This is a wonderful project that bridges art and writing. It could also have an integrative aspect (science, math, social studies, etc.)
Materials:
Several sheets Oak tag or Bristol board to be folded in half & used for figures
2 pieces of heavy chipboard, a little bigger than your book
Drawing paper to make covers with
Pencil, eraser
Practice paper
Scissors
Elmer’s Glue
Sharpie Markers
Watercolors
Watercolor Brush
Water Can
Colored Pencils
Note: Do not use pastels or craypas, as they will smear.
Procedure:
Begin by planning your book. Decide how many pages you want it to have and how many moveable characters you will need. Most likely, your book will be horizontal in format, so plan accordingly.
Your story can be worked out on scratch paper. Students may use word processing and cut out their printed copy and glue it to the bottom of their books after the illustrations are done.
The top half of the book will be background for an outside scene or the wall for an inside one. The bottom half will be for the story and is the ground or floor. Your pop-ups will come out of folded area.
Once you have your story, fold your oak tag in half and draw your scene lightly in pencil. Outline in sharpie and watercolor in. Colored pencils can be used later, if you wish. Mixed media can add a rich look to your art work.
On separate oak tag, make your characters. When dry, cut out.
Book Assembly: Pop-ups are based on the idea that everything will fold flat along scored lines when the page is closed.
First draw an “11” on the outside of the fold. Make sure your pop-up will not extend outside of your book by visually measuring first. The “11” can’t be too thin or too thick, too long or too short. As you do this, you will get the hang of what size to make your “11”. Fold back and forth to score and put back into position. Open the fold and push out your “11” which now becomes a stair step. Your pop-up will get glued onto the front of the stair step—not the top!
For a slider, make the “11” and then cut a long strip twice the length of the slider you want. Slide it through your “11” and then glue it to itself at one end. Then glue the character or thing on the outside of the strip.
You also may use z-strips—small strips folded like zees that pop out things like clouds, birds, etc.
Advanced pop-up techniques include angled folds and pop-ups attached to pop-ups. There are many books to refer to if you want to get more sophisticated.
Glue your pages together, being mindful not to slop glue too near the open holes formed by the “11’s”.
Cover: The cover uses the “envelope” technique I showed you for your accordion books. You need to create a spine for your book which will vary depending on how many pages you have. Lay your cardboards our on your cover paper with a space between them that will become the spine. It may be as close as a quarter of an inch or as far apart as three-quarters of an inch. Trace the cardboard and remove. The cardboards, remember, are a bit bigger than the book pages (Maybe ¼” or so on each side). Draw envelope flaps from the exact corners. Angle in, not out! The spine area is just made straight. The lines are only drawn on an angle from the corners. Put the cardboard back on the tracing and fold the flaps tightly over the cardboard and tape down. Do this all eight times.
Draw your cover, sharpie and watercolor. Put your title on the cover and your name, too. It should have a compelling illustration to make us want to open it.
The last step is gluing the end book pages to the cover. Glue around the edges, and your book is finished.
Reflection:
Share the books as usual. Books may be displayed in the library or classroom.
Follow-up or Variations:
Students can make pop-up cards using this technique. Simple one page pop-up pictures can be done by kindergartners. If you want to display on a bulletin board, tie a piece of yarn or string on the oak tag to hold the fold open.
Thursday, April 28, 2011
Monday, April 11, 2011
Revised Revised Syllabus
HOFSTRA UNIVERSITY
School of Education and Allied and Human Services
Department of Curriculum and Teaching
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; Sem. Hours: 3
Instructor: Professor Julia Healy;
Telephone: (516) 390.3246; E-Mail: Juliahealy@aol.com
Class Blog: hofstrasecondaryarted.blogspot.com
Course Description
Students will study the developmental, socio-cultural, perceptual and cognitive changes that occur during adolescence with a view to how these transformations impact on artistic-aesthetic development. The course will integrate the exploration of these theoretical strands with weekly participation in hands-on art projects and processes that are appropriate for middle and high school students. Lesson and unit planning, classroom management and diverse assessment practices will be examined. Students will explore ways to foster creative thinking as well as implement art history and aesthetics in the curriculum.
