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A Curriculum And Teaching Guide for the Primary and Elementary Grades

Government or Newfoundland and Labrador Department or Education

Division or Program Development

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Authorized by the Minister

A Curriculum and Teaching Guide to Visual Art in the Primary and Elementary Grades

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ACKNOWLEDGMENTS

The Department of Education thanks the members of the Primary/Elementary Art Curriculum Committee for developing the guide:

Sheila Brown Program Coordinator Terra Nova Integrated School Board

Alex Hickey Education Consultant, Art Department of Education

Heather Moore Former Education Consultant, Art Department of Education

Marg Ryall Teacher MacDonald Drive Elementary St. John's

Christine Snyder Former Teacher Labrador City

Penny Wooding Teacher Paradise Elementary Paradise

The Department also thanks the many program coordinators and teachers who offered comments and suggestions, the students and teachers who submitted art work for inclusion in the guide, and Penny Wooding for her illustrations. As well, appreciation is extended to the following people for their contribution to the final production of this guide:

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Bernadine Brennan Secretary Department of Education

Jeanette Laaning Photographer Department of Education

Susan Rendell Editor Department of Education

Maureen Sexton Secretary Department of Education

Cover Design - Alex Hickey

Cover Drawing: Nadine Newman Holy Cross School Complex, Eastport Grade 2 "This is me and my best friends. We are giving food to the birds."

PREFACE

The function of this primary and elementary guide is to provide the underlying structure for the art program at these levels. The guide presents the philosophy on which the program is based and the aims and objectives drawn from that philosophy. Although it contains information on instructional approaches, integration, evaluation, and reporting, it is not a prescription for teaching art, but a guide to achieving the program.

Matthew Roy, Vania" School. St. John'o "PMd''

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Practical information has been included to provide broad support for implementing the program. Attention has been focused on the stages of artistic development in children to ensure that teacher expectations and student activities are aligned. Throughout, the guide reflects current thinking and approaches to art education, with an emphasis on visual images as a means of communication and expression.

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TABLE OF CONTENTS

The Child and Art I 1

Artistic Development in Children I 2

Philosophy I 8

Goals I 9

Objectives I 10

Concepts and Skills I 12

Teaching Strategies I 20

Integration I 30

Evaluation and Reporting I 32

Classroom Organization and Management I 40

Materials and Resources I 59

Basic Safety Rules I 63

Appendix A: Looking at and Talking about Art Works I

Appendix B: Thematic Sources I

Appendix C: Sample Art Activities I

Appendix D: Visual Games I

Appendix E: Safety I

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THE CHILD AND ART

All children create images. It ' s a human activity. Scribbling precedes image making in much the same way as babbling precedes speech. They expand and build on this ability as they mature. They progress through a series of stages of artistic development where sets of common characteristics can be identified for each age group. These stages, though they vary from child to child, heavily influence what child art looks like. It is not the same as adult art, therefore, adult forms of expression should not be expected.

Children make images about everyday events, about things they have seen, things they know, dream about or imagine. Every moment of the day provides potential subject matter for them. Young children often begin with the physical self. Primary children can broaden their sense of physical self­awareness by making images of themselves involved in physical activities such as brushing teeth, tying shoelaces, running, playing or resting. As they grow older their interest in humans expands to include other people - family members, friends, people in the community. They become interested in other aspects of themselves such as their emotional and social dimensions. Elementary children focus their interests on peer interaction. Group activities may become the major source of inspiration for art making.

Primary and Elementary children are active, inquiring learners who naturally engage in an inquiry process through their play experiences and interactions with others and their environment. In

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any group of children there will occur a wide variety of abilities, strengths and weaknesses evident in their art making. They vary in visual perceptives, in their ability to organize visual elements, to handle art materials and to comprehend and articulate art concepts. It is important to remember that every child is capable of visual expression on some level and that every visual expression is worthy of merit.

Subject matter for the primary and elementary child is limitless since the whole world is to be learned about. It may be best however, to focus on the interests of the children. They are interested in such things as the environment - home, school, community; natural and built environmental and social issues. The cultural environment provides a rich source of inspiration for image making. Books and even other subject areas provide inspiration too. Activities, objects, and events associated with music, sport, play, work, holidays, festival days, literature, and drama, are rich sources of material for making images. As long as the topic is relevant to the children, the process of visual expression provides them with many opportunities for introspection and reflection. Sometimes art lessons may be primarily concerned with a particular art concept or with materials and how to use them more so than with subject matter.

