Sumi-e Resist

Painting
Practice the ancient art
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lesson-plans/
sumi-e-resist-painting
Blick

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Yasutomo

Sumi Ink Stick Yasutomo

Suzuri Grinding Stone

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Paper Yasutomo

Bamboo Sumi Brushes

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8 0 Y E A R S a p r i l 2 0 1 3
CONTENTS
3
25
19
18
VOLUME 153, No. 3
COMPOSING SUCCESSFUL PAINTINGS
14 MARCD UP ANIMALS Nate Greenwood
16 WATERCOLOR TALES Geri Greenman
18 PAINT STREAMS & COLOR SCHEMES Paula Guhin
26 ACTION COLLAGES Karen Skophammer
28 CEZANNE AND BEYOND Joan Sterling
38 TRIED & TRUE TIPS FOR ART TEACHERS: COMPOSITION AND PAINTING
Glenda Lubiner
SPECIAL FEATURES AND COLUMNS
10 STEPPING STONES: INCLUDING TECHNOLOGY IS NOT THAT TRICKY
Heidi OHanley
12 CHILDRENS ART DIARY: COLOR ARTISTS George Szkely
25 YOUNG ARTIST: CAITLYN BREW Terri Thompson
30 CLAY TIPS FROM DAVID AND TRACY GAMBLE: THE IMPORTANCE
OF THE BISQUE
READY-TO-USE CLASSROOM RESOURCES
19 CLIP & SAVE ART PRINT FEATURE, MYTHOLOGY IN ART: SAINT GEORGE
AND THE DRAGON Colleen Carroll
23 ARTISTS PAINT ... CHILDREN Barbara Herberholz
37 ARTIST OF THE MONTH: JEAN-HONORE FRAGONARD
A&A AT YOUR SERVICE
30 CLAY CORNER
34 SPRING WEBSITE SHOWCASE
36 AD INDEX
DEPARTMENTS
4 EDITORS NOTE
6 MEDIA REVIEWS
8 SHOP TALK
ON THE COVER
CAT Acrylic on tag board; 24" x 18".
By Aaron, student at Jenison Junior High School, Jenison, Michigan.
See Marcd Up Animals, page 14.
APRI L 2013
SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. AD SALES: (800) 826-2216; ads@artsandactivities.com.
AD PRODUCTION: production@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. FAX: (858)
605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.
Arts & Activities

(ISSN 0004-3931) is published monthly, except July and August, by Publishers Development Corp., 12345
World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign
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POSTMASTER: Send address changes to: Arts & Activities

, 12345 World Trade Drive, San Diego, CA 92128.

What do Czanne, Matisse, Pollock, Ringgold and
Marc all have in common? They are a big part of this months issue, which
aims to help you guide your art students to successful composition and painting.
Franz Marc plays the lead in Nate Greenwoods
Marcd Up Animals (page 14). In this project, junior-high youngsters
identify the principles and elements of design in Franz Marcs paintings, then
consciously use line, shape, color, space, value and contrast in their artworks.
The explosion of color Marc used is the rst thing that draws my students into
his work and excites them, writes Nate. There is something inherently fun and
universal about doing animal paintings; its almost a primal instinct.
Faith Ringgold and her story quilts are the catalyst
in Geri Greenmans Watercolor Tales (page 16). Here, high-school
students weave a visual story about themselves, as though they were making
a quilt, but ... rather than embroidering fabric, they use paint.
High-school students explore the properties of water-
color paint and paper, practice wet-into-wet and wet-on-dry techniques,
and create balanced works of art using analogous colors and a oral
theme in Paint Streams & Color Schemes (page 18), by Paula Guhin.
Then, in Action Collages (page 26), Karen Skophammer poses the
question, What do you get when you combine the styles of Henri Matisse and
Jackson Pollock? The answer? A unique study of line, shape and action in
which upper-elementary students explore the relationship of color, line, rhythm
and movement in Pollocks and Matisses art, as well as in their own.
In Czanne and Beyond (page 28), Joan Sterling
describes her projects inspirationa card with a tiny still life in the center of a
collaged mat, the entirety of which an artist had brushed over with deep purple
watercolor paint, thus unifying the papers and accenting the still life. She just
knew her students could do this, and they diddrawing a balanced still-life
using basic shapes, showing a light source, painting with watercolors, and using
mixed media to create a mat that complements their still-life compositions.
Please join Franz Marc, Faith Ringgold, Jackson Pollock, Henri Matisse,
Paul Czanne and the talented teachers who have shared their lessons and
projects in this issue, and work together on a
common goal: your students enjoying success
with composition and painting!
e d i t o r s n o t e
Maryellen Bridge, Editor and Publisher
ed@artsandactivities.com
Follow us on
p r e s i d e n t Thomas von Rosen
e d i t o r a n d p u b l i s h e r Maryellen Bridge
a r t d i r e c t o r Niki Ackermann
e d i t o r i a l a s s i s t a n t Annette Badger

E D I T OR I A L A D V I S OR Y B OA R D
Eugene Grigsby, Jr. Professor Emeritus, Arizona
State University, Tempe

Cris E. Guenter Professor of Arts Education/
Curriculum & Instruction
California State University, Chico

Jerome J. Hausman Visiting Professor, Art Dept,
University of Wisconsin, Milwaukee
Barbara Herberholz Art Education Consultant,
Sacramento, California
Mark M. Johnson Director, Montgomery Museum
of Fine Arts, Montgomery, Alabama
George Szkely Senior Professor of Art Education,
University of Kentucky, Lexington
C ONT R I B U T I NG E D I T OR S
Charl Anne Brew Adjunct, Art Institute of Washington
Arlington, Virginia
Colleen Carroll Curriculum Writer and Author
of Childrens Art-Appreciation
Books, Sleepy Hollow, New York
Geri Greenman Art Dept. Head (Retired),
Willowbrook High School,
Villa Park, Illinois
Paula Guhin Art Teacher (Retired), Central High
School, Aberdeen, South Dakota
Peter Hiller Art Teacher (grades 18),
All Saints Episcopal Day School,
Carmel, California
Debi West Lead Visual Art Teacher,
North Gwinnett High School,
Suwanee, Georgia
A D V E R T I S I NG D E P A R T ME NT
adv e r t i s i n g man age r Tracy Brdicko
tracy@artsandactivities.com
800.826.2216 or
888.651.7567
pr o du c t i o n di r e c t o r Linda Peterson

pr o du c t i o n man age r Kevin Lewis
production@artsandactivities.com
H OW T O R E A C H A R T S & A C T I V I T I E S
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space and clarity. Send to ed@artsandactivities.com
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Every K-12 art teacher and
university professor of art
education who wishes to
become aware of the
current state of art
education should read
this book.
6
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w w w . a r t s a n d a c t i v i t i e s . c o m
m e d i a r e v i e w s AUDIOVISUAL BOOK/PRINT
Jerome J. Hausman