Required Text:
Anderson, T. Milbrandt, M. (2002). Art for Life. NY: McGraw Hill
Note: There is a website www.mhhe.com/artforlife1 for this book. It has a glossary among other things, and may prove helpful to you.
Supplemental articles and book chapters will be distributed throughout the semester.
Course Rationale
The unifying theme of this course is the idea that a rigorous, multi-faceted program in the arts is ideally suited to foster and express the burgeoning sense of identity that begins during adolescence. Art education is conceived here as a discipline that embraces artistic production, art history and aesthetics. The art room is envisioned as a creative and dynamic studio environment that highlights the unique contributions of each individual while imparting diverse cultural traditions in the arts.
Course Outcomes
• This course will enable students to develop in-depth art lessons and units for a program in the visual arts, grades 7-12.
• Students will be able to foster visual literacy, enabling adolescents to decode meaning and value in diverse media in their own culture as well as the culture of others. They will demonstrate this through their artistic production and classroom discussion.
• Students will have the option to complete an interview study of adolescents as they look at art in order to understand how this age group makes meaning of the artwork of professional artists. Student will develop their own perceptions of the implications of their findings for teaching in a research paper. (optional, extra credit)
• Students will design qualitative art lessons that demonstrate an understanding of adolescents’ growth to a degree that addresses their development and concomitant changes in visual and spatial abilities and interests.
• Students will demonstrate an ability to introduce students to art history and aesthetics by designing multicultural museum activities.
• Students will demonstrate an ability to successfully teach art through actual presentations in the classroom.
• Students will demonstrate an understanding of current issues in the field of art education by an ability to lead and participate in group discussions on these topics.
• Students will develop the habits of mind of a reflective practitioner as demonstrated in their journals, kept to examine their observations in schools and make connections between field and university experiences.
Feb. 2: Introduction
Review of course and program requirements. Emotional, intellectual and physical transitions of early adolescence viewed in today’s cultural context. Art as the search for meaning and the social implications of art.
Some general things we will be covering this semester:
Art in the greater world of middle school and high school education
Teaching both future artists and non-artists to bring out creativity
Harry Wong
The Structured Classroom
Setting the Tone
Do-Nows/Routines
Making a disparate group a unit within a classroom setting
Materials
Artist first; teacher second
Visual Culture
Anime/cartoons/Bob Ross
Beyond art seasons, art elements and dead artists
How to get ideas
Life as a Lesson Plan
Demos: yea or nay?
Lesson Plans
Standards
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 9: Student Presentation on Reading
Reading to have finished: Art for Life, Part One Introduction, Chapter One (1-20)
Art Form: Drawing
The importance of teaching observational drawing
Feb. 16: Student Presentation on Reading
Reading to have finished: Art for Life, Chapter Two (22-39)
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading
Reading to have finished: Art for Life, Part Two Introduction and Chapters Three and Four (41-78)
Art Form: Painting
Mar. 2: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Five, Six and Seven (80-137)
Art Form: Printmaking
Mar. 9: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Eight and Nine (138-168)
Art form: Printmaking, Part Two
Mar. 16: No Class. Time allotted for your museum experience.
Mar. 23: Student Presentation on Reading
Reading to have finished: Art for Life, Part Three, Chapters Ten & Eleven (172-187)
Art Form: Mixed Media and Book Arts
Mar. 30: Guest Lecturer: How to Survive Your First Years
Students will learn the secrets of how to enter the “real” world of teaching with an art teacher from the Hofstra Program.
