Michele Curiale
CT 298B – Julia Healy
Participant Observation Write UP
I’ve only been in the Art Education program at Hofstra University for about four months. That is long enough to have dipped a toe in just about all aspects of the learning process: educational psych, historical perspectives, classroom management techniques, and in the specifics of Art Ed philosophy and practice. That last category, which includes both Professor Zwirn’s course on Curriculum and Instruction as well as Professor Healy’s course on Instructional Patterns in Secondary education, came with the most reading. After weeks of grinding through the thoughts of some of the most prominent minds in our field, I was happy enough to find that I was “drinking the Kool-Aid.” I found myself underlining whole passages enthusiastically, nodding along with Burton and Eisner, occasionally talking out loud to no one as I scribbled hasty notes in the margins of the Art for Life text which, though perhaps a little too politically correct, a little too user-friendly, never failed to leave me full of hope and excitement for my eventual transformation from graduate student to a cartoon-heroine version of myself: Michele Curiale, ART TEACHER!
But as I made the final arrangements regarding my field placements for Professor Healy’s class as well as the ‘high needs’ placement for my General Methods course, I couldn’t shake a certain nagging feeling that, while being intellectually prepared for the philosophical challenges of art education (would I insist on a DBAE program that drilled my students in aesthetics? Push for the Deweyian, child-based explorations in finger-paint? Agitate through popsicle sticks and glitter glue for social justice?!), maybe I was about to get a devastating reality check inside a real life classroom.
After all, I’ve heard from just about everyone in the business (family, friends, professors, the random strangers I befriend on public transportation) that what you learn in your graduate classes is almost completely divorced from the reality of teaching. High school was not so long ago that I’ve forgot the finer details of my own art education, and to be honest with you I don’t remember my teachers doing much to agitate for social justice, defining aestheticism, or pushing any kind of serious expressive agenda with their budding Van Goghs. I do remember a constant war of classroom management, the exact same quiz about the principles and elements of art given at the start of every course I took from 8th through 12th grade, and the kid who nearly took off his thumb using the paper cutter.
I picked a start date with Mr. Yee, the Art Chairperson, at Elmont Memorial high school (from my own long-ago district), and steeled myself for what seemed like an inevitable shock. What I encountered in the classroom confirmed a lot of my suspicions. Most classes were structured around a Modernist/Formal scope and sequence, particularly the 8th grade and lower-level studio classes. Even in the advanced and AP courses, many assignments stressed skill and technique over content or expression, usually resulting in whole walls of identical student work. Classes at all levels (from required courses with an unwilling student population to AP electives hosting the self-described “art obsessed”) were unruly and scattered; on average, it took five or ten minutes before the classes were settled enough to begin work, and another ten minutes to break down and clean up, which left only twenty minutes for art making (unless a topic or technique was being introduced; then it was more like 12 minutes). Students were rarely asked to complete work outside of class, and projects were either turned in late or finished on time with the minimum effort required to meet teacher demands. Most disheartening were the conversations with students in nearly every class who insisted they “hated” art.
These issues were present in each school I visited (I also had observation hours in several ‘high needs’ locations: Westbury High School, Westbury Middle School, and Uniondale High School). It seems that the challenges of controlling the classroom left teachers without the time or energy to explore the greater nuances of their subject; several were visibly ‘over’ their jobs as educators and had switched their focus from teaching to damage control, often complaining loudly to me and demanding that I face the “reality” of my career choice. This, obviously, was terrifying.
But, being a cheerful and optimistic sort (and buoyed by the success stories of individuals like Mrs. C), I studied the different classrooms and teachers carefully for subtleties that might explain why certain groups (like Westbury High School, or Mr. Yee and Ms. Nolan’s classes at Elmont Memorial) seemed to have better attitudes and more success on several levels than the other groups observed. In the limited time I spent in the schools, I did notice several trends.
Firstly, YES, there is a big difference between the idealism of much of the course work at Hofstra and the realities of teaching in most public schools. With limited funds, time, and administrative support, and the pressure to supply a steady stream of ‘beautiful’ artwork for parents and higher ups, teachers face a series of compromises in the kind of art they can teach. There have to comply with state standards and marking period deadlines, and make the best of limited interests/attention spans of the students; even so, most teachers are doing their very best to put across a love of art, learning, and personal exploration in a way that helps everyone involved be successful. The picture painted in Art for Life, that of the multicultural, feminist, social justice curriculum- is definitely NOT what the majority of students are getting in the schools.