Using childrens' experiences, activities, and interests as the inspiration for art making, recognizes the child's need to analyze, synthesize and evaluate the world.

Jaa<m WatJUn.a, Summerford Elementary, Summerford, Grade I "MtulluiUI"

ARTISTIC DEVELOPMENT IN CHILDREN

Childrens' artistic development is sequential and can be separated into a number of stages. Their art works will exhibit characteristics particular to each stage as they pass through them. As with all developmental stages, children proceed through them at different rates and often exhibit characteristics of one or

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more levels at the same time. An awareness of these stages is necessary in order to establish individual levels of expectations for students. For a more detailed description of these stages, see Lowenfeld and Brittain, Creative and Mental Growth, 8th ed., Macmillan Publishing Co., New York, 1987.

Scribbling Stage (approximately 2-4)

In this stage, the child moves from uncontrolled scribbling to controlled mark making and finally to the "named" phase; i.e., s/he is willing to talk about the marks and relate them to things and experiences.

• Initially, mark making is a physical activity rather than an attempt at picture making.

Because very early experiences are not attempts at picture making, the child neither needs nor wants to explain the image.

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Angela H ., Age 3 yeara

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There is little coordination of small muscles at this stage; the child grasps the tool with the whole hand and moves the ann from the shoulder.

Marks and scribbles become related to the self, ideas, events, people, and objects, and the naming of these marks become important to the child.

The first recognizable objects are usually human figures - an indication of the child's interest in people.

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Jencu.e Blanchud, St. Francia Elr:menl&r}', Panana Pond, Kindezgancn "0• MJ W•J T• Scla-r'

Preschematic Stage (approximately 4-7)

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Graphic communication begins at this stage; children consciously make forms which relate to their environment. There is now a relationship between the child's intention and product.

Shapes tend to be geometric .

Some objects may appear upside down or sideways; figures going uphill seem to be falling backwards; chimneys are perpendicular to roofs.

Colour is often used emotional I y or randomly (e.g., purple grass).

Placement and size of objects are determined subjectively. Children

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Wendy Blanchard, St. Francia Elementary, Panona Pond, Kindagarten "MJ F..U,"

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will enlarge beings and objects emotionally important to them and omit those to which they are indifferent.

Objects are often distorted to fit available space.

When people are drawn, they are looking at the viewer, and are usually smiling.

Gradually, the child's drawings of people include arms (often projecting from the head), a body, fingers and toes, clothes, hair, and other details.

Gena Blanchard. SL Francia Elanaaary, Panono Pond, Grade I "MyF...U,"

Schematic Stage (approximately 7-9)

• Most children develop schemas at this stage - a conceptual means of representing an object or person in an art work. A schema for an object is often influenced by its emotional significance, kinesthetic and tactile experiences or its function.

Objects such as people, trees, and houses, become more detailed, showing great individuality among children.

• An understanding of spatial relations is evident. People stand on a base­line, birds and airplanes fly above. Objects are usually arranged along the baseline without actually touching it.

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The sky is often painted as a strip of colour at the top of the page. The area between the sky and base line represents air.

A double baseline representing

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foreground and background may be used.

• Objects are often drawn at right angles on either side of a baseline to indicate things on two sides of a central point.

• The inside and outside of objects such as houses may be shown by leaving out a wall.

In the same picture, objects may appear from different points of view. For example, in a picture of a kitchen, appliances maybe viewed from the side, but the dog basket, in which a new puppy is curl~d up, may be viewed from above so that the very important puppy is clearly seen.

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Wendy Farr, Summerford ln~cgn~tcd, Summcrford, Grade 6 " UIIIilktl''

Post-Schematic Stage (approximately 9-12)

At this stage, children are beginning to realize that they are mem hers of a society; their own peer group, or "gang" becomes particularly important.

• Human figures show more detail. Sex and occupational roles may be clearly defined.

• Since the emphasis is on detail rather than action, people are portra/ ed in stiff postures.