Art Form: Photography into Art
Apr. 6: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Twelve and Thirteen (188-205)
Art Form: Mixed Media and Book Arts, Part Two
Apr. 13: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Fourteen and Fifteen (206-226)
Art Form: Sculpture/Plaster Craft
Sculpture, Part Two
NO CLASSES APRIL 20 or 27
May 4: Student Presentation on Reading
Reading to have finished: Art for Life, Chapter Sixteen (228-255)
Art Form: Sculpture, Part Two
May 11: Critiques, Final Assessments and Presentations.
Course Assignments and Basis for Assessment
Participant Observation Program in Schools (10%)
• Participate and observe in a secondary school, 20 hours during semester.
In order to receive an A:
• Attendance log signed by cooperating teacher
A summary of all reading assignments which includes reflections on your observations make connections between:
• the theories discussed in class*
• readings*
• your observation experience*
*the above will count towards your writing and reading grade
• Collect images of student work (or copies)if possible
• note grade, course and lesson objectives on the back. Discuss works of art done by students in your field placement.
• select examples of open-ended assignments related to student interest (no patterns or designs)
Writing and Reading Assignments (15%)
• Students will be responsible for leading group discussions of reading assignments
In order to receive an A:
• lead a group discussion (or activity) that covers key issues presented in the reading. Initiate dialogue with fellow students, do not read your notes of the article.
Hand in your notes as part of this assignment.
Quizzes on Reading (5%)
Museum Lesson Plan (15%)
As a part of your unit, write a more detailed lesson plan that was inspired by your museum visit. It may have some of the other criteria below (multicultural theme,art from last ten years, aesthetic element, etc.). Use the format handed out in class. Include a sample and/or motivation for your lesson. Do not use the internet for ideas. Make it totally yours!
Thematic Unit Plan* (15%)
Due May 4
In order to receive an A, submit a hard copy of your unit.
Create a three or four-lesson unit plan on a theme of your choice, suitable for high school. The theme provides a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the textbook and course. The theme, for example, can explore ideas related identity, place or community. The medium can provide the vehicle for exploration.
• Every lesson requires visuals, which include a visual of the process being taught, a section of the finished project, or the finished product and art history prints, when appropriate. Other motivation is also welcome.
• Base at least one lesson on a work of 1) art created within the past ten years, a work that 2) reflects current trends in the art world. The artist does not have to be famous, but you need to provide 3) a color reproduction (refer to catalogue or the Internet).
• Base at least one lesson on something that came out of your museum visit.
Include an image of what inspired your lesson, if possible.
• Include at least one lesson with a multicultural and/or gender sensitive perspective.
• Include a lesson that includes art criticism and/or aesthetics.
• All sections on the lesson plan format distributed are addressed.
• Lessons are developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced sculpture course
• Motivation, pivotal questions and closure (how you close the lesson) are clearly addressed.
• The lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
• Approach to assessment is described. Provide an assessment rubric or other specific approach. Relate clearly to objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the lesson. Generic assessments are not accepted.
• The New York State Art Standards that are being addressed should be noted at the top of each lesson plan. Note performance indicators.
Art Projects (25%)
Due throughout semester
Professional Dispositions (15%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” if you come to class having completed the appropriate reading assignments, are prepared for and complete art activities and contribute to classroom discussions as an active and informed participant. You bring varied and rich artistic backgrounds and perceptions to class: we welcome you to share them.
Attendance
Due to the hands-on nature of classes, attendance is critical. Students should provide a medical excuse for missed classes. If you must miss a class, you are responsible for finding out what you missed and what art supplies are needed for the next class. If a student misses two classes, he/she will lose a letter grade for each subsequent class missed. Students are expected to be in class on time.
Originality
All lesson plans must be original. Do not “borrow” work from the Internet, other students, teachers or other sources. Such work will not be accepted; no revisions accepted for copied work. Art prints or quotes taken from books or the Internet must be cited.