Paula Guhin

Peter Hiller
HOW TO PAINT ABSTRACTS (2012;
$9.99), by the Parramon Editorial Team.
Barrons Educational Series, Inc.
Looking for a supplemental resource to
use when youre instructing kids (or ama-
teur adults) on ways to create an abstract
painting? The authors of this handy little
hardcover use a variety of paint media
throughout the book, from oils and acryl-
ics to soft pastels or oil pastels.
Too many people today believe that
splattering a canvas indiscriminately
and making marks by chance are ways
to paint an abstract. The brief intro-
duction to this book attempts to put
that kind of thinking to rest. It also
takes a shot at explaining the differ-
ence between non-objective expressive
painting and abstracting from reality.
Part I clearly denes abstraction
and covers such free actions as ges-
ture painting, dripping and splashing.
Benecially, both fragmentation and
deconstruction are addressed in the
rst section as well. In Part II, Abstract
Techniques, the value of texture is
one focus, as well as transparency and
more. (Dont miss the two-page spread
on Rayism in this chapter.) The nal
section deals with styles and interpre-
tations. Minimalism is just one of the
many valuable topics here.
How to Paint Abstracts is a Pocket
Art Guide, one of several offered by
Barrons. Other titles in the series are:
Color Secrets, How to Paint Light and
Painting Outdoors.
Each portion of the Abstracts book
spotlights important artists, with pho-
tos of them and their work, information
on their processes, and a stepped-out
project to follow. In the Style of exer-
cises include those inspired by Robert
Delaunay, Antoni Tpies, and Gerhard
Richter, amongst others. Some of these
projects are nearly copies of the origi-
nals, but they will surely motivate some
student work thats more original. And
there are more how-to projects (in
stages) to be found in the Lets Experi-
ment sub-heads. Visual arts teachers
at the middle-school level and up will
garner many ideas.P. G.
www.barronseduc.com
MAXFIELD PARRISH: Painter of
Magical Make-Believe (2011; $13.59),
by Lois Harris. Pelican Publishing Co.
Born Frederick Parrish in 1870, the
student artist liked his grandmothers
family name (Maxeld) so much that
he began using it as his rst name. By
the age of 7 he was drawing dragons
at an advanced level. His father was an
Creativity
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As an art teacher, you enrich your students lives. You teach them to see and value diverse perspectives.
You encourage and celebrate creativity. Your professional expertise changes the world one student at a time.
Western Michigan University oers an online M.A. in Art Education so you can enhance your teaching skills
wherever you are. Improve your students learning, both in and out of the art room. Make your classroom
more engaging. Make your art program what you want it to be.
Find out more today. www.wmich.edu/online/arteducation
Online
Education
7
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8 0 Y E A R S a p r i l 2 0 1 3
see REVIEWS on page 33
artist and, later, his wife an art teacher.
Maxeld was a gifted illustrator who
began by studying architecture. Per-
haps that discipline contributed to the
detail in his later work. His posters,
calendars, murals, even candy boxes
were so popular that one might call him
a 1920s version of a rock star. Parrishs
fantasies or dreamlands were a grand,
good place to be in, to use his own
words. New calendars with replicas of
his work are available to this day.
A 32-page biography meant for juve-
niles, the hardcover is, of course, a pic-
ture-book. The photographs, illustrations
and paintings will help us remember
and appreciate an important American
artist. The United States lost a popular,
prominent illustrator when Parrish died
in 1966 at the age of 95. Although the
book is classied for young readers, it
presents an opportunity for enrichment
to a wide range of ages.
Author Lois Harris grew up in
Brooklyn, N.Y., attended the Univer-
sity of Washington, and now lives in
Anacortes, Wash.P. G.
www.pel i canpub.com
13 PAINTERS CHILDREN SHOULD
KNOW (2012; $14.95), by Florian
Heine. Prestel Publishing.
Even grownups knowledgeable
about art are sure to discover absorb-
ing tidbits in this hardcover. The bak-
ers dozen of artists lived at different
times and created (or, in one case,
creates) in various styles. The one liv-
ing artist, German Gerhard Richter, is
impossible to classify!
The large, vivid reproductions are
eye candy for anyone, not just kids.
Titians bright glowing colors, Dals
bizarre imagery, and Basquiats
intense, energetic workall and
more capture the readers interest,
page after page. The author claries
what it is about these painters that
makes them special.
Tips, thought-provoking questions or
prompts supplement most of the entries.
DEB KARASH
ANIMATION BASKETS BOOKS CLAY CONCRETE
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Blick Tempera Cakes provide concen-
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brush, and paint as with an opaque
tempera or watercolor wash. No spill-
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Tempera cakes are easy for a group of
children to share, and to manage in an
art classroom.
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SARGENT ART
Available in a set of 10 eight-ounce bot-
tles, the Sargent Art

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to paper unlike any other medium.
The watercolors mix well, and can be
diluted with up to four parts water.
Colors in the set include: black, blue,
brown, green, orange, magenta, red,
turquoise, violet and yellow.
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GENIUS
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Ideal for whole class or for centered learning.
Standards-aligned digital content for grades 4 & up.
Designed to teach Elements of Art & Principles of Design
for ALL teachers.
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8 0 Y E A R S a p r i l 2 0 1 3
ROYAL & LANGNICKEL
The double-sided Big Kids

