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Arts & Activities - Page 12

Artwork courtesy of the Cray-pas, Wonderful, Colorful World Contest. Left to right: Leslie Kim 2010, Justin Wang 2009, Evelynn McWilliams 2009 *UHDW5HDVRQVWR&KRRVH&UD\3DV2LO3DVWHOV ; 1. Easy ; 2. Safe ; 3. Quality Smoothly blend & mix color Captures true expression Color packs for schools AP Seal certi ed non-toxic ASTM & ACMI standards Vivid color Premier ingredients Consistent performance www.sakuraofamerica.com (Circle No. 224 on A&A Reader Service Card) er FEB pp26-cov 12/26/07 8:50 AM Page 33 er FEB pp26-cov 12/26/07 8:50 AM Page 32 2.25 MARCH PP by Geri Greenman and your stuhurk dents are sata by Laurel Delia-Sc isfied. Using small sponge LEARNING OBJECTIVES beforehand, or stiff brush, cy of this media the option, Students will . Students consisten if allowed apply the paint the some students, • research artists to choose whose enjoyed this as entranced with liberally over become more technique/style they’d like to emulate. economical will the creation itself. a perfront of the ttempting sculpthe than • experiment with oils to determine play flour how “clay” lesson. cutter to secure they might mimic color ture in an inner-city mask, workUsing a paper of mat and technique. kiln has MATERIALS • create a composition that will edge on a piece ing it into the school with no the suggest coils. fectly straight the same flavor of their with rolled d, tap around texture and (see recipe) be created chosen artist. opened up a board or cardboar shape. This com“Hair” can • Salt dough f • draw themselves in a contemporary meat skewers flattened crevices o new set of edges of the setting, yet similar to what meat skewers • Small wooden prevents the and wooden the artist may to clay. Small dough forks the dot hurdles circles. have used. brittle. • Plastic pieces) presses the s decorative too thin and (small, flat-cut Before the surmount. make good repetitiou • Mat board small bowls of extra flour edges from getting of plastic forks this particunt dries, and the tines thickness for Spatula and d paint The stude • patterns, .25suggeste lines. A ately MATERIALS s clay t is short parallel be approxim student • Baking sheets pressing into enrollmen in amulet enough are great for lar project would relief items for Create holes • Oil paints I can’t stress s • Interesting should begin class At this point, made up of kinderstiff paintbrushe and and pencil. decide a inch thick. Brushes paint • visuals point, using at this of good • Tempera rubbing the s are garten through , the necessity their Students should, • Mineral spirits cal shape for ders All art educator faces • Sponges only using eighth-gra • Tuna cans discussio ns. smiley on a basic symmetriy tap and compress raised surfaces prior stereotypical paint off the a brisk but • Rags most of whose aware of the that persponge and mask, and repeatedl of the flattened e cone scribble hair a clean damp paint to edges • Palettes I OBJECTIVES media experienc and clown-typ facial t. Allow the the outside LEARNING art, due in part, more than desired basic • Palette knives light treatmen olers will . sisted of little d in the recessed vades most children’s of merchandisdough until the and middle-scho and colJUNE pp.2-21 • Art history books/portraits barrage remain untouche 4/27/06 2:03 Upper-elementary To to affect a worn l, kiln-less crayons, markers shape is attained. suspect, to the PM Page piece that • Stretched Jen Cacioppo . in an economica Page 25 they’re exposed. ce. 20 canvas or canvas board wanted to share the manner of Lucian areas and crevices, • experienceclay. Using the small 2:28 PM ored paper. I Freud. ing icons to which this pro• Gesso d artifact appearan to 1/26/07 e with my stustart with a nose clichés with version of and weathere children 2.25 was set aside, symbol in African a new experienc in disBlack discourage such is easy for Jessica Nudd . in MARCH PP area of the mask. to be invested observance of the manner of Modigliani. This process • create an important and demonone in the central seridents for the as an amulet. ject, time needs JUNE pp.2-21 e a definite al purpose and nd, if explained art—the mask while still covering 4/27/06 2:03 encourag philosophic cultural understa y oil-painting class was to Month and the Try PM Page 21 History cultural cussing . shape mostly aspects of African • identify the these masks. made up of juniors and strated correctly clean water should triangle or rectangle as to in their pieces. for of the most enjoyable ous nature of seniors of ideas reflected so COVER stor y who had completed at are to have holes simA container for your nose rinse their least one of our be a If the amulets art—the mask. are fairly sed of shrinkstudents to the project to two introductory art s needed the round-no for a degree all the be handy for oil pasPage 24 avoid classes, the first I also wanted do not The supplie for some, hanging, allow cleanup: squeezing out lown” 2:27 PM semester in which easy t sure students an as this might, o the C oz sponges often, 1/26/07 “B they learned the and erasers sure success, any clayage, and make the of near the d water. It’s importan ple and have with too e pencils Also, basics s, of ce. blackene holes drawing, experienc les design, color scissor excess it is fairly appearan d. Examp place their out. be their first to assure