But the teachers are trying. I observed many lessons that used African American, Native American, and even Nigerian art and artists as inspiration or jumping off points. I spotted a few women artists outside of Mary Cassatt being introduced as well. Several projects dealt with social-justice themes of the students’ choice (LGTBQ, Safe Sex, Child Abuse), while others celebrated the diversity within the student body. Many lessons strove to reach the students within their own lives and experiences, often focusing on contemporary technology and visual culture- graffiti art, hip hop culture, and sneaker and t-shirt design were used in conjunction with more traditional ‘fine art’ techniques as well as digital photography and graphic design. Students were encouraged to take advantage of new smart-phone technology in completing assignments, photographing and capturing their world, even for oh the spot research and photo references (at this point, I believe it’s a “if you can’t beat them, joint them” approach to the personal electronics policy).
I saw a large correlation between the teacher’s ability to connect with the students and control the classroom, and the quality of art instruction. Mr. Yee, with over 15 years of experience, was really masterful in his interactions with the students and provided interesting and engaging lessons at all levels of instruction. He had excellent lesson plans (of the ‘realistic’ version you would normally see used in schools, succinct and flexible rather than the lengthy model we turn in for our graduate classes) that placed the emphasis on behavioral objectives as well as problem solving/expressive outcomes. He stuck closely to his lesson plans when working with his 8th graders and the lower level studio courses, but allowed more flexibility with more mature groups and the AP courses. At all levels and regardless of the general classroom attitude, he kept his students moving through the material during introductory session and on task during work periods. He made sure to ask questions of the entire group to encourage participation and see that the information was absorbed. He handled outbursts and behavioral issues without resorting to screaming or threats, often defusing a situation with a sharp look or physical proximity. When the occasion called for greater intervention, he generally warned his student of the consequences of their behavior and made a statement about ‘knowing they were capable of much more.’ He treated the students like grown ups and held them accountable for their actions, which they seemed respect and appreciate.
Since he didn’t need to spend much time on classroom management, Mr. Yee was able to introduce more challenging topics and techniques, and his students generally worked at a higher level of artistic competence (both in terms of skill and creativity). He gave them a good amount of artistic freedom in terms of how they treated their assignments, so long as they accomplished certain requirements. Because the students had grown used to working somewhat independently (more so in AP courses structured around Breadth and Concentrations), he had the freedom to mentor individuals and provide honest constructive criticism (never sugar coated or mean spirited), always encouraging them to do better then their best.
Ms. Yoda, on the other hand, struggled to maintain control of her classroom, both with younger students and more advanced groups. She had a less authoritative manner and often resorted to whining at her students (which both I and her classes found extremely grating). The progress of the lesson often stalled as she pleaded for quiet and order, which was frustrating for her and the students who were interested/engaged in the lesson. Students didn’t work on task, had many late projects and/or failing grades for the quarter, and often stated ‘I hate Art’ when asked. The lessons themselves were dull and ‘cookie cutter,’ usually involving ‘gridding up’ a smaller photo reference chosen from a pile of lookalikes that Ms. Yoda provided (she said this was because the students never remembered to bring in their own references). The students seemed bored and frustrated by the process, complained constantly, and were not in any way invested in the results of their work. It seems like a chicken-and-egg scenario in many ways: did the students’ bad attitudes result from the crummy lessons? Or did Ms. Yoda resort to crummy lesson plans because of the students’ unwillingness to participate?
My field hours have cleared up a lot of questions and doubts I had about the realities of teaching in the public school system. Teaching art needs to be about teaching as much as it is about art, about the relationship you build with your students and having confidence in your ability to educate and lead them. I will probably never have the opportunity to teach in a tabula rasa setting, to impart my particular art philosophy from the ground up, but having a rich understanding of the many perspectives and positions on art education will allow me to successfully teach the issues and concepts which I feel are important. I will be constrained by budgets, the administration, and the meager 44 minutes of a class period- but beyond the gritty realities of teachings are those perfect elements of interaction with the students, building a bond with your classes, and being able to share that which I am most passionate about with them. I can’t wait to get started.