Choice Lil
Artist easel features a dry-erase board
on one side and a chalkboard on the
other. Six sheets of sketch paper, clips
to hold work on the easel, chalk and an
eraser are included. The easel has two
large trays to hold supplies, has remov-
able legs for tabletop use and folds
easily for storage. For ages 4 and up.
www.www.royal brushstore.com
Visit the Arts & Activities website
and click this icon to read
our Writers Guidelines
and learn how to nominate a
student for Young Artist
www.artsandactivities.com
10
school, which includes the specials teachers. Similar to the
computer lab, you can use the laptops for your art lessons
within your own art space. The same goes with the iPads. If
your school has access to iPads for classroom use, explore
the apps available for art.
THERE ARE MANY DAYS that I nd getting a wire-
less connection with a roaming (traveling) school
prole just doesnt work. Thats where ash/thumb drives
come in, and they have been a huge help in tricky situa-
tions. Everything is saved on a ash drive, including all my
PowerPoints, and it can go with you everywhere. Just dont
leave it plugged in at one school when youre at the next ...
or youll be kicking yourself as you get in your car to drive
back to the previous school to get itlike I do sometimes.
THROUGHOUT THE YEAR, I am always taking pic-
tures of student work and progress for displays.
If you are able to acquire a digital camera through your
supply orders or a grant, it can be quite helpfuleven for
documenting for the national board certication.
By having a digital camera at my disposal, Ive been
able to send digital photos to the proper contacts for press
releases, the schools websites, and more. There are plenty
of uses! A word of caution: Make sure you have the parents
permission before using photographs or videos.
THERE ARE ALSO PLENTY OF PROJECTS you can plan
involving digital cameras, printers and video. Pinter-
est has many ideas for incorporating photography within
created artworks in class. In our junior high, the art teacher
collaborated with the technology department in making
clay-animation videos. If you dont have a classroom, you
could still acquire a camera and create an after school art
class to create clay-animation projects.
DOES YOUR DISTRICT OFFER TECHNOLOGY-BASED
professional development? Heres a nice idea: offer
to present a technology hour on art-based websites or
programs for your co-workers. This will help open your col-
leagues to more ways to include the arts within their own
classroom, and you may even nd ways to co-teach lessons
during the school year.
Yes, it certainly is possible to include technology while
traveling, it just takes a bit of ef fort. After all, we need to
incorporate 21st-century learning skills and technology is an
essential with educating the future of the 21st century. n
Heidi OHanley is an art teacher for Wilkins and Lyle
Elementary Schools. Visit her blog at www.talesfromthe
travellingartteacher.blogspot.com.
I
n this day and age, its essential to include technology in stu-
dents education. We now live in a world with smartphones,
video games, laptops, iPads and many other items the students
know and use every day.
In my rst year of teaching, I was unaware of how to even
attempt to include technology with juggling the traveling, mate-
rials and time. With patience, research and teamwork, I found
ways to include it within my curriculum. Theres an unending
list of ways to include teaching in this digital age, and mine is
just an elementary perspective.
WHEN PUSHING A CART, the last thing on your mind
may be to push a laptop/projector cart from room to
room. As hard as it may be, its best to try to nd some way
to include technology, even on top of everything else you
push around. If you have that extra cart, or access to a lap-
top/projector, consider pushing that extra cart for the use of
technology in your lessons. Its great for interactive websites
with the entire class, and showing slideshows of artists and
artworks to students.
SPEAKING OF LAPTOPS, I acquired a laptop/projector
cart at my schools to use with my curriculum and its
been amazing. Previous to having the laptop, I had to use
printed 8 x 10 images I found from the computer to intro-
duce lessons (if I didnt have the full poster print). Students
could barely see it, even if I printed an image for each table.
With the projector, I capture the students attention with
PowerPoints, interactive art websites and videos to intro-
duce lessons. Its an extra cart to push, but well worth it.
WHEN PUSHING THE CART from room to room, in
the beginning of the school year check where the electrical
outlets are in each classroom and communicate with the
homeroom teacher about when you plan to use your projec-
tor. You may get lucky and the homeroom teacher may have
his or her own laptop/projector set for you to use!
IF YOUR SCHOOL HAS A COMPUTER/WIRELESS LAB,
check out the schedule with the homeroom classes.
See if there is open space for you to squeeze in a class or
two. This will help some of your classes in using the com-
puters for your own lessons, including art-based websites or
creative programs (such as Adobe and Crayola Art Studio).
IF YOUR SCHOOL HAS A MOBILE WIRELESS CART,
reserve it! The cart is available to all staff in the
Stepping Stones is a monthly column that breaks down seemingly daunting
tasks into simple, manageable steps that any art educator can take and apply
directly to their classroom. Stepping Stones will explore a variety of topics and
share advice for art-on-a-cart teachers and those with art rooms.
Stepping
Stones
4
9
2
8
1 7
BY HEIDI O'HANLEY
INCLUDING TECHNOLOGY IS NOT THAT TRICKY
6
5
3
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Technique #58
amaco.com/lesson58
EVERYTHING
YOU NEED TO TEACH
CERAMICS
Underglaze Chalk Crayons and Pencils
Video
Tutorial
Draw On Clay!
COLOR
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C
hildren applaud when I open my paint closet at school.
They love everything about painting, including the feel
of paint in their hands or on their noses. They stir, mix and
pour every color they can think of. The theme of my painting
lessons is supporting the joys of color inventingthe magic
of colors and water mixing into a lively substance.
Uncluttered by adult painting rules and color formulas,
painting is a discovery, lled with surprises. Children nd
new ways to transport colors they make, auditioning all tools
and surfaces as possible brushes and canvases.
Painting is too often taught as something that is known,
something that has been perfected by adult masters, a
legacy to be studied and appreciated. Art teaching can
announce that painting is yet to be invented. We celebrate
the future of painting, the children who will untie paint-
ing from its past. Experiences in our art rooms help to
advance painting.
COLOR INVENTORS Finding a magic
and mystery in playing with
colors can ensure a lifelong
interest in painting and in the
colors of nature, food or fab-
rics. Art teachers can either
value childrens excitement
about color or replace their
excitement with color facts
and formulas.
In my art room, stu-
dents in lab coats stir colors
in old kitchen pots. They mix
colors in ea-market blenders.
COLOR
CHILDRENS art diary
Childrens Art Diary observes art made by children outside the classroom. The column reects on home art as
a foundation for school art activities.G.S.
by George Szkely
see DIARY on page 32
Color discoveries are celebrated like fine wine; they
are shared and swirled in tiny cups and premiered on
clotheslines in sealed clear plastic bags. The best color
finds are poured into clear gel-caps and arranged to cre-
ate dazzling displays.
We pour, drip and channel colors onto sponges, watch col-
ors soak and merge on a blotter or settle into the folds and
layers of white dinner napkins. Before brushing paint into
pictures, children experience paint as an active substance,
alive and capable of expressive owing, spreading, soaking-
over, under and in-between surfaces.
COLOR ARRANGEMENTS AND COLLECTIONS The paper
chefs hat completes the picture as my daughter Ana
points to the colorful salad she assembled from the red-
dest tomato, the brightest yellow peppers and the orang-
est orange she could nd in the kitchen. For her color
creation, she selected a yellow Fiesta platter
background. Children know the colors they
want. Their color loves are an important
element of their painting world.
Kids save street nds because
they like the colors of something.
My classroom shows an appre-
ciation for the importance of
color collecting with ongoing
exhibits of student nds. Over
100 fantastic nail-polish colors
are currently in a classroom
show, curated by a dedicated group
of colorists.
Every day is a color day, welcom-
ing students to dress in beautiful colors
and load their favorite color nds in every
pocket. Teaching painting is about support-
ing young painters color intereststhe
colors they notice, the paint samples they
pocket, the carpet samples they save, the
color mixes they nd in stirring yogurt
or when slipping unusual food colors into
cookie dough.
WONDER OF COLOR Art lessons in painting
can open up possibilities for observing and
altering the colors of spaces and the environ-
ment. My students nd new ways to transport
colors from paint containers to a variety of
unusual surfaces. We share in the discovery of
Artists
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Photography
Visual Development
Web Design & New Media
14
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14
A
t a district art meeting, I joked to a
colleague that Franz Marcs work
was the emotionally charged Wheres
Waldo of animal paintings. It dawned
on me later that my statement was a
brilliant way to introduce my students
to his style and work.
The uidity of Marcs depiction of
animals was not only a radically new
artistic style in the early part of the
20th century, but it was also a style
that helped transform the general
publics perception of how subjects
in nature could be rendered on can-
vas. Marc employed both organic and
geometric line and shape qualities
throughout his work to almost melt
his animals into lush, dreamy, some-
times nondescript backgrounds.
I nd that the explosion of color
Marc used is the rst thing that draws
my students into his work and excites
them to want to replicate his style. Try-
ing to sell the idea of an animal painting
to a group of junior-high students is
like trying to convince a politician to
accept political contributionseffort-
less. There is something inherently fun
and universal about doing animal paint-
ings; its almost a primal instinct to
want to record natural objects.
For an anticipatory set, I have the
students bring in a photo of a mam-
mal or a bird as prep for the project,
purposely not telling them why. This
provides a sense of mystery and won-
der as a lead-in to the painting.
As I do with most of my projects, I
begin with a slide presentation. I actually
start by showing work of other Expres-
sionist artists so that the students have
a frame of reference and begin to under-
stand how the Expressionist movement
was different from other movements
(the students have pre-knowledge of
other movements from prior projects).
Then I walk the students through
about 10 slides of Marcs paintings. I
have them share one or two things when
looking at each slide: What do they see
(describe the subject matter and list
details using the principles and elements
of art) and how they feel (describe the
emotional response the piece provokes).
by Nate Greenwood
Owl by Hailey.
Cat by Aaron.
Panda by Libby.
>
>
>
15
w w w . a r t s a n d a c t i v i t i e s . c o m
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8 0 Y E A R S a p r i l 2 0 1 3
Students have fun
trying to be the rst
to nd the animal in
the picture. Often, they
discover more than
one. Because this is my
advanced 2-D class, I
guide them into discov-
ering how Marc used
movement and rhythm
in the paintings to
direct the viewers eye
slowly to the animal(s).
I also encourage the students to
loosen up their drawing style as they
begin to sketch their animals. I gener-
ally have them do at least two versions
one in organic lines and shapes, the
other more geometric.
If they dont like the background in
their original photo, I suggest they cre-
ate one. I remind them that although
Marc always had his animals placed
in a setting or location, sometimes
they were very surreal and dreamy,
providing the students artistic freedom
to explore. They work on 18" x 24"
tag board (or larger, if possible), and I
suggest that their animal take up about
one-third of the pictures space.
Unique color combinations are
exciting for students, but sometimes
lead to roadblocks. One of the proj-
ects requirements is that students
may only have one thing in the paint-
ing that is true to nature, but every-
thing else, including the animal, must
have the colors replaced (grass can-
not be green, a bear brown nor the
sky blue). Also, the students must
develop some value changes. I try to
encourage the students to use differ-
ent brushes to their advantage as they
develop value change and details, and
mimic textures on surfaces.
If you are looking to beef up your
painting curriculum or trying to add a
painting project to your lesson reper-
toire, this could be a good t. Due to
the exibility of both the content and
scale, you could easily t this into any
class level at any grade. n
Nate Greenwood is an art teacher at
Jenison (Michigan) Junior High.
LEARNING OBJECTIVES
Junior-high students will...

identify the principles and elements of

design used in Franz Marcs paintings.

consciously use line, shape, color, space,

value and contrast while painting.

demonstrate competency in the use of

materials like paint.

evaluate their completed painting using

a rubric.
MATERIALS

Pencil

Newsprint or scrap paper

18" x 24" white tag board or poster board

Tempera or acrylic paint

Variety of brushes
NATIONAL STANDARDS

Understand and apply media, techniques

and processes.

Use knowledge of structures and

functions.

Choose and evaluate a range of subject

matter, symbols and ideas.

