Sunday, May 6, 2012
Paper Mache Masks and More, Lesson Plan
Paper Mache Masks and Beyond--Grade school (with help) and Up
This is a wonderful technique that can be used in so many ways. I use art paste (methyl cellulose) which doesn’t get moldy or stinky like flour and water does.
Aims: To make an original, wearable mask
To explore the use of paper mache
Materials & Tools
newspaper (lots of it)
masking tape
scissors
odds and ends to use for the underbody (styrofoam cups, cardboard pieces, egg cartons, foil, etc. etc.
art paste
bowl or bucket for “slime”
For painting: tempera paint (or acrylic)
brushes
Optional: pipe cleaners, feathers, raffia, yarn, tissue paper, fabrics and other decorative items
Procedure: Motivate your students with pictures of masks from the culture you are studying. There are numerous examples from all over Africa, New Guinea and Oceania, Eskimo, Asian Indian, American Indian, etc.
To construct the mask, form a loose bunch of newspapers into the size you want the mask and tape it together. Tape on objects to make the form three dimensional--eyes might be egg carton pieces or coffee cup bottoms. Make sure it is very three-dimensional. Add ears, horns, a beard, etc. with cardboard or styrofoam. Use scrunched-up foil to form shapes, too. It doesn’t have to look good at this stage; it just has to hold together for the covering process. Look at the mask in profile and make sure you have enough things sticking out to make it sculptural.
To paper mache, cover your work area. Mix several tablespoons of art paste into water. A little will go along way. Use you hand to mix and get rid of any small lumps. It will thicken in a few minutes and you may then have to add more water.
Rip lots of newspaper into strips, along the grain. Make them mostly medium-sized--about 1-1/2” by 4 or 5 inches. You’ll need tons of them.
When you are ready to paper mache, dip each piece in the art paste mixture, scissor off with your fingers so it doesn’t drip too much and smack down, going over the piece a few times to make sure it conforms to the outline of your shapes. You’ll need about 3 or 4 layers for a strong mask. Go every which way, not just in one direction. Patting down is key for the surface to look good.
When dry, take out the “guts”. Sometimes you’ll need to cut around the back edges with scissors to pull out the form. You can use an exacto knife to cut out eye slits or nostrils, which you only need if you are going to wear it.
If you are painting you mask a light color, putting on a coat of white first will help block out the newspaper print. References of painted masks will help your students paint their masks more beautifully. Details are important to add at this point.
You may use hot glue to add decorative items like yarn, tissue paper or feathers.
Variations can include covering balloons or other objects to make bowls or constructing free-standing figures or animals.
Accordion Book Lesson Plan
Accordion Books (Grade school (with help)- adult]
This is a book arts technique from Japan, that works well for all ages of elementary students. It could be a stand-alone art project or be have a cross-curricular aspect to it.
Aims:
•To create an original book
•To learn about cultural connections (Japan)
•To integrate academic curriculum into your art lessons (optional)
Materials & Tools:
Scratch paper for planning
2 pieces of chipboard or heavy cardboard a bit bigger than the folded page size of your book
white paper cut, folded (and glued by overlapping if necessary) to make even numbered folded stack with correct number of pages (see below). Rice paper is another, more expensive possibility.
Paper for covering cardboard covers--4” larger on top and bottom (for an 8 x 10 cover, you’d want 12 x 14” cover paper)
pencil, eraser, scissors, tape, white glue
Sharpie markers, watercolors, watercolor brush, water can
Colored pencils
Ribbon or string for tying
Procedure:
Decide the theme for your lesson. It could be a book without words, a book about one’s family, a creative story, etc. Have your students work out their stories on scratch paper (4-6 folds is a good number). You need to have a long, folded sheet have 2 more sections than your story, so for a 4-panel story you need six sections and for a 6-panel story you need eight. Keep the numbers even so the book glues together well.
Fold the panels to make equal sections, gluing on extra paper if necessary by overlapping slightly (The seam will disappear once the panel is colored, so don’t worry about it). It might be easier if you give your class the same specifications--say 6 panels for everybody, because then the construction will be the same for everyone.
Draw, sharpie and color the insides as desired.
Next, make your covers. The cardboard should be a little bit bigger than our folded pages for the best possible look. Cover the cardboard by cutting your paper 4” each way (2” per side). Draw “envelope” flaps on all four sides, directly from the corners. You are making angled lines going inward on each side--not outward!!!! Cut out the odd-looking corner shapes which will resemble a triangle with a drooping bottom. Fold over each flap and tape down. This side will be the inside of your front and back covers. Tape ribbon on the left side for the cover and the right side for the back. Glue the end “extra” pages over the inside covers, tie your book closed and you have an accordion book.
Reflection
Share your books, as always.
Variations:
Use other materials such as collage. Books can open up and down, too.