Saturday, May 28, 2011
Wire Sculpture Lesson Plan
Aims: To explore the world of three-dimensionality with the limited material of wire
To learn about the work of Calder (and others)
Materials: armature wire, pliers with cutting edges. various objects to wrap around (tubes, jigs, boxes, etc.)
Vocabulary: line, volume, form, space
Procedure: Students are given guidelines of your choosing (free rein, make an animal, make a person/acrobat/dancer/athlete, make a vessel, etc.) Briefly show them how to wrap the wire to create volume and then set them free to explore how to create a free-standing sculpture.
Reflection: Students are asked to share their work.
Follow-Up/Variation: This could become a group project, where each figure or object is attached to make a large whole.
To learn about the work of Calder (and others)
Materials: armature wire, pliers with cutting edges. various objects to wrap around (tubes, jigs, boxes, etc.)
Vocabulary: line, volume, form, space
Procedure: Students are given guidelines of your choosing (free rein, make an animal, make a person/acrobat/dancer/athlete, make a vessel, etc.) Briefly show them how to wrap the wire to create volume and then set them free to explore how to create a free-standing sculpture.
Reflection: Students are asked to share their work.
Follow-Up/Variation: This could become a group project, where each figure or object is attached to make a large whole.
Friday, May 20, 2011
Plaster Craft Face Masks
For ages 10 and Up
Aim: To make self-portrait masks
To learn how to use plastercraft to make sculpture
Materials: plastercraft, also called Pariscraft
vaseline
pencil
watercan
scissors
plastic garbage bags to cover laps
smocks, aprons
newspaper balled up loosely and tape to make face form
heavy cardboard or picture frame without glass
hot glue gun
yarn the color of hair
sharpie marker
acrylic or tempera paint, brushes, palettes
optional: showercaps or headbands to pull hair back
accessories (hats, jewelry, eyeglasses)
Vocabulary: plaster
"death" mask
Procedure: This project was the culminating art experience that students at my former elementary school got to make. They all looked forward to it. It takes several art periods, but is truly worth it.
On the first day, I would discuss self-portraits in general and what a death mask was in particular. I then get a volunteer "Victim." Have the victim put vaseline on their face over eyebrows, lips and around the edges. While he is doing this, I show how to cut the plastercraft into pieces with scissors. Be mindful to explain to kids not to blow the dust around when they do this step. You need about 30 pieces 5" x 1 1/4" or so; 8-10 pieces 1/2" x 3" for the nose and 10-15 pieces inbetween the other two sizes.
Put water in the can or container and place it NEAR THE EDGE OF THE TABLE WITH THE PLASTER STRIPS IN THE CENTER OF THE TABLE. NOT THE OTHER WAY AROUND!! When plaster gets wet it starts to harden and becomes unusable, so you don't want put droplets of water on the strips by mistake.
Dip a larger piece into the water and stroke it. Sometimes you have to stroke it several times to get it to soften; other times, it gets soggy right away. The point is to get rid of the tiny holes in the material. As you pat down on the skin, there should be no holes visible at all. Start on the forehead, do the sides of the face and a little on the cheeks. Next take small pieces and make an X" on the top of the nose. Keep patting each piece down. Work deliberately and carefully. Don't rush the process. Here and there you'll need a medium sized piece to smooth things out. Don't work too thickly, but do put about three layers on each area. I find it works best to make the direction of the strips somewhat random than all horizontal, say. The places the masks tend to break are at the side of the head (temples) and the top of the nose (bridge). DO NOT COVER THE NOSTRILS OR THE EYES. Also, if someone has a nose cold, have them wait to do this until they are better. Breathing through your nose is crucial because the mouth will be covered.
Have a loose form of taped newspaper ready. When hardened (20 minutes or so), pull off at sides. Lay on the form and fill in the eyeballs and nose. The victim washes his face while the perpetrator finishes the mask. Poke a finger gently from the back to round out the nose tip, if necessary. Write the person's name in pencil inside the mask.
When the students do this project, they pair up and take turns on different days doing each other as victim and perp. If you have an odd number of kids, two can work on one mask.
When all masks are completed and dry, have students trim side edges straight OVER A GARBAGE CAN TO PREVENT UNNECESSARY DUST. Then the masks can be glued down on the cardboard with a hot glue gun.