Reect upon and assess the characteristics

and merits of their work and the work
of others.
Marisa working.
Brenda and Veronica.
Veronicas deer.
Parrot by Alexis.
>
>
16
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the photo transfers and the watercolors. Alas, I didnt
think of that until we had started the assignment. The
kids, always such troupers, were resilient and overcome
problems they encountered.
As with all my assignments, I like to connect the work we
were doing to artists so my students get some art history
with each assignment. For this particular assignment, we
learned about the work of Faith Ringgold.
Ringgold discovered the voice of her inner child, and
uses that voice in her art. She tells stories in a traditional
female form: the quilt. Within this art form, she uses
techniques from her African heritage, such as simpli-
ed shapes and a attened perspective. Some quilts are
T
he students in my watercolor class had just nished
creating abstract, nonobjective paintings, focusing on
technique and visual rhythm. For the next lesson, I felt they
could use their watercolors like Faith Ringgold uses her
quiltsto tell a story.
Their story would be about them: their family, interests,
hobbies, or the games they playsomething that was spe-
cial to them. They would weave a visual story as though they
were making a quilt, but rather than embroidering fabric,
they would use paint.
Several students who had taken my drawing class men-
tioned how much they enjoyed transferring photocopied
images onto other surfaces (see Images of Me, March
2013). So, I demonstrated the process
for my watercolor students, some of
whom might want to use the technique,
which is great for incorporating could
family photographs and personal imag-
ery into their painting-stories.
The textured watercolor paper we
typically using posed problems when we
tried to transfer images onto it. We over-
came this by painting into the parts of
the images that did successfully transfer.
Good quality, somewhat smooth,
yet toothy watercolor board would
denitely have been perfect for both
LEARNING OBJECTIVES
High-school students will ...

create an arrangement to suggest a quilt.

repeat color and pattern.

use techniques previously learned.

use a photo transfer technique (optional).

MATERIALS

Watercolor paint and brushes

Salt and other materials

for techniques

Good-quality paper or
watercolor board

Cotton swabs or spoons (for

rubbing the backs of pictures)

Goof-off

(for transferring
photocopied images)

Rubber cement/glue
Becky
Megan
>
Go to artsandactivities.com and click on
this button for information on the image-
transfer process mentioned in this article.
>
17
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x
8 0 Y E A R S a p r i l 2 0 1 3
they could cut up and piece together in a
visual story. I suggested they might weave
strips of their former paintings or combine
several in a new design. If they wished, they
could use the photo transfers, or they simply
used color and design.
Books on quilts were available, as well as a
quilt my grandmother made. I also talked about
how some quilts were made from clothing that
was once worn by someone in the family.
A childhood friend of mine had a quilt her
mom made. She could navigate around the
quilt, telling stories about her and her sib-
lings childhood. She would reminisce, Oh
... this is from a sundress I once had ... boy,
I loved that dress! She would smile and then
continue on with a story about the plaid fabric
that was once her brothers shirt. It became
part of the quilt when they were all rough-
housing and the shirt ripped in several places
... and so on, and so on.
Before this project began, the students had
not even realized that they, too, had stories
to tell. We started rst with sketches and
planning, then came photo collection (if they
wished to use them), the designing of the
space, and the cutting, reassembling painting,
and anything else with which their imagination
came up. With endless opportunity, all my stu-
dents created a visual story about themselves
using watercolor. n
Now retired, Geri Greenmans last teaching posi-
tion was as art-department head at Willowbrook
High School in Villa Park, Illinois. She currently
is a Contributing Editor for Arts & Activities.
by Geri Greenman
Debbie
Iraisa
>
>
painted, some stitched, she has used Kente cloth from
Africa and some fabrics are tie-dyed. Regardless, her
storytelling is also in the form of words on the borders of
the quilt pieces. Her work is narrative and communicates
with the viewer. My students, too, would be telling a story
with images and paint.
QUILT PRODUCTION BEGINS Students looked through
their past experiments and practice sheets for anything
18
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18
a p r i l 2 0 1 3 8 0 Y E A R S
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w w w . a r t s a n d a c t i v i t i e s . c o m
I
swept analogous color washes onto a damp sheet of paper,
using a fat watercolor brush loaded with paint. This back-
ground color would be the rst step of an easy, yet memo-
rable, lesson in color harmony and watercolor painting.
We rst discussed analogous color schemes before each
student painted his or her own light washes as a background
on watercolor paper. I displayed several nished exemplars,
and wrote a list of analogous colors on the board. And, a
large color wheel held a prominent place in the classroom.
Next, we allowed the thin washes to dry while I demon-
strated the second step on my own, dry example. I placed a
drop of dark paint at the bottom edge, and used a drinking
straw to blow it upward in branch-like lines.
I was well aware that my Art I students probably expe-
rienced a similar exercise in the lower grades, yet I asked
them to do it again. And they loved it. Wait a minute! High-
schoolers? Yes, big kids were transported back to their
youth with this activity.
Chase that droplet up the page with your drinking
straw, I instructed. Wiggle that straw! Note: Use very
dark, related watercolor paint for this step, or substitute per-
manent ink in black or dark colors. Remind students that a
few drops go a long way and, if they overdo the blown lines,
theyll have no room for the next step.
When the twig-like lines were dry, I asked the artists
to begin adding a few flower heads with watercolors.
These could be painted from life (unfortunately, my
classroom floral arrangements were faux flowers, not
real), or from floral photos. Some students used their
imaginations and created their own flowers.
I suggested also that the
artists paint in a few leaves
and buds for added interest.
Too, I reminded them to bal-
ance their compositions and
to vary the sizes. Finally, I
urged them to mix colors in
petals and leaves to create a
more complex painting.
This lesson can be modi-
ed easily to suit the needs of
younger students. Rather than
analogous colors, use warms
or cools, primary or second-
ary colors. Is this assignment
worth doing? I think so. Its
one time when blowing it is
a good thing! n
Paula Guhin is retired from
teaching art at Central High
School in Aberdeen, S.D., and
serves as a Contributing Edi-
tor for Arts & Activities.
Paint Streams & Color Schemes
by Paula Guhin
LEARNING OBJECTIVES
High-school students will ...

explore the properties of watercolor paint and watercolor paper.

practice skills using wet-into-wet and wet-on-dry techniques.

create a balanced work of art utilizing analogous colors and

a oral theme.
Students used a brush handle to press
stem and grass lines into the wet paint
when creating the background.
MATERIALS

Watercolor paper

Drinking straws

Paper towels

Protective paint
shirts (optional)

Waterproof ink (optional)