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People start to appear in profile .

Students are preoccupied with visual realism, and are self-conscious about their drawings.

The visible baseline disappears and an understanding of the plane emerges; overlapping and relations between objects appear. Attempts are made to show depth through object size.

The sky ~'Jmes down to the horizon.

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i'd c · .. Pa!lla Herridge, Paradioe Elcmmwy, Paradioe, Grade 6 "U J&lilJitl"

The Pseudo-Naturalistic Stage (approximately 12-14)

Children become increasingly critical of their products at this stage. A desire for naturalism indicates a shift to an adult mode of expression - a desire to draw what is seen.

There is a greater awareness of depth and more sophisticated attempts at perspective.

Awareness of the environment is reflected. Elements important to the student are drawn in detail.

The human figure is closer to correct proportions; sexual characteristics are often overemphasized.

Awareness of joints and body actions is evident.

• Cartooning is popular.

• Some students will endeavour to represent visual impressions as realistically as possible. Others will react subjectively to experiences; their visual representations will attempt to show what feelings are being experienced.

SUMMARY The uniqueness of each child is

given heightened significance in Children Learning: A Primary Curriculum Handbook, Department of Education, 1990. There it states that

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the focus of curriculum planners, principals, and teachers must be on the child. All must have knowledge of the growth and development of children and the ways by which they learn. In their progress through these stages of artistic development which closely parallel Piaget's stages, it is recognizes that there is not a chronological line at which, when a child has passed it, the child has moved from one stage to another and a child does not move completely (or abruptly) from one stage to another.

Although the development rate is different from child to child, their growth in artistic ability is constant and sequential. The art program which they experience must be planned and ordered in developmental sequences which meet their expanding needs. Classroom tasks and concept exploration activities must recognize the varying levels at which students will meet them. It must be remembered that art making is a means by which the child makes sense of the world. It is a way of learning, not something to be learned. The child's application of a concept in that explorative learning process will reflect the developmental level s/he is currently at. This means that the teacher must know the students well, build on their experiences and take them to new levels of understanding and seeing.

PHILOSOPHY

There are many ways of knowing. In our culture, the predominant way of passing on knowledge and sharing thoughts and feelings is through the use of words. However, there are other ways of learning and sharing knowledge. We experience the world through our senses. Visual, auditory, spatial, olfactory, and tactile elements all contribute to our knowledge of the world. To limit exploration and expression to words is to restrict the learning process.

When children participate in the art process, they explore their world and communicate their response to it visually. To create art is to share personal experiences and attitudes. To look at and understand the art work of others is to learn something about their experiences and attitudes. Art is a visual language in which every child should be able to communicate comfortably and effectively. Effective communication and expression

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in any language requires knowledge of the elements of the language and an ability to organize them meaningfully using its tools and processes. When we are given ample opportunity to explore and experiment with the elements of visual language, we are, in essence, given the chance to develop fluency and flexibility in this mode of communication.

Perhaps the most important aspect of communicating in any language is the opportunity it affords for expression. Through language, verbal or visual we confirm, review, interpret personal experiences, establish our identity, explore fantasies and dreams, express thoughts and feelings. Our most meaningful expression is based on our experiences and interests. Thus, it is important that children's art work is based on their experiences and interests and that the environment in which they express themselves is an open, accepting one.

GOALS

A well-balanced art program addresses the intellectual, emotional, and social growth of the child. The main aims and objectives of the primary and elementary art program are summarized in the following paragraphs.

~ough art education

1. children will develop their visual awareness. Learning to see is a skill that can be developed. Seeing is an active process that involves recognizing, analyzing, and interpreting visual qualities. ~ough study and analysis of visual qualities in natural and built environments and in art works children develop increased visual sensitivity. Through class discussion of visual discoveries, the quality of each child's experience is enhanced.

2. children will express themselves visually. They make visual images based on their experiences and interests. Children are better able to realize their expressive intention when they have acquired art skills and concepts. These skills contribute to the child's success, confidence, and satisfaction in visual expression. All children are capable of expressing themselves visually and should be comfortable using art as mode of communication.

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3. children will develop an appreciation for the visual arts. Art is a visual expression of life experience significant to the artist. The artist shares or communicates something of himself/herself with others. To understand and appreciate art is to be receptive to the experiences, thoughts, and feelings of others; the cultural, social, and historical contexts of art works; the technical qualities of art works; the aesthetic qualities of art works. Exposure to a wide variety of art works and art forms fosters an understanding and appreciation of art.

4. Children will develop an increased self-awareness and an appreciation for individuality. At the core of art education is the dictum that art is personal expression in visual form. All children are individuals with unique life experiences, thoughts, feelings, responses, and interests. Individuality should be expected and encouraged. A teacher fosters appreciation and respect for variety in creating and responding to visual works. Art provides a tremendous opportunity for reflection, for learning about oneself. It also fosters self-reliance, initiative, decision-making, problem-solving, creativity, and responsibility.

OBJECTIVES

Students in the art program can be expected to achieve according to their learning potential in the affective, cognitive and psychomotor domains. The program supports a series of objectives which apply over the primary and elementary years. These objectives recognize the increasing complexity of concepts and skills that students encounter as they progress through the program. Objectives, at this level, must be somewhat general since students will achieve them from a multitude of directions. The specific learning objectives that contribute to those found here and in the Primary Curriculum Handbook, 1987, must be tied to the teachers' art lessons, which are based on the concepts and skills listed in this guide. Those objectives for the Primary Level will be applicable at the Elementary Level with a greater degree of complexity and sophistication.

Intent All students possess the innate

ability to express themselves visually. Rich visual expression incorporates the three major areas of learning: the affective, the cognitive, and the psychomotor.

The Art Program • fosters an appreciation of visual art and

the visual environment. • fosters student confidence in visual

expression. • promotes an atmosphere in which visual

creation is accepted as a natural, everyday mode of expression.

• fosters an appreciation of the

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uniqueness of every human being. • stresses the relationship between seeing

and feeling. • establishes a foundation for aesthetic

development.

Content The Art Program

• uses the students' experience of their personal, physical, social, and cultural environments as the basis for visual expression.

• develops students' ability to identify, manipulate, and care for simple to complex art media.

• explores simple to complex concepts relating to the elements of design (line, shape, colour, texture, and space) and the principles of design (movement, repetition, balance, contrast, emphasis, and unity).

• develops visual awareness through such activities as describing, comparing, classifying, matching, and manipulating.

• explores sensory perception through listening, touching, tasting, smelling, body movement, and examines the connection between sensory and visual perception.

• explores the connection between visual perception and emotion.

• uses visual as a basis for identifyi:tg, discussing, reinforcing art concepts and for sharing responses to art.

• contains a strong verbal component through which students acquire art vocabulary, reinforce their visual perception, express their responses to art and the environment, exchange, modify, and develop ideas.

Method • Students should be provided with rich

personal, physical, and cultural experiences through field trips, discussion, dramatization, collecting, manipulating, and looking at books, posters, videos, and films in preparation

· for visual expression. • Identification of design elements and

principles in art and the environment should be fostered.

• Students should be supported in identifying and understanding connections between what they see and

Corey Stack, SL Francis of Assi.si. Outa Cove, Grade 6 "Ro11 H1:d.all Midis A Saw"

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what they feel. • Experimentation with media should be

encouraged. • The students' art vocabulary should be

broadened by encouraging students to discuss what they see and feel, using rich descriptive language.

• The Program should be learner-based and flexible. It should promote an atmosphere of success and enjoyment as well as nurture a respect for individual differences by acknowledging the value of the contributions of each student.

CONCEPTS AND S·KILLS

Some art classes explore theory (art concepts) and technique (art skills). Although these do not have to be dealt with in isolation, it is sometimes expedient to do so. At the same time, the teacher must remember that the development of concepts and skills is a means to an end

Theory and technique are often the weakest aspects of the art program in the average classroom. They are usually the areas in which the classroom teacher needs the most support. Art in Action is the main source of this type of information. It is essential that children develop their know ledge and understanding of art concepts as well as the ability to apply them in their own work. It is also essential that they develop a knowledge of art materials and skill in using them.

When children have access to this information and when they are taught to apply it (usually through the process of making art as often as possible), it is easier for them to achieve their intention in their visual expression. And, if their visual expression lives up to their expectations, they will be pleased with their efforts and their ability to express themselves visually.