The next art period(s)the students will paint the faces and background. I have them paint the entire face and neck skin color first before drawing on the features. You have to remind them that all things are life sized. Some students will make the eyes too big, so this step has to be approached slowly and carefully. After the skin is dry, I have them draw the almond shape of their eyeballs in pencil on the eye socket areas, using a mirror. They then draw in the iris, which is not a ball, but a part of a ball. They also draw in the eyelid line. These parts can be outlined in sharpie, once they are correct, but not until.
The background should be something fun: a place they love, something imaginary, people they care about, pets, etc. Clothing can be whatever.
The last step is gluing on hair and any real accessories.
These portraits were traditionally displayed at our graduation and they looked so fabulous in the hallway.
Aim: To make self-portrait masks
To learn how to use plastercraft to make sculpture
Materials: plastercraft, also called Pariscraft
vaseline
pencil
watercan
scissors
plastic garbage bags to cover laps
smocks, aprons
newspaper balled up loosely and tape to make face form
heavy cardboard or picture frame without glass
hot glue gun
yarn the color of hair
sharpie marker
acrylic or tempera paint, brushes, palettes
optional: showercaps or headbands to pull hair back
accessories (hats, jewelry, eyeglasses)
Vocabulary: plaster
"death" mask
Procedure: This project was the culminating art experience that students at my former elementary school got to make. They all looked forward to it. It takes several art periods, but is truly worth it.
On the first day, I would discuss self-portraits in general and what a death mask was in particular. I then get a volunteer "Victim." Have the victim put vaseline on their face over eyebrows, lips and around the edges. While he is doing this, I show how to cut the plastercraft into pieces with scissors. Be mindful to explain to kids not to blow the dust around when they do this step. You need about 30 pieces 5" x 1 1/4" or so; 8-10 pieces 1/2" x 3" for the nose and 10-15 pieces inbetween the other two sizes.
Put water in the can or container and place it NEAR THE EDGE OF THE TABLE WITH THE PLASTER STRIPS IN THE CENTER OF THE TABLE. NOT THE OTHER WAY AROUND!! When plaster gets wet it starts to harden and becomes unusable, so you don't want put droplets of water on the strips by mistake.
Dip a larger piece into the water and stroke it. Sometimes you have to stroke it several times to get it to soften; other times, it gets soggy right away. The point is to get rid of the tiny holes in the material. As you pat down on the skin, there should be no holes visible at all. Start on the forehead, do the sides of the face and a little on the cheeks. Next take small pieces and make an X" on the top of the nose. Keep patting each piece down. Work deliberately and carefully. Don't rush the process. Here and there you'll need a medium sized piece to smooth things out. Don't work too thickly, but do put about three layers on each area. I find it works best to make the direction of the strips somewhat random than all horizontal, say. The places the masks tend to break are at the side of the head (temples) and the top of the nose (bridge). DO NOT COVER THE NOSTRILS OR THE EYES. Also, if someone has a nose cold, have them wait to do this until they are better. Breathing through your nose is crucial because the mouth will be covered.
Have a loose form of taped newspaper ready. When hardened (20 minutes or so), pull off at sides. Lay on the form and fill in the eyeballs and nose. The victim washes his face while the perpetrator finishes the mask. Poke a finger gently from the back to round out the nose tip, if necessary. Write the person's name in pencil inside the mask.
When the students do this project, they pair up and take turns on different days doing each other as victim and perp. If you have an odd number of kids, two can work on one mask.
When all masks are completed and dry, have students trim side edges straight OVER A GARBAGE CAN TO PREVENT UNNECESSARY DUST. Then the masks can be glued down on the cardboard with a hot glue gun.
The next art period(s)the students will paint the faces and background. I have them paint the entire face and neck skin color first before drawing on the features. You have to remind them that all things are life sized. Some students will make the eyes too big, so this step has to be approached slowly and carefully. After the skin is dry, I have them draw the almond shape of their eyeballs in pencil on the eye socket areas, using a mirror. They then draw in the iris, which is not a ball, but a part of a ball. They also draw in the eyelid line. These parts can be outlined in sharpie, once they are correct, but not until.
The background should be something fun: a place they love, something imaginary, people they care about, pets, etc. Clothing can be whatever.
The last step is gluing on hair and any real accessories.
These portraits were traditionally displayed at our graduation and they looked so fabulous in the hallway.