School of Education and Allied and Human Services
Department of Curriculum and Teaching
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; Sem. Hours: 3
Instructor: Professor Julia Healy;
Telephone: (516) 390.3246; E-Mail: Juliahealy@aol.com
Class Blog: hofstrasecondaryarted.blogspot.com
Course Description
Students will study the developmental, socio-cultural, perceptual and cognitive changes that occur during adolescence with a view to how these transformations impact on artistic-aesthetic development. The course will integrate the exploration of these theoretical strands with weekly participation in hands-on art projects and processes that are appropriate for middle and high school students. Lesson and unit planning, classroom management and diverse assessment practices will be examined. Students will explore ways to foster creative thinking as well as implement art history and aesthetics in the curriculum.
Required Text:
Anderson, T. Milbrandt, M. (2002). Art for Life. NY: McGraw Hill
Note: There is a website www.mhhe.com/artforlife1 for this book. It has a glossary among other things, and may prove helpful to you.
Supplemental articles and book chapters will be distributed throughout the semester.
Course Rationale
The unifying theme of this course is the idea that a rigorous, multi-faceted program in the arts is ideally suited to foster and express the burgeoning sense of identity that begins during adolescence. Art education is conceived here as a discipline that embraces artistic production, art history and aesthetics. The art room is envisioned as a creative and dynamic studio environment that highlights the unique contributions of each individual while imparting diverse cultural traditions in the arts.
Course Outcomes
• This course will enable students to develop in-depth art lessons and units for a program in the visual arts, grades 7-12.
• Students will be able to foster visual literacy, enabling adolescents to decode meaning and value in diverse media in their own culture as well as the culture of others. They will demonstrate this through their artistic production and classroom discussion.
• Students will have the option to complete an interview study of adolescents as they look at art in order to understand how this age group makes meaning of the artwork of professional artists. Student will develop their own perceptions of the implications of their findings for teaching in a research paper. (optional, extra credit)
• Students will design qualitative art lessons that demonstrate an understanding of adolescents’ growth to a degree that addresses their development and concomitant changes in visual and spatial abilities and interests.
• Students will demonstrate an ability to introduce students to art history and aesthetics by designing multicultural museum activities.
• Students will demonstrate an ability to successfully teach art through actual presentations in the classroom.
• Students will demonstrate an understanding of current issues in the field of art education by an ability to lead and participate in group discussions on these topics.
• Students will develop the habits of mind of a reflective practitioner as demonstrated in their journals, kept to examine their observations in schools and make connections between field and university experiences.
Feb. 2: Introduction
Review of course and program requirements. Emotional, intellectual and physical transitions of early adolescence viewed in today’s cultural context. Art as the search for meaning and the social implications of art.
Some general things we will be covering this semester:
Art in the greater world of middle school and high school education
Teaching both future artists and non-artists to bring out creativity
Harry Wong
The Structured Classroom
Setting the Tone
Do-Nows/Routines
Making a disparate group a unit within a classroom setting
Materials
Artist first; teacher second
Visual Culture
Anime/cartoons/Bob Ross
Beyond art seasons, art elements and dead artists
How to get ideas
Life as a Lesson Plan
Demos: yea or nay?
Lesson Plans
Standards
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 9: Student Presentation on Reading
Reading to have finished: Art for Life, Part One Introduction, Chapter One (1-20)
Art Form: Drawing
The importance of teaching observational drawing
Feb. 16: Student Presentation on Reading
Reading to have finished: Art for Life, Chapter Two (22-39)
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading
Reading to have finished: Art for Life, Part Two Introduction and Chapters Three and Four (41-78)
Art Form: Painting
Mar. 2: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Five, Six and Seven (80-137)
Art Form: Printmaking
Mar. 9: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Eight and Nine (138-168)
Art form: Printmaking, Part Two
Mar. 16: No Class. Time allotted for your museum experience.
Mar. 23: Student Presentation on Reading
Reading to have finished: Art for Life, Part Three, Chapters Ten & Eleven (172-187)
Art Form: Mixed Media and Book Arts
Mar. 30: Guest Lecturer: How to Survive Your First Years
Students will learn the secrets of how to enter the “real” world of teaching with an art teacher from the Hofstra Program.
