various 24 MATERIALS • • • • • Moist, red, low-ﬁre clay Wire clay cutter Canvas-covered boards, bats or thick cardboard 2-ounce applicators Fettling knife (or ordinary butter knife) • • • • White casting slip and empty pint jars Velvet underglazes Newspaper Half-inch and 1-inch bamboo brushes Scratch tools EXTENSION IDEA be approach, students could and For an “integrated curriculum” about their chosen mask asked to create a presentation on the Internet it comes. Images found the culture from which teachers evolved out mask workshop for art slab form on which EXPLORE of a need to have a wet SUGGESTIONS TO I found to experiment with underglazes. and Queens saying, “Create just giving them clay and underglazes something we can paint in a stagnant on,” left most participants out vague state. So I began shouting a simple clay instructions to make made of mask over a hump mold Crea waded-up ball of newspaper. us to ating a mask form allowed Bad (Green and add Ranger, Zoro), The then paint on underglazes (boogeymen Goblin) and The Ugly from add-on clay pieces, decoration Spihave we the moist and monsters). Today then carve back through to decorate derman and Batman-comic-book underglaze to the clay on the silver heros brought to life the surface by sgrafﬁto. wear masks to screen—all of whom I have been presenting along hide their true identity. these mask workshops Mutant ring lecLet’s not forget the Teenage with an electric-kiln-ﬁ artistic names: and Ninja Turtles with their ture to both art teachers Michelangelo The Leonardo, Raphael, clay artists for decades. last but not and Donatello. And, clay project workshop is a great Mexican to least, there are the masked ach year when I who that provides an opportunity (luchadores), ( wet-clay get a new group of Lucha Libre wrestlers interject histor y, culture, reﬂected in second-graders, I pull create performance personas and, most of handbuilding techniques ■ the masks they wear. out the silk sunﬂ owin the world, all, fun into the classroom. ers, the Vincent van Any culture you study ﬁnd masks in the Gogh chances are you will art prints and L. Gamble has been involved lives For over 30 years, David to make the oil pastels. peoples’ past and present-day businesses, and continues of so many differwith ceramic arts and Though masks are made We view and talk clay of workshops in has conducted hundreds them out of clay. My clay art and teach. He particiabout and ent materials, I make many of Vinorganize helped Canada, and the United States and cent’s works as we photos in Eastern Europe. on this button to view more and clickVincent pated in ﬁve clay symposiums read a book, Go to artsandactivities.com Mask Workshops. from David Gamble’s van Clay Gogh: Sunﬂowers ENGOBE and Swirly Stars, by MIXING A VITREOUS clay) wet Brad Bucks and Joan (To be used only on Holub (Grosset & casting slip • One part low-ﬁre white Dunlap; 2001). underglaze part One • re glaze The children are • Half-part clear low-ﬁ the container with what color it will always fascinated with • Mark the outside of gray-colored casting slip tends to be when ﬁred. (The Vincent’s life. Feeldominate the color.) ings of empathy are visible on their faces when they learn how he grew up poor, started painting Ben Carson late in life, and how he seemed to always be in trouble and make bad choices. They are especially concerned when they hear how he cut his ear off, and that he sold only one of his paintings in his lifetime. Students have many questions about Vincent’s life, which presents a great opportunity to discuss how artists create with emotion—as most of his work reﬂects. We view art prints of Fifteen Sunﬂ owers in a Vase and Vase with Twelve Sunﬂowers. We discuss how Vincent picked sunﬂowers at his countryside home in Arles, France, and would paint them all day, oftentimes until they got droopy. Mask for presenting a “Clay The children notice the thick lines procedure step-by-step of paint and learn The that his on the next page. brushstrokes became the signature Workshop” is found of his paintings. We also remark how his sunﬂower paintings look happy, while many of his earlier paintings appear dark and sad. John 012 ❘ february 2 ities.com artsandactiv > > 15 CONTENT The art content for pets includes Leonardo the pupda Vinci’s self-portrait and Mona ART AND READING • Students develop original • Students create a theater skits for puppets. MATERIALS EXTENSIONS out of a refrigerator box. • Photocopies of da Vinci • Scissors • Glue sticks, white glue • Folders • Dictionaries ❘ www.ar tsandactivi ties.com and Picasso self-portraits and other works • 9" x 12" manila oak paper fasteners • Watercolors and brushesstudent) • Hole punches and • Glitter tag (two to three pieces per At this point, my little ones are ready to start drawing. Using the silk sunﬂowers for reference, we begin by sketching our sunﬂowers lightly in pencil in a loose, large way on a small piece of blue or violet construction paper. With oil pastels, we begin layering yellows, oranges and whites on the petals with small strokes of color, as we listen to the sound of the pastels on our paper. We use browns, blacks, golds and whites for the center of our sunﬂowers, then move to longer lines for the background, using light blues, dark blues and white. We look at Vincent’s The Starry Night, to see how he created the background. Students are quick to understand that everyone’s “art style” is a bit different, but all of them are beautiful. They also learn how layering colors and using white to lighten colors creates depth in their ﬂowers. Students, classroom teachers, adminstrators and parents are all stunned at the beauty of the art and this technique. The outcome is amazing! So much so, that many parents have their child’s sunﬂower drawing framed for display in the family home. ■ Linda Welling is a K–6 art specialist teaching at Cedar Creek Elementary School in Lee’s Summit, Mo. Note: This lesson takes two 40-minute class sessions. 