Wednesday, May 11, 2011
Assignments/Grades for the Semester
1. Observation Program Hours Sheet, signed by Teacher
2. Narrative/Writings on Observations
3. Presentation on Reading
4. Quiz on Reading
5. Lesson Plan (Museum)
6. Unit Plan
7. Professional Dispositions (class participation, attendance, professionalism)
8. Exquisite Corpse Piece
9. Surrealist Collage
10.Painting
11.Frottage Collage
12.Transfer Prints
13.Collagraph
14.Photo Collage
15.Accordion Book
16.Pop-up Book
17.Wire Sculpture
Optional:
18.Extra Lesson Plan
19.Sample of Lesson Plan
20.Extra Work
2. Narrative/Writings on Observations
3. Presentation on Reading
4. Quiz on Reading
5. Lesson Plan (Museum)
6. Unit Plan
7. Professional Dispositions (class participation, attendance, professionalism)
8. Exquisite Corpse Piece
9. Surrealist Collage
10.Painting
11.Frottage Collage
12.Transfer Prints
13.Collagraph
14.Photo Collage
15.Accordion Book
16.Pop-up Book
17.Wire Sculpture
Optional:
18.Extra Lesson Plan
19.Sample of Lesson Plan
20.Extra Work
Thursday, April 28, 2011
Pop-Up Book Lesson Plan
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.
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.
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.
Monday, March 28, 2011
Collagraph Lesson Plan
This is a printmaking process in which you make a plate and then rub it or use a brayer to make multiples. While sophisticated artists use this process, it is also adaptable to young children.
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper;
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper;
Accordion Books Lesson Plan
Accordion Books [Elementary with some help to 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.
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.
Wednesday, March 23, 2011
Recyled or Failed Art Made New
Instead of throwing away all of those slightly wrinkled, splotchy works that really don’t make your art program or your students proud, recycle them with a little extra work into authentic art projects.
These ideas can be used for various ages, grades K through 12. Some are more suitable for younger students (puppets, masks); while others can work for all ages.
The major point here is to customize the paper if necessary, by adding to it to make it more interesting. Sometimes, the paper will work as is. Save it in Xerox lids boxes or in trays for easy selection.
The materials you need will be the failed paper, tissue paper, magazines, oak tag, markers, craypas, rubber stamps or homemade stamps, stamp pads (or brayers and ink), sharpies, metallic pens, white glue, glue sticks, scissors, fancy-edge scissors, etc.
Notecards, etc.
Depending on what your recycled paper looks like, you can create a collage out of several pieces and glue onto a folded card or cut a piece out in its entirety. Use edging scissors for a nice effect. You can also trim envelopes this way or make luggage tags.
Bookmarks are another fun idea. Laminate your bookmarks and luggage tags.
Collages
Use tissue paper and art paste to “fix” the paper. Add words to make an interesting result. Another idea is to rip or cut it and make layered landscapes.
3-D Pictures
Using the concept above, make your pictures three-dimensional. Things like animals with a background, flowers or landscapes. Use z-strips, foam core, or M D O’s to create the layers.
Mobiles
Work into the paper first to make it two-sided, using tissue paper or other media. Let dry. Cut into shapes and hang on dowels or wires to create a balanced mobile to hang. Use fishing line for invisible results.
Book Arts
Use failed or recycled work to make book covers. Fix your paper using stamps, markers, extra paint, etc. Lay cardboard on paper and trace. Make “envelope” shapes, from each corner. Fold up and tape. Use another piece of paper for the inside cover. These can be used for accordion books. To make folded book covers, use two sheets of cardboard.
Frames
Collage, stamp, color or add to your paper. Cover a piece of cardboard by cutting out flaps as above to make a frame. Add a stand by scoring cardboard and taping it on the back.
Pins
Use metallic markers to jazz up small moments of your failed paper. Laminate and glue a pin back on. This also works for coasters.
Masks
Add to your “failed” or recycled paper, if necessary, using paint, stamps, markers, craypas, etc. Glue onto oak tag for stiffness, if needed and cut out face shape. Add tissue paper, glitter, pipe cleaners, yarn, etc. to complete.
Puppets on a Stick
Add to your “failed” paper, if necessary. Glue onto oak tag and cut puppet shape. Make clothes, accessories, etc. by adding on. Add googly eyes, glitter, yarn, if desired. Tape a tongue dispenser on the back.
Placemats
You can teach basic weaving skills by using two sheets of failed paper, cutting one in strips and the other as illustrated. Weave the strips in and out, taping the edges underneath, if necessary. Laminate the sheets for durability.