Tuesday, May 1, 2012
Repousse Demo On Wednesday: What You Need to Know
Adam will be doing a sculpture project with us on Wednesday. Please read below and come prepared with a small 6 x 6 inch drawing to repousse on copper.
FROM ADAM: "I got my demo pieces ready for Wednesday's repose demonstration. I wanted to email the class to ask them to bring in a drawing on 6"x6" piece of paper of anything they'd like. The only drawing guidelines are that they use as few lines as possible (they'll see why later) and big shapes. They drawings can be representation or abstract, but everyone should just understand that tiny details and too many lines won't come out nicely on the copper sheet, which is why it's best to stick with large shapes and few lines. I borrowed pieces of felt for everyone to work on and I'm cutting the copper out tonight (6"x6!). If you or anyone else has needle-nose pliers, please bring them since I only have two pair. Worst case scenario we could share, since it's simple enough shapes with just squares (things get complicated if the copper is rounded). So aside from my plea for needle-nose pliers, everyone just needs the 6"x6" drawing for Wednesday to transfer to their piece of copper that I will provide.
p.s. - I just realized after I finished writing this whole thing that round tipped objects like soft pencils, the backs of thin paintbrushes, boxwood ceramic tools, anything soft and wooden, are all good tools to use. Metals scratch the copper ...and the noise also irritates me. Also optional: steel wool, which can be used to create a kind of brushed metal effect, but again, it's not necessary."
Thursday, April 19, 2012
Latest, Greatest Syllabus
HOFSTRA UNIVERSITY
School of Education and Allied and Human Services
Department of Curriculum and Teaching
Syllabus 2.0
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; SED 114
Sem. Hours: 3
Instructor: Professor Julia Healy
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. 1: 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 and Digital Applications
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 & Units
Standards & Common Core for the Arts
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 8: Student Presentation on Reading by Libby
Reading to have finished: Art for Life, Part One Introduction & Chapter One
Art Form: Drawing
The importance of teaching observational drawing
Feb. 15: Student Presentation on Reading by Morgan
Reading to have finished: Art for Life, Chapter Two
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading by Lucy
Reading to have finished: Art for Life, Part Two Introduction and Chapter Three
Art Form: Painting
Feb. 29: Guest Professor, The Nuts and Bolts of the Real World of High School
Art Form: Photo Collage
M ar. 7: Class Cancelled, Professor Sick
Mar. 14: Reading to have finished: Art for Life, Chapters Four & Five
Art Form: Printmaking, Frottage
Mar. 21: UNIT PLAN PARAGRAPH DUE.
Reading to have finished: Art for Life, Chapters Six and Seven
Student Presentations on Reading by Adrienne (4 & 5) and Adam (6 & 7)
Art Form: Printmaking, Part Two (Transfer Prints)
Mar. 28: Student Presentation on Reading by Cassandra
Reading to have finished: Art for Life, Chapters Eight & Nine
Art Form: Installation and Art Beyond the Gallery Setting
Apr. 4 & Apr. 11—NO CLASSES
Apr. 18: LESSON PLANS DUE
Student Presentations on Reading by Alex & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Part 3 & Chapter Ten
Art Form: Mixed Media and Book Arts
Apr. 25: Student Presentation on Reading by Elise & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Chapters Eleven & Twelve
Art Form: Mixed Media and Book Arts, Part Two
May 2: Student Presentation on Reading by Janelle
Reading to have finished: Art for Life, Chapters Thirteen & Fourteen
Art Form: Sculpture
Thematic Unit Plan Due
May 9: Presentations on Reading by Jenna and Observational Experiences (to be assigned)
Reading to have finished, Art for Life, Chapters Fifteen & Sixteen
Art Form: Sculpture
May 16: Student Presentations on Observational Experiences, Closure, Evaluation of Professor and Class
Art Form: Food
Course Assignments and Basis for Assessment
Professor Julia Healy
Participant Observation Program in Schools (15%)
Students will participate and observe in a secondary school, 20 hours during semester.
The following is required:
___ Attendance log signed by cooperating teacher
___ Narrative of your experiences observing in the classroom
In your narrative make connections between:
___ theories and ideas discussed in class
___ readings (text and other handouts)
___ Include images of student work (actual, copies or photographs) to share with class in May. Note the grade of the examples, the course they were from and lesson objectives.
___ In your brief presentation (5-7 minutes) include an analysis of the aesthetic objective(s), motivations, questions posed, and the criteria or guidelines of assessment (rubrics). Select any examples of open-ended assignments, with no patterns or designs given to share with the class.
Writing and Reading Assignments (15%)
Students will be responsible for leading group discussions of reading assignments
___ 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.
___ Be prepared weekly to respond to a question related to the reading and/or handout given. These quizzes will count as one-third of the above grade.