Color wheel

Photos of owers or
ower arrangements

Watercolors, brushes,
water containers

Old newspapers to
cover desks
19
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8 0 Y E A R S a p r i l 2 0 1 3
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a p r i l 2 0 1 3 8 0 Y E A R S
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T
he French Impressionist artist, Auguste Renoir, painted
a little girl in a garden holding a can to water the
owers. He loved to paint children, especially their skin
tones. Our eyes go directly to her face as he placed a red
bow in her hair and made her lips red too.
He painted white lace and buttons on
the dark blue dress that lead our eyes to
her face also. She is dressed in clothing of her day. Notice
her hightop shoes.
He painted the bush of owers in the foreground with
dabs of paint in the manner of the Impressionist artists.
Renoirs favorite models were his wife, children and the
family nurse.
During his teens he painted owers on porcelain dishes
in a factory and earned money by decorating fancy fans.
At 19, he entered the studio of an established artist,
where he met Claude Monet. They became friends and
often painted together forming a group called the Impres-
sionists. They believed that artists should paint outside
and give the impression of ickering
light on the surfaces of things.
Near the end of his life he suffered
from arthritis and was conned to a wheelchair, but he
continued to paint until his death. n
This excerpt is adapted from Barbara Herberholzs digital
Art Docent Program. For elementary classrooms, each
lesson presents six famous artworks to show to the class on
whiteboards, with theme-related studio art activities. Learn
more at: artdocentprogram.com.
23
Artists Paint ... Children
Artists Paint ... Children
w w w . a r t s a n d a c t i v i t i e s . c o m
x
8 0 Y E A R S a p r i l 2 0 1 3
Auguste Renoir (French; 18411919). A Girl with a Watering Can, 1876.
Oil on canvas; 39.375" x 28.75". National Gallery of Art, Washington, D.C.
Artwork is in the Public Domain. /
by Barbara Herberholz
Motivation
Artists often make portraits of children, sometimes they
paint their own children and sometimes they are commis-
sioned to paint someone elses children. (Children will
take turns being a posed model.)
Look carefully at the model and observe the oval shape
of the face and where the features are located. Eyes are in
the middle of the head halfway between top and bottom.
Neck extends down from ears to shoulders. Notice the
collar and details of the clothing. Shoulders are twice as
wide as the head.
You may make your drawing showing the gure from
the head to the waist or you may show the full gure.
In the Studio
1. Sit close to the model and look at him or her carefully.
Make a mark with your pencil near the top of the paper.
This is where you will place the top of the head. You may
draw the model from the front or from the side.
2. Draw the oval shape for the models head. Then make
a light mark halfway between the top of the head and the
chin for the eye-line. Observe the features closely and
draw them.
3. Draw the neck, shoulders and body.
4. Go over your pencil lines with a permanent black
marker.
5. You are now ready to add color, using oil pastels, col-
ored markers, chalk pastels or crayons.
Or, you may use wax crayons on a warming tray.
To do this, hold your paper on the warming tray with a
mitt. Slowly move an unwrapped crayon over the surface,
pressing down rmly to allow the crayon time to melt.
Materials
9" x 12" white drawing paper
Pencils
Permanent black markers
Choice of: oil pastels, crayons, colored markers,
chalk pastels (all including multicultural colors),
or a warming tray and mitt (for use with unwrapped
wax crayons)
Artists Paint ... Children
grade 3
National Art Standards
Understand and apply media, techniques and processes
Students reect upon and assess the characteristics and
merits of their work and the work of others
24
Vocabulary
Features
Figure
Model
Oval
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Portrait
Posed
Prole
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I
walk with art. She is a
mother. A teacher. A lover.
A soldier. She carefully
guides me, never too far off.
She also pushes me forward. Ill stumble,
fall, but get back up again because she
landed me somewhere I needed to be.
When I need her most, shell set
me down and ask me to look around. I
realize my eyes have been closed. Now
that they are open, a new layer had been
added to something in the world around
me ... the world she let me see.
This I thank her for every day,
through the world I develop and learn
to share with her. She has given me
freedom and guidance ... hope and soli-
darity. I give her my hand, because that
is all she will ever need.
Caitlyn Brew
Sabine Pass High School
Sabine Pass, Texas
Terri Thompson, Art Teacher
Resignation. Digital art;
12" x 11". Grade 9.
Abstract Portrait. Oil pastel;
14" x 12". Grade 9.
Cerberus. Graphite pencil;
12" x 12". Grade 10.
Creepy Forest. Pastel; 18" x 12".
Grade 9.
Chock-full.
Acrylic and
cardboard;
12" x 14".
Mardi Gras. Oil pasatel; 12" x 14". Grade 8.
Abstract Shapes. Graphite and colored pencil;
12" x 18". Grade 9.
>
>
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W
hat do you get when you com-
bine the styles of Henri Matisse
and Jackson Pollock? A unique study
of line, shape and action!
I wanted to study the styles of
Matisse and Pollock with my fifth- and
sixth-graders, and the unit that devel-
oped was one of the most exciting and
internalized of the year. Combining the
shape studies of Matisses cutouts and
the action painting of Pollock resulted
in marvelous action collages.
We looked at Pollocks Number 3,
l949: Cathedral (l947); Number 1, 1950
(Lavender Mist) (1950); Tiger (1949);
and Eyes in the Heat (l946), and dis-
cussed how the colors in the paintings
might have related to his feelings.
Pollock did not use drawings or
sketches for his paintings, but worked
freely on the canvas to show his emo-
tion. He also didnt use an easel, but
worked with his canvas on the ground,
splattering, dripping and throwing
paint onto it. The students admired the
movement in the works of art.
Pollock liked the term action paint-
ing because he used so much energy
and moved around a lot when he paint-
ed. I think Pollock would have been
pleased to hear people say, Oh, a child
could do that! when they looked at his
paintings, because Pollock wanted his
art to have the spontaneity and inten-
sity of art done by children. His paint-
ings are filled with rhythm, movement
and expression.
While observing Pollocks action
paintings, we explored the relation-
ship between various types of line.
How do the lines of paint lead the eye
into or out of the painting?
Next, we looked at some of Henri
Matisses cutout masterpieces, wherein
he made use of flat shapes and simple
bold colors. We discussed the variety in
Matisses work, and saw that the artist
heightened the visual appeal by com-
bining one or more elements of art.
TIME FOR SOME ACTION After dis-
cussing the two artists, I explained the
hands-on portion of our study. Each stu-
dent picked a piece of mat board, which
was available in many colors. This would
be the canvas for our action collages.
The students were then directed to
select scraps of mat board of various
Go to artsandactivities.com and click on
this button for links to some of the paint-
ings mentioned in this article.
27
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colors. They were told they could cut
the scraps into any shapes and any siz-
es they wanted, and to lay out a pleas-
ing arrangement on the background.
I asked them to keep in mind how the
shapes formed lines that led the eye
into and out of the work of art. They
were to consider variety, harmony,
rhythm, movement and the mood they
would create with their arrangement.
When a pleasing arrangement had
been laid out and glued down, we were
ready for the action painting. As Pol-
lock did, the students laid the canvas
on the floor. Using tempera paint, the
students dripped, splattered and flung
paint onto the canvas. I again remind-
ed the students to keep rhythm and
movement in mind when creating the
action painting.
What resulted from the combina-
tions of two styles was an action col-
lage the students will not forget. They
assimilated the styles of two famous
artists to create their own works of art
that were made famous when dis-
played in our hallway. n
Karen Skophammer was an art instructor
for Manson Northwest Webster Schools
in Manson and Barnum, Iowa.
LEARNING OBJECTIVES
Middle-school students will ...

dene line, explore the relationship

between various types of line and learn
to manipulate line.

create shapes and forms from mat

board and explore their relationship
with paint.

explore the relationship of color,

line, rhythm and movement in
Jackson Pollock and Henri Matisses
artworks, as well as their own.
MATERIALS

Images of Jackson Pollocks action

paintings and Henri Matisses collages

Mat board, mat-board scraps and scissors

Tempera paint and brushes

Students considered variety, harmony,
rhythm, movement and the mood they
wanted to create in their works of art.
by Karen Skophammer
NATIONAL STANDARDS

Understand and apply media, techniques

and processes.

Use knowledge of structures and functions.

Reect upon and assess the characteris-

tics and merits of their work and the
work of others.
28
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Czanne and Beyond
by Joan Sterling
Claire
Makenzie >
>
MATERIALS

7" x 10" practice and watercolor paper

Pencils, erasers, crayons, permanent markers

Watercolors, brushes, water, paper towels

12" x 18" railroad board, 3D-Os

Assorted papers and sheet music cut into

3- to 5-inch pieces

White glue, glitter glue in assorted colors

Slightly thinned dark-colored acrylic paint

and 2-inch brushes

Prints of Paul Czanne still-lifes

Still-life fruit arrangement (real or plastic)

NATIONAL STANDARDS

Understand and apply media, techniques

and processes.

Use knowledge of structures and functions.

Reect upon and assess the characteristics

and merits of their work and the work of
others.
29
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The back-
ground was to
be a color not
used for any
fruit, to create
contrast.
DAY 3 Next, we created a 14" x 18" mixed-media mat using
railroad- or cardboard and various papers. Students attached
a variety of papers and at least one piece of sheet music to
the board with white glue. Students placed a paper towel
over the collage and smoothed over it to atten the papers
and soak up any excess glue.
After the glue dried, we used 2-inch brushes to cover our
collages thineed dark-colored acrylic paint. Students were
apprehensive about this at rst, but when I showed them
how a still life would look on an unpainted mat, they agreed
the mat was too busy and would distract the viewer. They felt
more condent and understood how the acrylic paint unied
the mat and enhanced the still life.
In a nal step, those who wished to squirted a little glitter
glue over in two to three places on the surface as an accent.
After the mats dried, the the still-lifes were attached to the
center of the mat with 3D-Os or similar lifters so the still
lifes popped out, giving them added dimension.
Students learned so many skills from this project without
even realizing it, such as drawing fruit using basic shapes,
overlapping to create an interesting composition and using
a light source to create implied form. They enjoyed experi-
menting with colors, shapes and various media when creat-
ing the mats. When displayed, these works of art created
quite a stir. It was hard to decide which was more interest-
ingthe still life or the mat! n
Now retired, Joan Sterling taught art for many years at
Hickory Woods Elementary School in the Walled Lake
(Michigan) Consolidated Schools.
I
nspiration can come from unexpected sources. After the
holidays, I always revisit the greeting cards I received,
looking for images to use in my teaching. Sometimes, one
even inspires a new project!
One year, I ran across a card with a tiny still life in the cen-
ter, with a purple mat surrounding it. The mat was a collage
made from a variety of pictures and papers, including sheet
music. The artist had brushed over the entire collage with a
deep purple, which unied the papers and accented the still
life. I thought to myself, My fourth-graders could do that!
DAY 1 I began by presenting background information on Paul
Czanne and sharing prints of some of his still lifes. He was a
slow, meticulous painter, and few people had the patience to
sit for him. Still-life and landscape compositions were there-
fore a better t for his methods. He could arrange, paint and
rearrange the fruit, taking as much time as he needed.
As we viewed the prints, I pointed out Czannes use of
rich, complementary and warm/cool colors with interesting
lighting. I then demonstrated how to draw various fruits
using basic shapes and connecting them.
On a piece of practice paper, students drew three large
fruits using basic shapes, overlapping them and lling up the
paper to create an interesting composition. They outlined
their fruit with an extra-ne permanent marker, erased the
pencil and then colored with crayons. At this point, I demon-
strated how to show a light source by using several shades
of a color to create highlights and shadows.
DAY 2 During the second session, we reviewed facts about
Czanne and still-life compositions. Students would then draw
another still life on heavy watercolor paper using basic shapes,
overlapping, outlining in extra-ne black marker and erasing
the penciland it was time to paint with watercolors. After a
demonstration of wet-on-wet and wet-on-dry techniques, stu-
dents used tints and shades to show where the light source
was located, and painted a shadow on the table.
Czanne and Beyond
Erica
Emina
>
>
LEARNING OBJECTIVES
Upper-elementary students will ...