Wrapping Paper & Gift Tags
If your failed paper is thin enough, you can use it as wrapping paper. Add stamping, if it will enhance the surface. Or paint lighter or metallic colors over darker failed paper. Matching gift tags can be made by collaging lighter-colored paper on rectangles. Punch a hole to tie onto a package.
?????
Use your own ideas to create new work out of the “bones” of old work.
These ideas can be used for various ages, grades K through 12. Some are more suitable for younger students (puppets, masks); while others can work for all ages.
The major point here is to customize the paper if necessary, by adding to it to make it more interesting. Sometimes, the paper will work as is. Save it in Xerox lids boxes or in trays for easy selection.
The materials you need will be the failed paper, tissue paper, magazines, oak tag, markers, craypas, rubber stamps or homemade stamps, stamp pads (or brayers and ink), sharpies, metallic pens, white glue, glue sticks, scissors, fancy-edge scissors, etc.
Notecards, etc.
Depending on what your recycled paper looks like, you can create a collage out of several pieces and glue onto a folded card or cut a piece out in its entirety. Use edging scissors for a nice effect. You can also trim envelopes this way or make luggage tags.
Bookmarks are another fun idea. Laminate your bookmarks and luggage tags.
Collages
Use tissue paper and art paste to “fix” the paper. Add words to make an interesting result. Another idea is to rip or cut it and make layered landscapes.
3-D Pictures
Using the concept above, make your pictures three-dimensional. Things like animals with a background, flowers or landscapes. Use z-strips, foam core, or M D O’s to create the layers.
Mobiles
Work into the paper first to make it two-sided, using tissue paper or other media. Let dry. Cut into shapes and hang on dowels or wires to create a balanced mobile to hang. Use fishing line for invisible results.
Book Arts
Use failed or recycled work to make book covers. Fix your paper using stamps, markers, extra paint, etc. Lay cardboard on paper and trace. Make “envelope” shapes, from each corner. Fold up and tape. Use another piece of paper for the inside cover. These can be used for accordion books. To make folded book covers, use two sheets of cardboard.
Frames
Collage, stamp, color or add to your paper. Cover a piece of cardboard by cutting out flaps as above to make a frame. Add a stand by scoring cardboard and taping it on the back.
Pins
Use metallic markers to jazz up small moments of your failed paper. Laminate and glue a pin back on. This also works for coasters.
Masks
Add to your “failed” or recycled paper, if necessary, using paint, stamps, markers, craypas, etc. Glue onto oak tag for stiffness, if needed and cut out face shape. Add tissue paper, glitter, pipe cleaners, yarn, etc. to complete.
Puppets on a Stick
Add to your “failed” paper, if necessary. Glue onto oak tag and cut puppet shape. Make clothes, accessories, etc. by adding on. Add googly eyes, glitter, yarn, if desired. Tape a tongue dispenser on the back.
Placemats
You can teach basic weaving skills by using two sheets of failed paper, cutting one in strips and the other as illustrated. Weave the strips in and out, taping the edges underneath, if necessary. Laminate the sheets for durability.
Wrapping Paper & Gift Tags
If your failed paper is thin enough, you can use it as wrapping paper. Add stamping, if it will enhance the surface. Or paint lighter or metallic colors over darker failed paper. Matching gift tags can be made by collaging lighter-colored paper on rectangles. Punch a hole to tie onto a package.
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Use your own ideas to create new work out of the “bones” of old work.
Sunday, March 13, 2011
Transfer Print Lesson Plan
Transfer Prints—Grades 3 to Adult
This printmaking process is suitable for many ages from elementary to adult. Obviously, if working with younger students, you will have to control the set up and clean up differently than with older students.
Aims:
• To explore the transfer process
• To look at examples of work done in this process by artists such as Paul Klee
• To create individual works that express personal meaning or are a response to a given theme such as consumerism, family, night, etc.
Materials/Tools: Plexiglas plate, water soluble black ink, soft brayer, white paper, magazine illustrations, sketches, picture library pictures, old phone book or newspaper for clean printing
Vocabulary: print, backwards print, brayer, monoprint/monotype
Procedure: After showing students examples of transfer prints and discussing how this is a backwards process, demonstrate how to make them. Put out a line of ink on the plate and work it to make a smooth inked surface. Do not put out too much ink or you’ll get a black, blobby print. (Be prepared to have to make a few of these before you get the hang of them.) You may want to blot with a phone book page first.