Art Form: Photography into Art
Apr. 6: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Twelve and Thirteen (188-205)
Art Form: Mixed Media and Book Arts, Part Two
Apr. 13: Student Presentation on Reading
Reading to have finished: Art for Life, Chapters Fourteen and Fifteen (206-226)
Art Form: Sculpture/Plaster Craft
Sculpture, Part Two
NO CLASSES APRIL 20 or 27
May 4: Student Presentation on Reading
Reading to have finished: Art for Life, Chapter Sixteen (228-255)
Art Form: Sculpture, Part Two
May 11: Critiques, Final Assessments and Presentations.
Course Assignments and Basis for Assessment
Participant Observation Program in Schools (10%)
• Participate and observe in a secondary school, 20 hours during semester.
In order to receive an A:
• Attendance log signed by cooperating teacher
A summary of all reading assignments which includes reflections on your observations make connections between:
• the theories discussed in class*
• readings*
• your observation experience*
*the above will count towards your writing and reading grade
• Collect images of student work (or copies)if possible
• note grade, course and lesson objectives on the back. Discuss works of art done by students in your field placement.
• select examples of open-ended assignments related to student interest (no patterns or designs)
Writing and Reading Assignments (15%)
• Students will be responsible for leading group discussions of reading assignments
In order to receive an A:
• lead a group discussion (or activity) that covers key issues presented in the reading. Initiate dialogue with fellow students, do not read your notes of the article.
Hand in your notes as part of this assignment.
Quizzes on Reading (5%)
Museum Lesson Plan (15%)
As a part of your unit, write a more detailed lesson plan that was inspired by your museum visit. It may have some of the other criteria below (multicultural theme,art from last ten years, aesthetic element, etc.). Use the format handed out in class. Include a sample and/or motivation for your lesson. Do not use the internet for ideas. Make it totally yours!
Thematic Unit Plan* (15%)
Due May 4
In order to receive an A, submit a hard copy of your unit.
Create a three or four-lesson unit plan on a theme of your choice, suitable for high school. The theme provides a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the textbook and course. The theme, for example, can explore ideas related identity, place or community. The medium can provide the vehicle for exploration.
• Every lesson requires visuals, which include a visual of the process being taught, a section of the finished project, or the finished product and art history prints, when appropriate. Other motivation is also welcome.
• Base at least one lesson on a work of 1) art created within the past ten years, a work that 2) reflects current trends in the art world. The artist does not have to be famous, but you need to provide 3) a color reproduction (refer to catalogue or the Internet).
• Base at least one lesson on something that came out of your museum visit.
Include an image of what inspired your lesson, if possible.
• Include at least one lesson with a multicultural and/or gender sensitive perspective.
• Include a lesson that includes art criticism and/or aesthetics.
• All sections on the lesson plan format distributed are addressed.
• Lessons are developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced sculpture course
• Motivation, pivotal questions and closure (how you close the lesson) are clearly addressed.
• The lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
• Approach to assessment is described. Provide an assessment rubric or other specific approach. Relate clearly to objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the lesson. Generic assessments are not accepted.
• The New York State Art Standards that are being addressed should be noted at the top of each lesson plan. Note performance indicators.
Art Projects (25%)
Due throughout semester
Professional Dispositions (15%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” if you come to class having completed the appropriate reading assignments, are prepared for and complete art activities and contribute to classroom discussions as an active and informed participant. You bring varied and rich artistic backgrounds and perceptions to class: we welcome you to share them.
Attendance
Due to the hands-on nature of classes, attendance is critical. Students should provide a medical excuse for missed classes. If you must miss a class, you are responsible for finding out what you missed and what art supplies are needed for the next class. If a student misses two classes, he/she will lose a letter grade for each subsequent class missed. Students are expected to be in class on time.
Originality
All lesson plans must be original. Do not “borrow” work from the Internet, other students, teachers or other sources. Such work will not be accepted; no revisions accepted for copied work. Art prints or quotes taken from books or the Internet must be cited.
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