23 > > > E > LEARNING OBJECTIVES • INTEGRATING Lower-elementary students will . the curriculum • • ver y day, all around the countr y, art teachers are contending with large class sizes, shorter class periods and varied student abilities. While the obvious solution might be to standardize, how can an art teacher meet the needs of the entire learning spectrum? How can an art teacher challenge the students who need challenging, while providing an appropriate learning experience for all? The following lesson will give you some ideas about how to do just that. I presented this lesson to my third-grade includes both art students—it and reading content and standards. The opportunities for divergent results are innumerable! pets can vary from Pupthe basic construction—for who needs structure—to a learner a wildly creative unique concept and originally for the gifted student. This is the key to cess when considering sucthe varied abilities of your students. E Vincent Van Gogh: Sunﬂowers and Swirly Stars, by Brad Bucks and Joan Holub Art prints of several of the paintings in Vincent van Gogh’s Sunﬂower series and The Starry Night LEARNING • Pencils and oil pastels OBJECTIVES Elementary students • Blue or violet 9" x 12" construction paper will • be exposed to art and . reading. • create puppets that vary NATIONAL in sophistication ART STANDARDS learning needs. to suit the student’s • learn vital critical-thinking Understand and apply media, techniques •skills the construction of andin processes. their puppets. • Understand the visual arts in relation to history and cultures. • Reﬂect upon and assess the characteristics > Morgan: “Mellow Mindful and merits Mighty of their work and Marley.” the work Nicole: “Nice Neat Nervous of others. Nicole.” Art & Reading Puppets MATERIALS learn some of the history and background of artist, Vincent van Gogh. create a drawing using pastel techniques that produce similar effects to Vincent van Gogh’s brushstrokes. reﬂect on how emotions play an important part in creating art. • • Silk sunﬂowers • by Kimberly Brown Severance • Describe how different NATIONAL ART STANDARDS responses. • Identify connections between materials, techniques processes cause and different the visual arts and disciplines in the other curriculum. > Sean Cayenne Evaluating Data Students conduct research on issues and interests by and questions, and generating ideas by posing problems. synthesize data from They gather, evaluate, a variety of sources and texts, artifacts, people) (e.g., print and non-print to communicate their suit their purpose discoveries in ways and audience. that Angelina: “Astonished Amazing Adorable Angelina.” NATIONAL READING STANDARD: Lisa–type images of heads, and Pablo Picasso’s self-portrait and cubist image of heads. We completed knowledge of self-portraiture, a review of prior and discussed abstract art, Cubism, realistic and Surrealism and the design principle of emphasis. We also reviewed scissor use, and the proper cutting techniques for rough and ﬁ ne cutting. The reading content for our puppets about personiﬁcation included learning and alliteration, and being exposed various vocabulary to terms. We deﬁned personiﬁ cation as the act characteristics to of giving human something that is nonhuman. Examples personiﬁcation are: of the Little Engine That Could; the Little Toaster; and Brave Mr. Potato Head. Alliteration is using words with the same beginning, which consonant at the we would be using for the names of puppets. And, although our demonstrating the the creation of the process is vital to puppets, the students ing and art content also learned readby seeing written directions, vocabulary lists, descriptions of the art on worksheets the names of the and even seeing supplies on the containers. To make the basic ﬁrst created a storage puppet, we folder out of a 12" x 18" piece of manila oak tag. We folded it in half and stapled it on the two sides. After deciding our puppet could be human, animal or imagiPEERLESS PUPPETS TAKE FORM “The reading content for our puppets included learning about personiﬁcation and alliteration, and being exposed to various vocabulary terms.” a head, body, arms and legs. We chose photocopies I had from made of portraits from da Vinci and Picasso. I also included items such as a violin, vase, teapot, handbag, chair and clock to serve as addition to wings from da Vinci’s inventions. bodies, in We roughly cut the edges of images, removing them from the worksheets, and glued them glue sticks, conserving onto oak tag using space as possible. were on the oak After the images tag, we ﬁnely cut out them out, removing white excess and any V cutting between ﬁngers and other Once students had areas. the idea of where they were going their constructions, with it was puppets. We brainstormed time to add some creativity to the ideas. For instance, human, with two puppets can be arms and two legs; a four-legged animal; puppets can be fantasy, or based on myths, tales or legends. Parts can also be interchangeable: arms can be octopus see PUPPETS on page 35 25 www.ar tsandactivi ties.com ❘ march 2012 nary, we selected Go to artsandactivities.com and click on this button for links to materials and websites related to this article. 24 MacKenzie: “Bold Blissful Brilliant Bella.” april 2012 x www.ar tsandactivities.com > ❘ www.ar tsa ndacti vities.com www.ar tsa ndacti Caleigh: “Cheerful Clever Curious Corinne.” vities.com > ❘ april 2012
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