Further refinement of the following concepts and skills as they relate to specific lessons should emerge from student needs, content and media utilized. Determination of which concepts/skills to teach at each grade level will be influenced by the students' previous art experiences and stage of artistic

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development, as well as by the media and resources available. Formulation of these into specific objectives lies with the individual teacher since each child will vary in their needs. A variety of levels of complexity of any given concept will be present in any group of children performing a particular task. Their application of these concepts and skills at whatever level of complexity will be evident in their discussions and art images. For every child, as they progress through the program, exposure to the underlying concepts and skills will be in a sequential manner which recognizes their needs. The concepts themselves should build in complexity as students are exposed to them.

Art Concepts

The Elements of Design

Line

• There are many kinds of lines: thick, thin; straight, curved; long, short; solid, broken; vertical, horizontal, diagonal; light, dark; soft, sharp; jagged, smooth.

• Lines can be used to create shapes.

• Repeated lines can make a pattern; e.g., stripes, plaids, radiating, zig-zags.

• When one shape touches another shape, a line is created.

• Lines can suggest direction.

• A line can suggest movement or show the path of movement.

• Lines can be arranged to show texture.

• Lines can be repeated many times to make a dark area or to show a shadow.

• A line can lead the eye through a picture.

• A contour line shows the edge of an object.

• A line can show the form (volume) of an object.

Shape/Form

• Shapes (e.g., a painting, a drawing) have two dimensions. Forms (e.g., a sculpture, a person) have three dimensions.

• There are many kinds of shapes and forms; e.g., circles, spheres; squares, cubes; triangles, cones.

• Shapes may be open or closed.

• Shapes vary in size.

• Shapes can be repeated at regular intervals to create a pattern.

• Families of shapes contain shapes that are similar.

• Shapes can be created inside other shapes.

• Shapes can be geometric or organic.

• Shapes sometimes act as symbols.

• Shapes can be positive or negative.

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• The size relationship of one shape or form to another shape or form is called proportion.

• Light helps us see form (the volume of an object).

• Spaces exist between and around shapes and forms.

• Shapes and forms may be large, small; irregular, geometric; organic, representative, abstract.

Colour

• The primary colours are red, yellow, and blue.

• If two primary colours are mixed together, a secondary colour results. The secondary colours are orange, green, and purple.

• Blacks, whites, greys, and browns are referred to as neutrals .

• Colours can be light or dark. • If white is added to a colour, it

becomes lighter. A colour with white added is called a tint.

• If black is added to a colour, it becomes darker. A colour with black added is called a shade.

• Colour families (analogous colours) are made up of colours that are similar.

• Colours can be warm or cool (e.g., red is warm, blue is cool).

• Colours may be symbolic (e.g., white for purity, purple for royalty).

• Light shows us the colour of objects. • Colours can be bright or dull.

• Colours can be strong or weak. Intensity refers to the purity of strength or a colour.

• When only one colour and its tints and shades are used in a composition, it is called a monochrome.

• Colours may be opaque or transparent.

• Colours opposite each other on the colour wheel are called complementary colours.

• By their placement colours can be used to create space (distance) in a drawing or painting.

Texture

• There are many kinds of textures; e.g., rough, smooth, slippery, fuzzy, spiky, spongy, woolly, furry, pebbly.

• Textures can be felt and seen.

• Some textures are very regular and even; others are irregular and uneven.

• Texture can be used to draw attention to something.

• If the texture of an object is obvious, the object is probably very close.

• The textural appearance of an object varies according to the angle and intensity of the light striking it.

Space

• People and objects occupy space.

• Some spaces are natural (caves, the seashore) and others are built (e.g., a

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living room, the inside of a car).

• Objects close to us often overlap objects that are farther away.

• Point of view influences how an object is seen.

• Objects appear to be smaller when they are far away.

• In works of art, objects which are meant to be close to us ar~ often at the bottom of the page.