Unique Lesson Plan and Demonstration (15%)
(Students will present during the weeks of April)
Students will each present an original lesson plan to the class, providing copies of lesson plans, with visuals, for each student. The lesson will be one from your thematic unit (see below).
Be sure to address:
___ where this lesson fits into a unit
___ lesson description and rationale (one paragraph including how lesson is relevant to adolescent interest, development and/ or broad curriculum, artistic or cultural issues)
___ clear aesthetic objectives and their relationship to the NYS arts standards
___ motivation and closure
___ materials, including a technique or demonstration exemplar, of needed
___ visual aids, including art prints large enough for class viewing
___ promotion of creativity and individual response
___ aesthetics and art history
___ presentation: (voice, tone), interactive engagement with students through questioning or other techniques.
Thematic Unit Plan (25%)--Due May 2
Students will create an original unit plan that will contain three to five lessons and submit them to me via email (for our blog) and hard copy.
This is the assignment that will be used on your TK20 site. I will be giving you complete rubrics in the next week or so.
___Your theme should provide a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the course. For example, you could explore ideas related identity, place or community. Media could be the same or vary. Present your concept and description to me by Mar. 7 (one paragraph).
__ 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 art created within the past ten years or a work that reflects current trends in the art world. The artist does not have to be famous, but you need to provide a color reproduction (refer to catalogue or the Internet).
___ Include an image of what inspired your lesson, if applicable.
___ Include at least one lesson with a multicultural and/or gender sensitive perspective.
___ Include a lesson that includes art criticism and/or aesthetics.
___ Make sure all sections on the lesson plan format distributed are addressed
___ Lessons must be developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced course.
___ Address motivation, pivotal questions and closure in your lessons.
___ Be sure to have your lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
___ Provide an assessment rubric or other specific approach. Relate clearly to your objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the individual lesson. Generic assessments are not acceptable.
___ Common Core and the New York State Art Standards that are being addressed should be noted in each lesson plan.
Art Projects (20%)
Due throughout semester
Professional Dispositions (10%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” for your professional disposition piece of your grade 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: I 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 he 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
Syllabus 2.0
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; SED 114
Sem. Hours: 3
Instructor: Professor Julia Healy
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. 1: 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 and Digital Applications
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 & Units
Standards & Common Core for the Arts
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 8: Student Presentation on Reading by Libby
Reading to have finished: Art for Life, Part One Introduction & Chapter One
Art Form: Drawing
The importance of teaching observational drawing
Feb. 15: Student Presentation on Reading by Morgan
Reading to have finished: Art for Life, Chapter Two
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading by Lucy
Reading to have finished: Art for Life, Part Two Introduction and Chapter Three
Art Form: Painting
Feb. 29: Guest Professor, The Nuts and Bolts of the Real World of High School
Art Form: Photo Collage
M ar. 7: Class Cancelled, Professor Sick
Mar. 14: Reading to have finished: Art for Life, Chapters Four & Five
Art Form: Printmaking, Frottage
Mar. 21: UNIT PLAN PARAGRAPH DUE.
Reading to have finished: Art for Life, Chapters Six and Seven
Student Presentations on Reading by Adrienne (4 & 5) and Adam (6 & 7)
Art Form: Printmaking, Part Two (Transfer Prints)
Mar. 28: Student Presentation on Reading by Cassandra
Reading to have finished: Art for Life, Chapters Eight & Nine
Art Form: Installation and Art Beyond the Gallery Setting
Apr. 4 & Apr. 11—NO CLASSES
Apr. 18: LESSON PLANS DUE
Student Presentations on Reading by Alex & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Part 3 & Chapter Ten
Art Form: Mixed Media and Book Arts
Apr. 25: Student Presentation on Reading by Elise & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Chapters Eleven & Twelve
Art Form: Mixed Media and Book Arts, Part Two
May 2: Student Presentation on Reading by Janelle
Reading to have finished: Art for Life, Chapters Thirteen & Fourteen
Art Form: Sculpture
Thematic Unit Plan Due
May 9: Presentations on Reading by Jenna and Observational Experiences (to be assigned)
Reading to have finished, Art for Life, Chapters Fifteen & Sixteen
Art Form: Sculpture
May 16: Student Presentations on Observational Experiences, Closure, Evaluation of Professor and Class
Art Form: Food
Course Assignments and Basis for Assessment
Professor Julia Healy
Participant Observation Program in Schools (15%)
Students will participate and observe in a secondary school, 20 hours during semester.
The following is required:
___ Attendance log signed by cooperating teacher
___ Narrative of your experiences observing in the classroom
In your narrative make connections between:
___ theories and ideas discussed in class
___ readings (text and other handouts)
___ Include images of student work (actual, copies or photographs) to share with class in May. Note the grade of the examples, the course they were from and lesson objectives.