Method One: Free draw—Lay paper down on inked plate and use a pencil to draw image on back of paper. Be careful not to lay the side of your hand on the paper, unless you want those dark areas to appear.
Method Two: Wipe—After rolling on the layer of ink, wipe areas off, using a soft rag, paper towels, Q-tips, scrapers, etc. Lay the paper down and rub to print.
Method Three—After inking the plate, lay down your paper and put a photo or image on top. Trace the image, being careful not to move the image. You will get a very interesting line drawing of your image. Reink the plate (lightly), and make more.
Reflection/Follow-up: Share the work. Perhaps you can make a class quilt with one work by each student being put together in rows.
Variations: You can have students tear unsuccessful prints and create collages. Try printing on cloth. Try printing on other prints or combining processes. Try using color.
This printmaking process is suitable for many ages from elementary to adult. Obviously, if working with younger students, you will have to control the set up and clean up differently than with older students.
Aims:
• To explore the transfer process
• To look at examples of work done in this process by artists such as Paul Klee
• To create individual works that express personal meaning or are a response to a given theme such as consumerism, family, night, etc.
Materials/Tools: Plexiglas plate, water soluble black ink, soft brayer, white paper, magazine illustrations, sketches, picture library pictures, old phone book or newspaper for clean printing
Vocabulary: print, backwards print, brayer, monoprint/monotype
Procedure: After showing students examples of transfer prints and discussing how this is a backwards process, demonstrate how to make them. Put out a line of ink on the plate and work it to make a smooth inked surface. Do not put out too much ink or you’ll get a black, blobby print. (Be prepared to have to make a few of these before you get the hang of them.) You may want to blot with a phone book page first.
Method One: Free draw—Lay paper down on inked plate and use a pencil to draw image on back of paper. Be careful not to lay the side of your hand on the paper, unless you want those dark areas to appear.
Method Two: Wipe—After rolling on the layer of ink, wipe areas off, using a soft rag, paper towels, Q-tips, scrapers, etc. Lay the paper down and rub to print.
Method Three—After inking the plate, lay down your paper and put a photo or image on top. Trace the image, being careful not to move the image. You will get a very interesting line drawing of your image. Reink the plate (lightly), and make more.
Reflection/Follow-up: Share the work. Perhaps you can make a class quilt with one work by each student being put together in rows.
Variations: You can have students tear unsuccessful prints and create collages. Try printing on cloth. Try printing on other prints or combining processes. Try using color.
Monday, March 7, 2011
Frottage
Frottage is French for rubbing. This is a printmaking process that is clean!
Aims: To explore the technique of frottage
To create a thematic print
Materials:
Paper such as xerox paper or fadeless. Thick paper will not work well.
Crayons
Optional: Texture Plates (available in art stores)
Procedure:
Choose your theme. It may be something as easy as shapes or something based on your curriculum. Talk about texture and where we might find it. Introduce the word “frottage” and explain the process.
There are many ways to approach frottage. Students can create sheets of textures and then cut or rip them. Another idea is to have students draw an outline of a picture, using a sharpie to emphasize their lines. Next, let them find textures around the room (or school) to rub, or use texture plates. Each area might have a different texture or else they can use the same thing again and again. You might also try adding a second color over the rubbing without moving the paper.
There are so many variations to this process. Students might do a rubbing of their sneaker and then have to turn it into something such s a car, building, alien, butterfly, etc., adding a background. Invent your own variations as well.
Reflection:
Always share work and be sure to display it if possible.
Aims: To explore the technique of frottage
To create a thematic print
Materials:
Paper such as xerox paper or fadeless. Thick paper will not work well.
Crayons
Optional: Texture Plates (available in art stores)
Procedure:
Choose your theme. It may be something as easy as shapes or something based on your curriculum. Talk about texture and where we might find it. Introduce the word “frottage” and explain the process.
There are many ways to approach frottage. Students can create sheets of textures and then cut or rip them. Another idea is to have students draw an outline of a picture, using a sharpie to emphasize their lines. Next, let them find textures around the room (or school) to rub, or use texture plates. Each area might have a different texture or else they can use the same thing again and again. You might also try adding a second color over the rubbing without moving the paper.