use basic shapes to draw a balanced still-

life composition.

show a light source in their composition.

paint with watercolors.

use mixed media to create a mat that

complements a still-life composition.
30
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W
hy do we bisque? (1) It allows the clay to be hard
and stable enough to handle when applying
glazes; (2) it changes the absorbency of the surface
of the clay for glazes to be applied; and (3) between
4001200 F, it burns out organic materials and car-
bon, removing gases that can cause glaze defects such
as pin holing on the surface of the glaze.
It is important to do a slow bisque to remove all the
gases. Most kiln firing controllers have a 12-hour slow firing
program. If you bisque too quickly you may trap gases in the
clay that may cause pin holing when you glaze. Slow-ring chart.
CLAY TIPS from David and Tracy Gamble
The Importance of the Bisque
DAVIDS BISQUE TIPS
1. Make sure the clay pieces created have fairly equal
thickness all around (
3
/8 of an inch is good). Thick and thin
pieces have a hard time drying evenly and are more prone
to crack due
to the thin
parts shrink-
ing faster
than the
thicker parts.
2. Are the
pieces dry
that you are
loading in the
kiln? Touch
the piece to
your cheek if
it feels cold it
still has mois-
ture in it.
3. Know what your clay looks like through the drying process.
4. Water turns to steam at 212 F. This is an important
temperature. Newer kilns have a preheat in the controller
that will take the kiln up to around 180 F (Under 212
F). You can dry out the pieces before ring to the desired
cone/temp.
5. Read the instructions on the clay youre using. Most
have a suggested bisque cone.
6. Place tall pieces in the
middle of the kiln and shorter
ones closer to the elements
so the heat can transfer to
the center of the kiln easily
for a more even ring.
7. Place a shelf one inch
above the base of the kiln
and stagger the shelves about
an inch if possible. This helps
with heat transfer for a more
even ring.
Important Temperatures You Should Know

Water becomes steam: 212 F

Chemically combined water driven off: 940 F

Quartz inversion: 1058 F

Organic/Carbon Burnout: 5701470 F

Clay particles begin to fuse together:

1600 Sintering
31
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Buffalo, NY Toll-Free: 877-876-8368 www.VentAKiln.com
As a contractor specializing
in heating and ventilation
systems for schools, we always
recommend an overhead system
to vent kilns. What sealed our
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remove the heat escaping from
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For safety and security, we only
install OSHA-compliant overhead
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Its the only safe,
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Kiln Ventilation
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32
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new colors, making
the wonder of color
a primary ingredient
of every painting session.
Our paintings venture from tables
to oors; they oat on water, adorn
rocks and levitate on air as ags and
magic-carpet paintings. My students
embark on a lifetime of searching
for unusual color experiences. They
collect colors and explore color
arrangements with all kinds of every-
day objects. Keeping our childhood
excitement about colors, paint and
paintings alive during the school
years is our venture.
You can see the excitement when
children leave my art room. Instead
of carrying their paintings rolled up
in shopping bags, the paintings are
the bags.
You can see this connection to color
in the wise use of leftover paints and
the ways with which children feel free
to experiment with colors and paints.
They leave my room with painted rul-
ers, colored sticker displays on their
lunch boxes, and oops ... someone
painted designs on their shoelaces.
All artists have been moved by
great color experiences in their lives.
As art teachers, we design experi-
ences through which students can
experiment and discover colors, as
if encountering them for the rst
time. Our color searches and collec-
tions provide them with opportunities
to redene the bounds of color and
nd new references to design color
wheelsperhaps depicting freshly
invented ice-cream avors. n
Professor George Skkely is Area Head
and Senior Professor of Art Education
at the University of Kentucky, Lexington,
and serves on the Arts & Activities Edito-
rial Advisory Board.
DIARY
continued from page 12
We share in the
discovery of new colors,
making the wonder of
color a primary
ingredient of every
painting session.
Back issues of A&A are
NOW AVAILABLE at
www.artsandactivities.com
33
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Stats include fam-
ily or background,
when and where
the artist was born and died, and loca-
tion. Many of the details are fascinat-
ing. For example, did you know that
Francisco de Goya became quite deaf in
middle age? Perhaps that was one rea-
son he became such a good observer.
This informative book has a place in
school and public libraries, in the art
instructors collection, and at home. It
will surely foster an interest in painting
in many young readers.
The author, Florian Heine, lives in
Munich. He also wrote 13 Inventions
Children Should Know, from the Prestel
Complete 13 series.P. G.
www.prestel .com
PAINTING OUTDOORS (2010; $9.99),
by the Parramn Editorial Team. Barrons
Educational Series.
Does the great outdoors inspire
you? Many artists enjoy the chal-
lenges of working in nature, with its
weather and varying light conditions.
One of a series of pocket guides by
Barrons, this 96-page book is loaded
with illustrations. Many of the pictures
are small (of necessity), but they are
vivid and of good quality. The books
dimensions are 5.75" x 8.5"small
enough to carry along on eld trips.
The hardcover resource is not only
lled with full-color reproductions, but
also packed with information: instruc-
tion, exercises and practical advice.
High-school art students and adult
amateur painters will nd it useful.
Painting Outdoors opens with an
introduction to plein air painting and
its history. Next, the authors discuss
the necessary tools and equipment,
as well as how to begin creating land-
scapes, seascapes and cityscapes.
The two media covered are watercol-
ors and oils. There are more than a
few pages depicting interpretations
of light, atmospheric ef fects and
weather conditions.
Step-by-step projects, either in the
style of or lets experiment, number
nearly a dozen altogether. Too, youll
nd inspiring samples in the many
technique sections.P.G.
www.barronseduc.com
REVIEWS
continued from page 7
Triarco Arts & Crafts Division
Arts & Activities
April 2013
AA1304T
AA1304T
34
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S P E C I A L A D V E R T I S I N G S E C T I O N
www.AmericanCeramics.com
American Ceramic Supply
www.artsusa.org
Americans for the Arts
www.aep-arts.org
Arts Education Partnership
www.axner.com
Axner Pottery Supply
www.baileypottery.com
Bailey Ceramic Supply
www.artsandactivities.com
Arts & Activities Magazine
I was very pleased with their
choices, and the way they built the
color. I was unpopular with my stu-
dents when I challenged their abstrac-
tion of scale and size, as this was part of
the actual assignment. We spent about
three and a half weeks on them, but once
they were buffed up (colored pencils like
these sometimes seem cloudy when lay-
ered), then matted, they were stunning!
On a few of the finished, matted pieces
I had the kids protect their actual draw-
ing and the face of their black mat board,
and then color the bevel of the mat board
in a complementing color pencil (the
points of which had been beveled). This
served to pull the viewers eye into the
frame, while pulling some of the drawing
out to the viewer.
During this
assignment, a
couple of my stronger art
students discovered the Prismacolor
Colorless Blender. This colorless,
creamy pencil moved and blended
colors so beautifully, we all ended up
using it somewhere on the piece.
By having the students zoom in
and really see the detail that makes
objects what they are, we focused on
the objects and the colorful rendering
of our subjects. n
Recently retired from teaching, Arts &
Activities Contributing Editor Geri Green-
man was head of the art department of
Willowbrook High School in Villa Park,
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a r t s & a c t i v i t i e s x f e b r u a r y 2 0 0 4
M
y advanced drawing students had
just finished a mixed-media as-
signment in mostly black, white, grays
and brown. It was time for them to get
colorful and move from abstraction to
realism. These students had completed
the requisite introductory course and a
beginning drawing class, so they were
up for the challenge of working with
their Prismacolor pencils, and achiev-
ing photographic realism.
Students often measure their artis-
tic skills by how well they can duplicate
subject matter. After all, most of us
have experienced praise when we have
accomplished a likeness using color or
texture, as opposed to simplifying, dis-
torting or exaggerating a subject as a
way of abstracting it.
I have done this assignment before
though usually in graphitecalling
it a box rendering, in that I have the
students make up a composition, often
with at least one three-dimensional ob-
ject, glued down in a small box. In doing
it this way, the objects stay in position
and are small enough to fit on their art
shelves in between classes.
The object of this assignment was to
visually capture the scale, tonality, col-
or and textures of the chosen objects
as realistically as the students possibly
could in this rendering. This semester,
I had decided to use black paper and
have them work up to the highlights.
Black paper is oftentimes less daunt-
ing than white, in that it already has a
sensation of mass to it and it appears
that the negative space is somewhat
suggested.
I had the students decide on some
sort of collection of objects that are re-
lated, either as a group, such as stamps,
pencils, Indian corn, peppers or fruit,
or things that seemed to fit together,
even if it was simply through repeti-
tion of color. In showing my example,
my aim was for them to see that very
little paper negative space was used,
employing instead, another layer of the
related object.
I had the students do sketches, as
a form of arranging the objects or im-
ages. Then when we were all satisfied
with the composition, they drew the
size they wanted on newsprint. Even-
tually, they transferred their sketch
to the black paper with lighter chalk
rubbed on the back of the sketch.
(This protects the black paper, which
is especially important in that erasures
affect its surface and color.)
The students started with local color,
and then built up color with layers. I was
adamant about using the colors comple-
ment as a way to dull out those objects
in shadow, rather than using straight
black, and to work up to the lights
avoiding straight white as well.
The students experienced some dif-
ficulty on the black paper with objects
that were white or yellow; several lay-
ers needed to be laid in because they
appeared rather greenish against the
black paper.
Their choices of subject were var-
ied, fruit or vegetables were popular,
while feathers were a beautiful choice,
though very challenging, in that they
were linear and delicate.
by Geri Greenman
MATERI ALS
Newsprint for preliminary sketches and planning
Pencils and erasers
Black drawing paper (little or no surface texture), Canson
Prismacolor pencils
Colorless blenders
Objects with which to create a still life, or clean
photographs that could be used for detail
LEARNI NG OBJECTI VES
Students will...
compose space.
build and blend color up from dense black.
learn to assimilate color and texture of objects.
Jen Cacioppo
Jill Allaway
Jessica Arnold
Lisa Modelevsky
Aneesa Farooq
prior civilizations in an emotional way, and gives them a memorable learning experience. Basing a school mural project on historical murals can help cement what students are learning in history classes and create an aura of mystery and excitement for incoming students, who will be studying the same subjects. It helps bring history alive.
At Walter Colton Middle School in Monterey, Calif., art teacher Joyce Mathers consistently turns to ancient Egypt for inspiration. She does so not on principle, but due to the enthusiasm it sparks in her students. While she has given time to other artistic themes, the learning process swells to fever pitch whenever focus reverts to the ancient Near East. This has a lot to do with the energy of other teachers on campus, who begin entry-level sixth-graders with the study of hieroglyphics, pyramid
construction and field trips to the nearby San Jose pharaonic exhibition. By the time Joyce encounters the same children, they can read and write hieroglyphics, know their pharaohs, and are highly receptive to Egyptian art forms. Thanks to this passion, there now exists at Colton Middle School a mural that startles and engages. No mere whimsically decorated wall, this one has a haunting quality that pulls the viewer closer, inspiring to historical quest. All this is done without words... unless you count the hieroglyphics. The project began in the fall of 2000, when Joyce Mathers conceived the idea of a mural for her elective STAR class, encouraging the students to brainstorm for themes. The previous year had succeeded with stunning Egyptian-style death masks, which were proudly displayed for a full semester in the administrative offices. It seemed feasible, however, to give
Egypt a rest. The class at first opted for the idea of an underwater Monterey Bay scene, but things did not go well. Despite the grid drawn up in the classroom, it was difficult for the young artists to get their sea creatures to-scale with each other. Even when trying to circumvent these to-scale difficulties by showing various creatures up close or farther away, the result did not inspire confidence. Interest flagged in the project, and Joyce realized it would have to change course in order to succeed. In her early projector and slide displays of murals, Joyce had shown pharaonic examples to her class. Now she wondered if her STAR students wouldnt find fuel for inspiration by veering east. There was still just enough time, if Joyce were to abandon the tedious grid system.
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19
LEARNI NG OBJECTI VES
Students will... develop an understanding and appreci- ation of the art of an ancient culture. learn how a cultures art teaches us about daily activities and practices of that culture. jointly produce a large-scale mural. understand scale and learn methods of creating a to-scale drawing/painting. learn the importance of cooperation and learn how to work cooperatively. learn about delegation of responsibilities. learn to appreciate each others strengths. develop research and planning skills pertaining to a large, long-term project.
see FIRES on page 20
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a r t s & a c t i v i t i e s j a n u a r y 2 0 0 4
Nowhere in the history of art do all aspects of cultural life so neatly dovetail as in the murals that come to us from early civilization. A student of this ancient art is simultaneously a student of mans first civilized records, belief systems, habits of worship, laws, social structure, the development of writing, and of course...the lives of the greatest rulers of early empires. Among these latter, none stand out quite so emphatically as the pharaohs of ancient Egypt, the most stunning of ancient art patrons. Hi s t or y and s oci al - s t udi es teachers obviously appreciate the way this ancient art form lends itself to the study of cultures and belief systems. When the art department turns to similar historical periods for inspiration, using art formssuch as muralscommon to the time, the result on campus can be dynamic. When students parti ci pate i n painting a mural inspired by ancient murals, it bonds them to history and
by Julia Simpson-Akin
At Walter Colton Middle School, the mural project was part of the Star program. The word STAR represented the terms science, talent, arts and recreation. It had to do with a block schedule wherein on two days of the week, classes were allotted over 80 minutes, so that teachers would be given enough time to accomplish class projects. This scheduling left one free block period a week for STAR. Teachers were encouraged to suggest enrichment courses that they were particularly suited to teach. Joyce Mathers suggested the mural project for her STAR class. The mural was accomplished during one block session per week, over the course of a semester. Since the class was the last period in the day, enthusiastic students often stayed after school for about a half hour to finish up that days work. While a mural project could be part of a block program, it might also be an extracurricular after-school project, with extra-credit points awarded for history class, given that the mural pertained to the subject taught that year.
OTHER MURAL TOPICS Any ancient culture that created murals Greek, Minoan, Mycenaean, Aztec, Mayan or the cave paintings of early Europeans. Manuscripts and tapestriesOttoman, Medieval, Islamic, etc. Important historical events of ones community. History of the American Indian cultures of ones state or community.
I NI TI ATI NG A MURAL AT YOUR SCHOOL
COVER story
The
Pharaonic Art
Fires of
Pharaonic Art
Fires
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It always amazes me how valuable a tool art can be in enabling stu- dents to comprehend con- cepts in education. I recently worked with a second-grade teacher to develop a lesson plan to teach his students about symmetry. The second-grade standardized math test was coming up in two weeks and he felt that his class needed some practice and supplementary help with the con- cept of symmetry. I was very happy to be part of the preparations, although it was a short time in which to compile and imple- ment a complete lesson plan. Just a mention of the word Aliens is usually enough to spark our students imaginations into a burst of creativity. We began with a discussion on legs, arms, antennas, eyes, noses and communication devicesanything that might be necessary and useful for an extra-terrestrial. We then focused our discussion on symmetry. A student volunteer came to the front of the room and the class imag- ined a string dividing her in half, from the top of her head to the floor. Was she the same on both sides? For the most partyes! Her nose and mouth were divided in half, and there was two of everything else. Some students couldnt help but notice that not
e v e r y o ne i s per f ect l y sym- me t r i c a l f r o m hairs out of place to patterns and pockets on cl ot hes. ( Al t hough our aliens could be perfectly sym- metrical if we wanted them to be.) We also tried to think of other creatures and things in our world that are symmetrical. We came up with some that were (animals, insects and flowers), some that were not (trees, rocks and clouds), and some that could or could not be (houses, musical instruments and letters of the alphabet). We began our activity by vertically folding a 12" x 18" sheet of manila practice paper. I modeled a drawing of an alien figure along the folded edge, and then careful- ly cut the body out, while the paper was still folded. I a r t s & a c t i v i t i e s o c t o b e r 2 0 0 4
by Ellen McNally
SYMMETRICAL
COVER story
A
Diana Parisi, grade 3.
I L
Jennifer Giza, grade 2.
S
N
E
then chose my favorite alien color of sulfite paper, placed the practice alien over the folded edge, and traced its shape. Students were free to redraw the orig- inal designs of their alien or free-form a figure when they drew onto the sulfite paper. After checking that the aliens were drawn on the fold, the students cut them out. We then applied our glue, making sure we glued along the outline on the side of the alien that had pencil marks. We turned that side over and glued it onto a piece of white drawing paper. Some of the students need- ed help turning over and gluing down their figures, either other students or the teacher. Our lessons last 45 minutes, which was enough time to introduce the project and glue our alien bodies onto the drawing paper. We then placed them onto our drying rack until the following week. To begin our next lesson, I distributed the work from the previous week, and then demonstrated how to add details on my own alien creature. The rule was that there had to be two of everything, with the excep- tion of noses, mouths and anything else that was placed on the median linewhich was also the fold that went down the center of the alien. To achieve this, I showed the students how I could fold a piece of paper in half, and cut through two pieces of paper in order to obtain two identical shapes. Noses and mouths were made by cut- ting out the shape along the folded edge. Placement was also important. We had to use our eyes to judge distance to align each object on the identical spot on either side of the alien. The rest was left to our imagina- tions. We could overlap shapes. We could make some of our shapes pop up by folding, shaping, cutting spirals, and making little accordions. On each table I placed a plastic container filled with large and small pieces of colorful sulfite paper, and odds and ends of other types of paper velour, shiny, origami, and so on. Before we began to work, I pointed out to the students that symmetry is a way of achieving balance in a work of art. We had done mandala designs in the begin- ning of the year. The mandalas were a form of radial bal- ance, which happens when all the forms and elements radi- ate out from a central point. We looked at the Principles of Design poster on balance and learned that when elements on both sides of a central vertical line appear to be about equal in shape, weight, value, and color, the design is sym- metrical balance. We had lots of fun, the results were definitely out of this world, and we most happily achieved our original goal when the second grade students came to the section on symmetry on the math testthey breezed right through iteach and every student knowing the meaning of sym- metry. Which brings to our attention how heavily art is connected with math and how strongly the act of cre- ating reinforces knowledge. I Ellen McNally is a K5 art teacher and teaches at both Emma C. Chase Elementary School and Cornelius Duggan Elementary School in Monticello, N.Y. w w w . a r t s a n d a c t i v i t i e s . c o m
21
MATERIALS 12" x 18" manila paper, sulfite paper, white drawing paper Glue Scissors
Containers of large and small pieces of different types of paper in a variety of color velour, shiny, origami, etc.
LEARNING OBJECTIVES Students will... learn to interpret symmetrical and asymmetrical balance, radial balance, shape, color and texture balance. understand and apply media, techniques and processes. relate art to other disciplines.
Danielle Felice, grade 3.
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a d i n d e x
ARTIST OF THE MONTH
Jean-Honor Fragonard, born April 5, 1732