___ In your brief presentation (5-7 minutes) include an analysis of the aesthetic objective(s), motivations, questions posed, and the criteria or guidelines of assessment (rubrics). Select any examples of open-ended assignments, with no patterns or designs given to share with the class.
Writing and Reading Assignments (15%)
Students will be responsible for leading group discussions of reading assignments
___ 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.
___ Be prepared weekly to respond to a question related to the reading and/or handout given. These quizzes will count as one-third of the above grade.
Unique Lesson Plan and Demonstration (15%)
(Students will present during the weeks of April)
Students will each present an original lesson plan to the class, providing copies of lesson plans, with visuals, for each student. The lesson will be one from your thematic unit (see below).
Be sure to address:
___ where this lesson fits into a unit
___ lesson description and rationale (one paragraph including how lesson is relevant to adolescent interest, development and/ or broad curriculum, artistic or cultural issues)
___ clear aesthetic objectives and their relationship to the NYS arts standards
___ motivation and closure
___ materials, including a technique or demonstration exemplar, of needed
___ visual aids, including art prints large enough for class viewing
___ promotion of creativity and individual response
___ aesthetics and art history
___ presentation: (voice, tone), interactive engagement with students through questioning or other techniques.
Thematic Unit Plan (25%)--Due May 2
Students will create an original unit plan that will contain three to five lessons and submit them to me via email (for our blog) and hard copy.
This is the assignment that will be used on your TK20 site. I will be giving you complete rubrics in the next week or so.
___Your theme should provide a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the course. For example, you could explore ideas related identity, place or community. Media could be the same or vary. Present your concept and description to me by Mar. 7 (one paragraph).
__ 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 art created within the past ten years or a work that reflects current trends in the art world. The artist does not have to be famous, but you need to provide a color reproduction (refer to catalogue or the Internet).
___ Include an image of what inspired your lesson, if applicable.
___ Include at least one lesson with a multicultural and/or gender sensitive perspective.
___ Include a lesson that includes art criticism and/or aesthetics.
___ Make sure all sections on the lesson plan format distributed are addressed
___ Lessons must be developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced course.
___ Address motivation, pivotal questions and closure in your lessons.
___ Be sure to have your lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
___ Provide an assessment rubric or other specific approach. Relate clearly to your objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the individual lesson. Generic assessments are not acceptable.
___ Common Core and the New York State Art Standards that are being addressed should be noted in each lesson plan.
Art Projects (20%)
Due throughout semester
Professional Dispositions (10%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” for your professional disposition piece of your grade 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: I 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 he 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.
Monday, April 2, 2012
Thursday, March 29, 2012
Monday, March 19, 2012
Thursday, March 15, 2012
New, Latest Syllabus
Please see below for the latest version of our syllabus. Please note that your Unit Theme is due next week. Write a paragraph, outlining what you intend to do.
Current Syllabus SED 114 & CT 298B Updated Yet Again!
HOFSTRA UNIVERSITY
School of Education and Allied and Human Services
Department of Curriculum and Teaching
Syllabus 2.0
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; SED 114
Sem. Hours: 3
Instructor: Professor Julia Healy
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. 1: 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 and Digital Applications
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 & Units
Standards & Common Core for the Arts
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 8: Student Presentation on Reading by Libby
Reading to have finished: Art for Life, Part One Introduction & Chapter One
Art Form: Drawing
The importance of teaching observational drawing
Feb. 15: Student Presentation on Reading by Morgan
Reading to have finished: Art for Life, Chapter Two
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading by Lucy
Reading to have finished: Art for Life, Part Two Introduction and Chapter Three
Art Form: Painting
Feb. 29: Guest Professor
Art Form: Photo Collage
Mar. 7: Class Cancelled
Mar. 14: Reading to have finished: Art for Life, Chapters Four & Five
Art Form: Printmaking, Frottage
Mar. 21: UNIT PLAN PARAGRAPH DUE.
Reading to have finished: Art for Life, Chapters Six and Seven
Student Presentations on Reading by Adrienne (4 & 5) and Adam (6 & 7)
Art Form: Printmaking, Part Two (Transfer Prints)
Mar. 28: Student Presentation on Reading by Cassandra
Reading to have finished: Art for Life, Chapters Eight & Nine
Art Form: Installation and Art Beyond the Gallery Setting
Apr. 4 & Apr. 11—NO CLASSES
Apr. 18: LESSON PLANS DUE
Student Presentations on Reading by Alex & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Part 3 & Chapter Ten
Art Form: Mixed Media and Book Arts
Apr. 25: Student Presentation on Reading by Elise & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Chapters Eleven & Twelve
Art Form: Mixed Media and Book Arts, Part Two
May 2: Student Presentation on Reading by Janelle
Reading to have finished: Art for Life, Chapters Thirteen & Fourteen
Art Form: Sculpture
Thematic Unit Plan Due
May 9: Presentations on Reading by Jenna and Observational Experiences (to be assigned)
Reading to have finished, Art for Life, Chapters Fifteen & Sixteen
Art Form: Sculpture
May 16: Student Presentations on Observational Experiences, Closure, Evaluation of Professor and Class
Art Form: Food
Course Assignments and Basis for Assessment
Professor Julia Healy
Participant Observation Program in Schools (15%)
Students will participate and observe in a secondary school, 20 hours during semester.