a tel, paper, sponge out so ry, sculpture, watercolors/ac theothem to break require must be suffie. In order are amount to squeeze the features rylics, his Cubist edge, causing like substanc are all that graphic design, calligraphy as an excessive art and onto the g of the complete for other children, Cubist dry and clean, and so on. ciently flattened The transferrin might positive experienc lesson. artists ’ work, aggressive rubbing The second semester Picasso’s LEARNING OBJECTIV other baking sheet ensure enough artof to concentrates on media of moisture and/or face ES ed pieces to the I needed a foolproof would not allow . Using printmaking, perspective, the salt/flour recrea tions e. rds of famous Students will … adherenc to the instructor painting, art postca will break down media does As my budget or water-hardenoff to a great better be left history, functional ceramics along withsurface pieces. This lesson dipped into flour, can be creat• understand the representation airand carget mouth and ruin the A the for about a baking spatula tooning. The students any of the new found myself dignear the resilience process of works, will and curl- s. large-format, public-space should last who have had under each individ, I not have anywhere clay! by rolling a coil period edproject these two classes have and slide it carefully ing materials start. The flour dough ute class open ves. • copy a master-artist work. art. a by basic Steve would a cookie, underold salt-andLappe protecaround to form of natural kiln-fired an objecti standing of painting, ing it 45-min ual piece as you ging up the covering for six or seven • reproduce a values study lesson and are anxious sheet. form must time is always coiled Using plastic moveare four of a masterto do this I to learn how to paint ed violet, cobalt lips. This transfer to a baking at approximately There recipes. Since work in pencil for onto the Cubist from their own advise students e art periods, blue and compositions study flattened a value reference. would t I ts they pieces , 50-minut cadmium breaktion, the somewha with Bake be dents in my yellow cover the • place a grid on a photocopy and . Second issue also studen references. the oven passing through First, laps to prevent coil for ting Picasso surface I of a double celebra the center of recipe at home of the the halls bear Pablo last step in their use of love sometimes anthe witness and open-air concrete student value study The in the luminosity 275 degrees in made up the face. of the drawing as le of visubrowned. ment the and evolving to the table surface buttery images. for reference. terrace with ’s examp for different using the recipe the artist enlarges Third, consistency minutes or until like ediintense of age. A hard used too vigorenlarge and transfer be • Picasso hues way. The get 10–15 can oils. expressions to for of bread-ma ker, Because it up lips onto sidewalk new follow the sidewalk for a masters’ drawing of students’ fuller come students on the in a its chalk. Children opposite page. tric, and smell just workability, visual impact. amount of onto a sidewalk accurately encourages students will faces as demise of and the geome adults everywhere “medium Yourpieces they lly porsidebar on the They will look of look out and the old master the the it As for the chalk masto resist the the ultimate al effects. using the grid. over shapes all are immediatel terms: color, that individua of ters” is easy courtyard at the used to achieve of the sizes, but be sure • apply particular colors clay and set facial feaous, causing to teach—once own y drawn to artists time I have found review end and ly, any number the their ble cookies, vivid colors, we of the the of pastels to a be saved for stution to steer withwe of all ages plying is try telling—the dents before class saves concrete surface. cheat a little. The abstrac know how to cleanday ts disagain, they taste horrible! bakaside. This will can be their work. Fortunate ir exprestheir Once creative skills on ns.line, brushes sions convey stue add-ons. tioning the clay dents first raise temptation as and shape, regardin g , the studen on the market expressio a pleasant the outdoortheir Fourth them from the work space. Oils funds for a means the typical smiley argumen ts les. of tures and decorativ roll the larger surfaces glue products should a clear during a warm summer wet for long feeling of sureach prise stay Do not remove and avoids to work. our creative ends. As soon art princip the situation amazement cultural the students theirthe I generally give day. periods of time, so and . Have students The money is used hands, they are cooled. d reprocritiqu used to salvage will eruin areas of a painting art elethis and All of us remember as “unfair” amounts. clay slightly larger Unknown to purchase ing sheet until play , I showe palms of their SIDEWALK CHALK , use of after baking. put students’ mouth, can be reworked, to our audience at some Jaclyn hard of the Cubism the lesson Vorel pastels that supply scraped or amount in the (similar to making a be handled, ity, four t point in We dismishap occur RECIPE is all the start can project. wiped off. our lives being use of sizes the preliminary To of van student a blob us with rich colored. in the manner Gogh. as they ready to allow ’s work. the into tions, Oils are much Jenny Beeman . in nature of hunched down les, creativ with permanen This keeps the work and organiza⁄ -cup warm water more of hard hues. Added to the manner of Lucian You are now a disof Picasso making a sphere them flatten the princip be created with ed the ation. the backs on all a forgiving also fours, scrubbing andon entrance Freud. tion necessary can s the than a golf ball. for baking time, and pastel learn names I explain duction e particip sets in. and prepare Hair medium, ments Have is “straightlin Toilet-tissue tubes away at the can be flata how much stuwatercolors, to create the muralclay his using before confusion and critiqu snowbal l). eor promia new way. the and how little pieces to dry chalk,” helped rough unlike or life surface of the to create to apply. marker, ings” Next, the which sized images in where coils, his somewhat uniform comes Iin black not be too cussed how to dispose of turpsy the young artist on the desktop, pieces in tion. through that really “cropp school’s most the antique use of 1 ⁄ cups plaster sidewalk with use a variety old matof hintsaffect g a picture must first “plan” vivid � abstrac board forced rags (in a steel, how Tell the pieces will should artists’ of Paris spherical form or sizes intense play in your and or small to color. and pieces of are a fewcan colors of chalk, duce the terminology of croppin yours:tempera is norSome twisted choose Students to other also assures discussed lidded can), store their retain Here Cubism hand. The clay cre- and students idea help 2–3 whites, to e. ced canvas and tened, tablespoons their thick trying students keeping paper of of may painters. presses to for paint fairly the glow of the sition create images this exercise. choose to inate powdered tempera introdu should thinner (in faces the heel garlic using nent showcas to show or e should were Throughout the semester, (i.e. of comic-book paints copy tuna cans), set up their kids and movement graters g cumbersome Container for mixing dents colorbe showing dark and a master’s necks. strong compo myappearanc While experimenting standard plastic-lam by trying cheese through students have characters, paper with palettes, s. Everythin wing” the color. work, while ng should the Cubist around their with this little crazy not stick to Cubism abstract color an 80-word vocabulary wet, art specialist all in which and swirls of colors or dreadlock The “borro to get up their desks with newspaper. and set and so on). with and breaki I start my others to wear them to with work from it is too paint. exercise, I teach the to create urk is theBetsy choose list they’re eventhem painters ate braids les of down striped or scenes of faraway unless works viewed slides out with toa create at once black mixed . in the manner of students the rudired, as examp form their be pressed tabletops masterSchools. tually tested on, with such Laurel Delia-Sch l Curtis o’s such being into wedged must John Singer Sargent. ble project places we would study and experiWe had already masks and talisAlso, during the first be blue, added enjoy ments of color mixing, can be shapes. or brick Picass intense, ting old several angles learnoriginal words can flour that is how to manipulate (Ohio) Municipa This afforda patternsbrown like to visit. Someso theyown few weeks of drawing. Either students usually limiting out into basic African chocolate create case a little prima,” “sfumato,” “grisaille,” as “alla e. recrea at Cleveland thus and the of you who ng color. class they learned the the paint; of feel green, our efforts were them you way review their palette to either adherenc talked about ideas, are hunter the the 33 things down Have viscosity ds were passedthen “monoensure preparation names of their and smeari grade levels, quite successful media. .For those amount of a monochrome or of it, and is the g with the color until off clay a short design chromatic,” “impasto,” nt the layerin expressive eyes art postcar brushes, the purpose and They ully scratch and with Cubism others with set small Experime same. of to Next, a ful one. mans, with complements dots “triptych” were red. of sepaSidewalk Wonderf of those brushes, ment tool not. and for their form study. success faint of heart, n of artists first cremany others, rhythmic use a pointed are student picked a paper “winwork surand how to care for them. Students’ the applicatio including They learn how to clean use of However, with hard major ate a value study � involving the work art and each e neat effects. g withAlso, using spread on the A couple of is movepossible with showing promise. their brushes, a little organizatio in pencil on a ments, and artist’s names postcard with t views in the and the simplistic will produc flour can be weeks into the class, makin lar eyelids. Pencils We n and a few classic and styles. sheet of 8 1⁄2" x c parallel lines, I started to introcropped the students begin. some pastel ts have trouble � differen rate semicircu drawing techniques, 11" paper. This geometric shapes. would down draw face before the great for concentri drew four see you can create on page 41 is the value map, large and small wise here: It If studen dow” and some things suggest they out erasers work amazing art in which also begin. A word to the breaking unique Cubistic, piece of large the workable scale. Art students has a grid on it for were ready to Cubist style, . This created four things look tear off approxiyou to assure sides on one a dark at our school create drawing should three behoove d. and shapes � fantastic, large Students proportion accuracy. allotted postcar to basic a face from ping. Then take scale, ter of their The grid from the same picked their of their drawings, annually sidewalk chalk acts as the map mately one-quar drawings paper overlap over only some d, they for placement on a go the center courtyard in Cossette from image from Once finishe and recreated it marker and Les Miserables g one Cubist of . paper. 