There are so many variations to this process. Students might do a rubbing of their sneaker and then have to turn it into something such s a car, building, alien, butterfly, etc., adding a background. Invent your own variations as well.
Reflection:
Always share work and be sure to display it if possible.
Collagraph
This is a printmaking process in which you make a plate and then rub it or use a brayer to make multiples. While sophisticated artists use this process, it is also adaptable to young children.
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your students'work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper;
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your students'work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper;
Tuesday, February 15, 2011
The Drawing Game
This is a game I invented many years ago to get my students exited about seeing. It works well with all ages (4th Grade and up) and prizes add to the frenzy. Watch out for cheating, though. Even amongst adults!
Aims: To practice deep looking
To listen to words and put them into visual form
To be about to recall and describe in words what you saw
Motivation: The game itself is all the motivation you will need, although silly prizes
add to the fun.
Vocabulary: parallel, perpendicular, cylinder, sphere, etc.
Procedure: Collect all sorts of odd objects: I use broken kitchen utensils, old parts of hardware, packaging, weirdly-shaped things I find in my travels, perfume bottle caps, old kiln parts, etc.
Divide the class up into teams of four or so. I try to mix students up so there's one star artist per team, but what's interesting is that the star artist may not be good at this game initially. Sometimes the quieter kids are better observers.
Each team sends a member out into the hall. Have them go far enough away so they can't see into the room at all. Bring out an object and have the rest of the students look at it carefully. Make sure no one draws a little sketch of it on the sly. I've had adults use an eraser to draw the outline on the desk!!!
Put the object away, bring the drawers back into the room and give them a set amount of time (5 minutes or so) to work. The drawer will listen to the describers and draw the best he/she can. Describers must use appropriate art words--"not draw a fork," but "draw two parallel lines close to each other, connect the bottom, draw another line at the top, extend it on both sides a bit, now draw four lines perpendicular to the extended line, now make them thicker." Be sure your students don't use had gestures or point on the paper. Some students just have to sit on their hands to resist. Keep the tone light--don't be too mean, but don't allow cheating just the same.
Each turn you decide the winner(s) and then a new person goes out in the hal. Everyone gets a turn. Mention that the objects get harder, so the less-successful kids get to go first.
Follow-up: Your students will beg you to play this game again. They never tire of it and they really do learn a lot about seeing, memory and observation by playing it.
Have the objects get harder as you go. Increase points to keep all teams in the running.
Aims: To practice deep looking
To listen to words and put them into visual form
To be about to recall and describe in words what you saw
Motivation: The game itself is all the motivation you will need, although silly prizes
add to the fun.
Vocabulary: parallel, perpendicular, cylinder, sphere, etc.
Procedure: Collect all sorts of odd objects: I use broken kitchen utensils, old parts of hardware, packaging, weirdly-shaped things I find in my travels, perfume bottle caps, old kiln parts, etc.
Divide the class up into teams of four or so. I try to mix students up so there's one star artist per team, but what's interesting is that the star artist may not be good at this game initially. Sometimes the quieter kids are better observers.
Each team sends a member out into the hall. Have them go far enough away so they can't see into the room at all. Bring out an object and have the rest of the students look at it carefully. Make sure no one draws a little sketch of it on the sly. I've had adults use an eraser to draw the outline on the desk!!!
Put the object away, bring the drawers back into the room and give them a set amount of time (5 minutes or so) to work. The drawer will listen to the describers and draw the best he/she can. Describers must use appropriate art words--"not draw a fork," but "draw two parallel lines close to each other, connect the bottom, draw another line at the top, extend it on both sides a bit, now draw four lines perpendicular to the extended line, now make them thicker." Be sure your students don't use had gestures or point on the paper. Some students just have to sit on their hands to resist. Keep the tone light--don't be too mean, but don't allow cheating just the same.
Each turn you decide the winner(s) and then a new person goes out in the hal. Everyone gets a turn. Mention that the objects get harder, so the less-successful kids get to go first.
Follow-up: Your students will beg you to play this game again. They never tire of it and they really do learn a lot about seeing, memory and observation by playing it.
Have the objects get harder as you go. Increase points to keep all teams in the running.
Sunday, January 16, 2011
Welcome Students
This blog is for the students in CT 298B: Instructional Patterns for Art in Secondary Schools, taught by Professor Julia Healy. We will post our work and ideas as we go along.
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