The following is required:
___ Attendance log signed by cooperating teacher
___ Narrative of your experiences observing in the classroom
In your narrative make connections between:
___ theories and ideas discussed in class
___ readings (text and other handouts)
___ Include images of student work (actual, copies or photographs) to share with class in May. Note the grade of the examples, the course they were from and lesson objectives.
___ In your brief presentation (5-7 minutes) include an analysis of the aesthetic objective(s), motivations, questions posed, and the criteria or guidelines of assessment (rubrics). Select any examples of open-ended assignments, with no patterns or designs given to share with the class.
Writing and Reading Assignments (15%)
Students will be responsible for leading group discussions of reading assignments
___ 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.
___ Be prepared weekly to respond to a question related to the reading and/or handout given. These quizzes will count as one-third of the above grade.
Unique Lesson Plan and Demonstration (15%)
(Students will present during the weeks of April)
Students will each present an original lesson plan to the class, providing copies of lesson plans, with visuals, for each student. The lesson will be one from your thematic unit (see below).
Be sure to address:
___ where this lesson fits into a unit
___ lesson description and rationale (one paragraph including how lesson is relevant to adolescent interest, development and/ or broad curriculum, artistic or cultural issues)
___ clear aesthetic objectives and their relationship to the NYS arts standards
___ motivation and closure
___ materials, including a technique or demonstration exemplar, of needed
___ visual aids, including art prints large enough for class viewing
___ promotion of creativity and individual response
___ aesthetics and art history
___ presentation: (voice, tone), interactive engagement with students through questioning or other techniques.
Thematic Unit Plan (25%)--Due May 2
Students will create an original unit plan that will contain three to five lessons and submit them to me via email (for our blog) and hard copy.
This is the assignment that will be used on your TK20 site. I will be giving you complete rubrics in the next week or so.
___Your theme should provide a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the course. For example, you could explore ideas related identity, place or community. Media could be the same or vary. Present your concept and description to me by Mar. 7 (one paragraph).
__ 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 or a work that 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).
___ Include an image of what inspired your lesson, if applicable.
___ Include at least one lesson with a multicultural and/or gender sensitive perspective.
___ Include a lesson that includes art criticism and/or aesthetics.
___ Make sure all sections on the lesson plan format distributed are addressed
___ Lessons must be developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced course.
___ Address motivation, pivotal questions and closure in your lessons.
___ Be sure to have your lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
___ Provide an assessment rubric or other specific approach. Relate clearly to your objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the individual lesson. Generic assessments are not acceptable.
___ Common Core and the New York State Art Standards that are being addressed should be noted in each lesson plan.
Art Projects (20%)
Due throughout semester
Professional Dispositions (10%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” for your professional disposition piece of your grade 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: I 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 he 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
Syllabus 2.0
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; SED 114
Sem. Hours: 3
Instructor: Professor Julia Healy
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. 1: 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 and Digital Applications
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 & Units
Standards & Common Core for the Arts
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques
Art Form: Drawing/Group Projects
Feb. 8: Student Presentation on Reading by Libby
Reading to have finished: Art for Life, Part One Introduction & Chapter One
Art Form: Drawing
The importance of teaching observational drawing
Feb. 15: Student Presentation on Reading by Morgan
Reading to have finished: Art for Life, Chapter Two
Art Form: Collage
Using art history in a positive (not mindless) way
Feb. 23: Student Presentation on Reading by Lucy
Reading to have finished: Art for Life, Part Two Introduction and Chapter Three
Art Form: Painting
Feb. 29: Guest Professor
Art Form: Photo Collage
Mar. 7: Class Cancelled
Mar. 14: Reading to have finished: Art for Life, Chapters Four & Five
Art Form: Printmaking, Frottage
Mar. 21: UNIT PLAN PARAGRAPH DUE.