32 Lastly, the circular school favorite drawin a piece of strong lines to create ping drawings. buildoil ber on overlap ing. The remarkabl to remem larger scale g the drawing using we the three e tell the kids images can be seen work. Lastly, ed After colorin be sure you can stain clothes. from titled the both the first floor for all levels pastel, they discussion and display that oil pastel and great project were g was based second floor corridors kids that This is a had a class An abstract view of the universe. ts. Even the or “I t work. Gradin ng instructhat surround the the studen followi of art studen , “This is too hard” sful courtual effort, succes yard and on individ always saying being quite possibly � enjoyed Van Gogh’s room, will assist in keeping from the airplanes complete. can’t draw” . landrate. Being organized a drawing accuing at O’Hare with Cubism airport. will work in the s artists’ favor throughout Throughout the art at Huffine day, stu- A view n teaches This can be accomplish the process. from the rooftop Jennifer Bowde in Lewisville, Texas. to the courtyard. ed by starting at the top of the Middle School grid and working toward the other end. This will help REFERENCES s to avoid smearing Picasso’ or damaging the Grace, work. Sidewalk chalk Galassi, Susan Harry N. drawings can be • Book: on the Masters. made in any size and Variations ble and fairly are a great afforda project for to for an individuals or groups. Abrams, 1996.of the artworks Picasso x, be applied earching ctions Delacroi that could me The true inspiratio • Reprodu Grünewald, El Greco, easy project ts, an idea came to Velázquez OBJECTIVES n for this by and ING used project studen , Manet is an artist LEARN gs by Picasso Nick and Sara . all levels of work together Courbet, Gauguin above will some paintin Wenner (www.dodg named Kurt famous to students and nt and Pablo start a copy of after finding by other er.com/wen ner/ among others. ss.utoronto.ca/ Edward Hoppers’ Elementary sevinspired gallery.htm). Wenner’s moveme for idea were Cubist ench.cha Night Hawks. that images incor• http://fr • study the It was a great tml nsive, porate anamorphic ing artists’ works. First, it was inexpe tary of celebrat fcs195/manet.h .com/Words/ geometry that Picasso. is s. very sophisticate enkrantz Picasso’s example > The comic-book lover. with elemen d and represents eral reason new way. • www.er AndTheMirror.shtml • follow mally used to create ieces in a the could work great understand ic, shape, ts. s/eng/ chalk lines in conTheMask old masterp ing of skill that quick and color, geometr hool studen a starting struction. The goes grids are created seupicasso.bcn.e into any fine piece the terms: students use it of the art kids using a carpenter’s • www.mu • review through high-sc of art, whether temcollec.htm to lay ion and all down large areas gave the chalk line. Chalk porary or permanent. in about collection/cont_ line, abstract Second, it of color. If you lines are a carpen’t compla choose to make ter’s tool used they couldn it allowed even Cleanup is simple—let principles. 25 their work. your own pastel to create long straight point so mediand critique um, the possibilities lines that can be ideas. Third, drawing skills or use a power washer. the rain do it • display erased when needed are endless and having no Many students t the best many recipes are and are perfectly wonder why we available online. lesson allowed straight when prospend so much the kids withou sful. The Artists need tools duced correctly. time pastel, on artwork that MATERIALS to with oil assist will to be succes only them Vermeer ent wash away. g 20 in creating large-scale complete. Once the grid experim My response is Kirsten using while learnin images. For this � has been laid, to quote General a rag to blend them to re reason, tape measures colors together. the artists can freehand abstraction Patton, “All glory is • Oil pastels r Bowden felt the pressu so color and fleeting.” the drawing into are used to by Jennife measure large place creating, • Paper � history. They areas. Guidelines was gone essentially, a coloringabout art � and look “real” • Scissors book image in Steve Lappe teaches and erasers large scale. The to have things relax and have fun. art at West Leyden • Pencils s of famous artworks grid just � High School in Northlake, they could art by Picasso • Postcard Ill. ctions of Cubist • Reprodu artists and other Plastic forks s. create impression S AFRICAN AMULET less Clay for the KilnA BASIC SALT-DOUGH RECIPE salt Three units of flour * Eight units of water Three units of used to “tools” are purposes. serve many Rolled coils COVER stor y In Th e Mann er Of. . Chalk M R Masterpieces in Chal k S Pastel Picassos > and other 21 24 14 november 2010 x www.ar tsandactivities.com

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