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Jean-Honor Fragonard (French; 17321806). The Reader, c. 177072.
Oil on canvas; 32.3" x 25.6". National Gallery of Art, Washington, D.C.
Artwork is in the Public Domain.
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w w w . a r t s a n d a c t i v i t i e s . c o m
Having the students do motions along
with her as she reads the poem helps
them remember the words and gets
them up and moving. They do not do
cartwheels, of course, but they go from
laying their heads down on the table as if
in bed, to standing up straight, to balanc-
ing on one leg and putting their arms up
as if starting a cartwheel.
EVEN OR ODD? Another great tip to
pass on to your students is to use an
odd amount of elements. Using an odd
number makes your composition a lot
more exciting. When you use an even
amount, your eyes seem to pair them
together. Having an odd number also
gives movement to your composition.
HAPPY BIRTHDAY to artists Maurice
de Vlaminck (April 4, 1876), Victor
Vasarely (April 9, 1906), Leonardo da
Vinci (April 15, 1452), Joan Mir (April
20, 1893) and Bridget Riley (April 24,
1931). Looking at works from the mas-
ters to the contemporaries is a great
teaching tool for comparing, contrast-
ing and critiquing.
Thank you Michele, Stephanie and
Joyce for these great tips! n
Glenda Lubiner teaches elementary art
at Franklin Academy Charter School
in Pembroke Pines, Fla. She is also an
adjunct professor at Broward College.
A
rtist Pierre Bonnard hit the nail
on the head when he said, And
after drawing comes composition. A well-
composed painting is half done. Com-
position, the use and placement of the
elements are so important for creating a
great piece of art. Here are some helpful
hints to pass on to your students.
PAINTBRUSH DANCERS When painting,
Joyce Dorian from Pucketts Mill Ele-
mentary in Gwinnett County, Ga., talks
about how to use brushes. One analogy
the kids connect with is comparing the
paintbrush to our hair. She asks them
what would happen to their hair if they
brushed it in crazy directions? She gets
some great answers. She talks about
painting in one direction, just like we
brush our hair in one direction, and
both are called brushstrokes.
Her students also like comparing a
watercolor brush to a ballerinas foot.
When holding the brush straight up,
like a ballerina en pointe, only a small
bit touches the paper and you can paint
a thin, controlled line. But when the
ballerinas whole foot is down, its like
a at brush on the paper and you can
paint a wider, bigger area.
DONT FORGET THE RULES OF THIRDS
One of the most important things that
you can teach your students about
composition is the rule of thirds and
focal point. As art teachers, we want
our students to express themselves any
way they can, but we do need to give
them some guidance.
When I discuss focal points, I show
my students different examples of
paintings that use different elements
such as color, contrast and sizeto
express focal point. I project reproduc-
tions on my white board, draw the
grid for the rule of thirds, and have
the students come up to the board and
explain what they see. They love this
interactive lesson and do a great job
with their compositions.
USING A VIEWFINDER Having your
students use a viewnder helps them
to really nd good elements and an
interesting focal point. One easy way
to make a viewnder is to cut out two
wide L shapes from cardboard or mat
board. Use a solid neutral color so
there will not be any distractions. By
using two Ls, the students can adjust
their area to be either square or
rectangle. Old slide casings work
wonderfully too!
ONE MORE USE FOR FABRIC SOFTENER
Mixed with water, fabric softener can
be used to clean up any water-based
paint, even latex. Stephanie Stamm
from Boyertown Junior High West in
Boyertown, Pa., says it works great,
especially on paintbrushes that were
used with acrylics.
POETRY IN MOTION Michele Parris
from Connerton Elementary School
in Land OLakes and Denham Oaks
Elementary School in Lutz, Fla., has
had difculty in the past getting her
elementary students to remember the
directions of horizontal, vertical and
diagonal lines. She came up with a
poem that has greatly improved her
students ability to remember. She has
graciously allowed us to share it.
MY LINE POEM
A HORIZONTAL LINE is a line laying down,
Like me in bed with a fever and a frown.
But when I feel better I stand up out of bed,
Making a VERTICAL LINE from my toes to my head.
I start to do a cartwheel, Im so happy I am ne!
As my body goes DIAGONAL I make a slanted line.
tip

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Composition and Painting
Glenda Lubiner
ATTENTION READERS
If you would like to share some of your
teaching tips, email them to:
triedandtrue@artsandactivities.com
tip

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