Reading to have finished: Art for Life, Chapters Six and Seven
Student Presentations on Reading by Adrienne (4 & 5) and Adam (6 & 7)
Art Form: Printmaking, Part Two (Transfer Prints)
Mar. 28: Student Presentation on Reading by Cassandra
Reading to have finished: Art for Life, Chapters Eight & Nine
Art Form: Installation and Art Beyond the Gallery Setting
Apr. 4 & Apr. 11—NO CLASSES
Apr. 18: LESSON PLANS DUE
Student Presentations on Reading by Alex & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Part 3 & Chapter Ten
Art Form: Mixed Media and Book Arts
Apr. 25: Student Presentation on Reading by Elise & Lesson Plans (to be assigned)
Reading to have finished: Art for Life, Chapters Eleven & Twelve
Art Form: Mixed Media and Book Arts, Part Two
May 2: Student Presentation on Reading by Janelle
Reading to have finished: Art for Life, Chapters Thirteen & Fourteen
Art Form: Sculpture
Thematic Unit Plan Due
May 9: Presentations on Reading by Jenna and Observational Experiences (to be assigned)
Reading to have finished, Art for Life, Chapters Fifteen & Sixteen
Art Form: Sculpture
May 16: Student Presentations on Observational Experiences, Closure, Evaluation of Professor and Class
Art Form: Food
Course Assignments and Basis for Assessment
Professor Julia Healy
Participant Observation Program in Schools (15%)
Students will participate and observe in a secondary school, 20 hours during semester.
The following is required:
___ Attendance log signed by cooperating teacher
___ Narrative of your experiences observing in the classroom
In your narrative make connections between:
___ theories and ideas discussed in class
___ readings (text and other handouts)
___ Include images of student work (actual, copies or photographs) to share with class in May. Note the grade of the examples, the course they were from and lesson objectives.
___ In your brief presentation (5-7 minutes) include an analysis of the aesthetic objective(s), motivations, questions posed, and the criteria or guidelines of assessment (rubrics). Select any examples of open-ended assignments, with no patterns or designs given to share with the class.
Writing and Reading Assignments (15%)
Students will be responsible for leading group discussions of reading assignments
___ 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.
___ Be prepared weekly to respond to a question related to the reading and/or handout given. These quizzes will count as one-third of the above grade.
Unique Lesson Plan and Demonstration (15%)
(Students will present during the weeks of April)
Students will each present an original lesson plan to the class, providing copies of lesson plans, with visuals, for each student. The lesson will be one from your thematic unit (see below).
Be sure to address:
___ where this lesson fits into a unit
___ lesson description and rationale (one paragraph including how lesson is relevant to adolescent interest, development and/ or broad curriculum, artistic or cultural issues)
___ clear aesthetic objectives and their relationship to the NYS arts standards
___ motivation and closure
___ materials, including a technique or demonstration exemplar, of needed
___ visual aids, including art prints large enough for class viewing
___ promotion of creativity and individual response
___ aesthetics and art history
___ presentation: (voice, tone), interactive engagement with students through questioning or other techniques.
Thematic Unit Plan (25%)--Due May 2
Students will create an original unit plan that will contain three to five lessons and submit them to me via email (for our blog) and hard copy.
This is the assignment that will be used on your TK20 site. I will be giving you complete rubrics in the next week or so.
___Your theme should provide a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the course. For example, you could explore ideas related identity, place or community. Media could be the same or vary. Present your concept and description to me by Mar. 7 (one paragraph).
__ 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 or a work that 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).
___ Include an image of what inspired your lesson, if applicable.
___ Include at least one lesson with a multicultural and/or gender sensitive perspective.
___ Include a lesson that includes art criticism and/or aesthetics.
___ Make sure all sections on the lesson plan format distributed are addressed
___ Lessons must be developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced course.
___ Address motivation, pivotal questions and closure in your lessons.
___ Be sure to have your lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.
___ Provide an assessment rubric or other specific approach. Relate clearly to your objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the individual lesson. Generic assessments are not acceptable.
___ Common Core and the New York State Art Standards that are being addressed should be noted in each lesson plan.
Art Projects (20%)
Due throughout semester
Professional Dispositions (10%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” for your professional disposition piece of your grade 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: I 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 he 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.
Monday, March 12, 2012
Wednesday, March 7, 2012
Class Cancelled for Tonight
Sorry about this, but I am too sick to drive and am trying to get to the doctor tonight or tomorrow. Classes will be one week behind and we will discuss how and when to best make up this session.
Apologies all around,
Prof. Healy
Apologies all around,
Prof. Healy
Monday, February 20, 2012
Lesson Plan for Max Ernst-Inspired Collages
The above image is by Max Ernst from his book titled "A Week of Kindness."
Grades 4 to adult
Time Frame: 2 art periods
This project is inspired by collages by the Surrealist Max Ernst.
Aims:
•To explore the collage process
*To use old illustrations to create impossible scenes
*To create individual works that express absurdity, nightmares, the occult, etc.
*To be exposed to the Dada/Surrealist collages fo Ernst
Materials: Black paper or backgrounds from collected sources, copied, old illustrations from 19th Century books and ads copied, scissors, glue sticks, old phone books or magazines for gluing
Vocabulary: Dada, Surrealism, collage, overlapping, edge
Procedure: Give students pages of images to choose from. Students will make either their own backgrounds or start with one from your collection of images. (Ask me for a packet of originals to copy, if you are interested.) Show good cutting technique, by making clean edged cuts. Have your students move the paper, not their wrists! Show how to plan by working from the back forward. Demonstrate good gluing technique by putting your shape upside down on a page of the phone book and gluing around the edges of the shape. (The middle takes care of itself!) Smack down for a tight, clean bond and throw the page of the phone book away. Repeat for each shape. This way, no glue gets on the table and you get clean gluing.
Reflection/Follow-up: Share the work. Perhaps you can make a class quilt with one work by each student being put together in rows.
Friday, February 3, 2012
Updates
We have ordered the textbooks. I'm not sure how long it will take to get them in, so you may want to buy the book at Amazon, anyway. I leave it up to you. I will copy the first two chapters for those of you unable to get the book. Sorry about this.
I am clarifying the assessment piece of our class and should have everything in place for you by next week. You will have a guest professor on 2/29 and you may want to plan on attending the National Art Education Association conference which is in New York City this year. It's a great way to network, find out about what's going on in the art education world, get free glom and hear both Prof. Zwirn and myself speak as presenters. I'm not sure what her topics are this year, but mine is on Thursday and it's called "New Dimensions ins Teaching Advanced Drawing to High School Students."
I am clarifying the assessment piece of our class and should have everything in place for you by next week. You will have a guest professor on 2/29 and you may want to plan on attending the National Art Education Association conference which is in New York City this year. It's a great way to network, find out about what's going on in the art education world, get free glom and hear both Prof. Zwirn and myself speak as presenters. I'm not sure what her topics are this year, but mine is on Thursday and it's called "New Dimensions ins Teaching Advanced Drawing to High School Students."
Exquisite Corpse Group Project-Lesson Plan
This project is a fantastic way to begin a school year and create a sense of pride in students who have not yet become a “group.” The results are easily hung high up, along the top of school walls (depending on fire regulations).
Aims:
To create individual oil pastels pieces which will fit together
To learn about the surrealist party game of the same name
To create a group dynamic, where each student is a part of a larger, greater, whole
Materials & Tools: Pre-marked construction paper*, oil pastels or some other medium like pastels or construction crayons, scissors
*To make the marks you need to know how many students will be involved. There are ways to add more pieces but it is hard to take them away without messing the finished product up.
Lay out the pieces in a row--you can do a few at a time--from left to right. Draw short lines across the two papers, enough to be seen. I vary where I put them to make the end result more interesting-looking. Write the number and draw an arrow on the back side under the topmost line (see illustration). This is super-important so you know the proper placement. If your students follow the directions, when they cut out their pieces, the numbers on the back will stay intact for easy taping together.
Motivation: If you want to show examples of actual exquisite corpses, be mindful that a few of them are rather explicit, so you’ll have to look at what you choose ahead of time. The idea is that you draw something and that it will connect perfectly with the drawing in front of yours and the one behind. It forms a cohesive whole only after the pieces are assembled.
You may also want to have picture library pictures of animal patterns and other images that will stimulate interesting results.
Vocabulary: exquisite, corpse, blending, pattern, continuous
Procedure: After showing and/or talking about what an exquisite corpse was (and defining the nonsense title), explain that each student is going to make a separate piece that will fit together to make a larger project. Explain that one person will do the head, another will do the tail and everybody else will do an inside piece. You can ask for volunteers for the end pieces or randomly hand them out with the other pieces, depending on ow you want to approach it. The students doing the end pieces will only have two (not four) lines on their papers.
The rules are simple: the top two lines on the left and right side of the paper must eventually connect to each other and the bottom ones must also connect. What the line does in between them is what makes the shapes fun and unique. They can wobble, go up and down, have scales, wings, extra heads and feet, etc., as long as they eventually connect. The sides between the up and down lines must stay straight (and uncut) so they fit tightly to the next piece. The arrow on the back will help students work right side up.
Demonstrate good oil pastel use--layering and blending are encouraged. If the construction paper is blue, I tell them cover all the blue. You want to have rich patterns and details. Have them press down and use one color over another. I show them how to peel their oil pastels and that even “dirty” ones have rich, bright colors underneath. “Use them until they disappear,” I tell them.
When colored, they can cut them out. You may want to work with a few students at a time on this step to get it done right. If they miscut, you just tape it together on the back--no worries. Variation: leave the pieces intact and just tape the rectangles together.
If someone needs to start over, you need to make an exact replica of the original paper or it will not fit. If a new student comes in, find the middle of the project (say sheets 13 & 14), ask those students to lend you their papers and make a 13B sheet that fits between them, putting the number and arrow on the back as described above. Begin the project with exactly the number of students you will have that day. I often did almost enough sheets ahead of time and then made the last few as needed, based on attendance.
Tape together from the back and laminate, if feasible. I put pieces of tape horizontally at the top and bottom of the seams in between pieces for extra strength.
Reflection: Share the work, of course! The display of this project will cause create great excitement. I once did this with the entire sixth grade at a large school and wound up with a piece that practically covered the entire school foyer and hallways.
Follow-up: You can make vertical, very tall exquisite corpses based on rainforest trees (with flora and fauna) or just do art elements and keep them abstract. Animals as presented here are only one possibility of many. You can also vary the materials and work in watercolor, oil pastel resist, markers, etc.
Aims:
To create individual oil pastels pieces which will fit together
To learn about the surrealist party game of the same name
To create a group dynamic, where each student is a part of a larger, greater, whole
Materials & Tools: Pre-marked construction paper*, oil pastels or some other medium like pastels or construction crayons, scissors
*To make the marks you need to know how many students will be involved. There are ways to add more pieces but it is hard to take them away without messing the finished product up.
Lay out the pieces in a row--you can do a few at a time--from left to right. Draw short lines across the two papers, enough to be seen. I vary where I put them to make the end result more interesting-looking. Write the number and draw an arrow on the back side under the topmost line (see illustration). This is super-important so you know the proper placement. If your students follow the directions, when they cut out their pieces, the numbers on the back will stay intact for easy taping together.
Motivation: If you want to show examples of actual exquisite corpses, be mindful that a few of them are rather explicit, so you’ll have to look at what you choose ahead of time. The idea is that you draw something and that it will connect perfectly with the drawing in front of yours and the one behind. It forms a cohesive whole only after the pieces are assembled.
You may also want to have picture library pictures of animal patterns and other images that will stimulate interesting results.
Vocabulary: exquisite, corpse, blending, pattern, continuous
Procedure: After showing and/or talking about what an exquisite corpse was (and defining the nonsense title), explain that each student is going to make a separate piece that will fit together to make a larger project. Explain that one person will do the head, another will do the tail and everybody else will do an inside piece. You can ask for volunteers for the end pieces or randomly hand them out with the other pieces, depending on ow you want to approach it. The students doing the end pieces will only have two (not four) lines on their papers.
The rules are simple: the top two lines on the left and right side of the paper must eventually connect to each other and the bottom ones must also connect. What the line does in between them is what makes the shapes fun and unique. They can wobble, go up and down, have scales, wings, extra heads and feet, etc., as long as they eventually connect. The sides between the up and down lines must stay straight (and uncut) so they fit tightly to the next piece. The arrow on the back will help students work right side up.
Demonstrate good oil pastel use--layering and blending are encouraged. If the construction paper is blue, I tell them cover all the blue. You want to have rich patterns and details. Have them press down and use one color over another. I show them how to peel their oil pastels and that even “dirty” ones have rich, bright colors underneath. “Use them until they disappear,” I tell them.
When colored, they can cut them out. You may want to work with a few students at a time on this step to get it done right. If they miscut, you just tape it together on the back--no worries. Variation: leave the pieces intact and just tape the rectangles together.
If someone needs to start over, you need to make an exact replica of the original paper or it will not fit. If a new student comes in, find the middle of the project (say sheets 13 & 14), ask those students to lend you their papers and make a 13B sheet that fits between them, putting the number and arrow on the back as described above. Begin the project with exactly the number of students you will have that day. I often did almost enough sheets ahead of time and then made the last few as needed, based on attendance.
Tape together from the back and laminate, if feasible. I put pieces of tape horizontally at the top and bottom of the seams in between pieces for extra strength.
Reflection: Share the work, of course! The display of this project will cause create great excitement. I once did this with the entire sixth grade at a large school and wound up with a piece that practically covered the entire school foyer and hallways.
Follow-up: You can make vertical, very tall exquisite corpses based on rainforest trees (with flora and fauna) or just do art elements and keep them abstract. Animals as presented here are only one possibility of many. You can also vary the materials and work in watercolor, oil pastel resist, markers, etc.
Thursday, February 2, 2012
Textbook Was Not Ordered!!!!!
No one explained I had to put in for an order to the bookstore for the textbooks--last year they just appeared! I tried to call Prof. Zwirn to ask if we should order them this late but she hasn't called me back. So I say: use Amazon. I will post whatever Prof. Zwirn says when she gets back to me, but in the meantime, see if you can get
Art for Life elsewhere. Sorry about this. (I'm still kinda new here...)
Art for Life elsewhere. Sorry about this. (I'm still kinda new here...)
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