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Brad Stockwood, Para.U.C Elementary. Grade 5 ''M~Ii&ilu''

Principles of Design

Line, shape, colour, and texture may be organized in an image to create:

• emphasis (attention is drawn to the most important part or focal point of

the image)

• unity (a feeling that all pans create a harmonious whole)

• variety (pans of the image are similar enough to maintain unity but sufficiently different to make the image interesting)

• movement (the element of design leads our eye through the image to the part that is most important)

• balance (the image may be formally balanced like identical objects on balance scales or informally balanced)

• contrast (when an object, shape, line, texture, or colour is quite different from others in an image, it stands out)

• rhythm (when elements are repeated, identically or with slight variations, patterns and rhythms occur)

When line, shape, colour, and texture are organized in certain ways, they communicate information to us.

Art Skills

In order to develop their ability to express themselves visually, children must have ample opportunity to use an materials and to practise skills. Art material can be used in many ways, and children should be familiar with the potential of each medium (material). Children refine their an skills in subsequent experiences with a particular medium and eventually will be able to make choices in how to use a particular medium to convey meaning. Children learn an skills in a variety of ways; experimenting with an materials,

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watching demonstrations, discussing how artists (including themselves) have used an materials in an an work, solving problems, and practising.

The details of developing particular an skills will be found for the most pan in the Art In Action series. However, a list outlining general an skills is presented below for ease of access. This list has been adopted, with minor modifications, from the Ontario Ministry of Education's Curriculum Ideas for Teachers: Visual Arts (Primary and Junior Divisions), 1985.

Painting Skills

• applying paint: ftlling in large areas, controlling paint in small areas

• drawing with paint

• painting lines of varying thickness and density, broken lines, dots, textures, smooth edges, and so on

• mixing colours

• applying paint next to previously painted areas

• painting on top of dry paint

• painting on top of wet paint

• applying paint to wet paper

• applying a wash

• mixing tints

• mixing shades

• blending colours

• applying paint to create texture

• mixing watery paint

• mixing just enough paint to cover a surface

• painting smooth edges

• combining paint and other media (e.g., paint and crayons, paint and a collage of materials)

Paintbrush Skills

Children should acquire the following paintbrush skills:

• putting paint on the brush

• controlling the amount of paint on the brush

• taking paint to the paper

• washing the brush before changing colours

• stippling

• spattering

• dry-brush techniques

• twisting

• twirling

Paint can be applied by tools other than a brush (e.g., a piece of sponge or cardboard).

Crayon and Stick Media

Stick pigments, which include crayons and oil pastels can be

• used heavily or lightly

• blended

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• dotted

• used both at the ends and on their sides with grooves cut in

• heated or ironed

• used over and under other media (e.g., paint)

• smeared

Charcoal can also be used in some of the ways described above.

A variety of shapes and sizes of paper extends children's creative choices. When children use an art medium that makes large marks, they should have the choice of using large sheets of paper (e.g., 45 x 60 em). Effective backgrounds include newsprint, cream manila, construction paper, finger-paint paper, sandpaper, mural paper, onionskin, tissues, corrugated paper, cardboard, wallpaper, and masonite.

Cutting and Tearing Skills

Children should develop the following skills in using scissors:

• holding the scissors correctly

• manipulating scissors and paper to suit the purpose

• cutting a preconceived shape without first outlining it in pencil

• turning the paper to facilitate cutting

• cutting with even strokes

Children should also learn how to

tear paper. Tearing does not mean ripping, which allows no control over the outcome. By tearing paper correctly, children can make shapes without first drawing them in pencil. These techniques include the following:

• using the thumb and index finger on each hand in short, controlled movements

• using a longer pulling motion to control the tearing

Pasting Skills

Pasting skills include choosing a suitable adhesive and deciding on the amount needed for a task. For most paper work, a semisolid paste is strong enough. Glue may be required for three­dimensional work. Other pasting skills include the following:

• applying small amounts of adhesive around the edges

• applying small dabs of adhesive at strategic points

• applying paste to the shape and not to the background

• applying pressure until the paste or glue begins to stick

Paste can be applied in a variety of ways; e.g., with fingers, brushes, toothpicks, and rolled-up or folded scraps of paper. Paste marks should not show on the finished product.

Modelling and Constructing Skills

The characteristics and properties of the materials used determine the modelling and constructing skills required.

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Teachers should know the skills and techniques appropriate to each medium and the medium's advantages and limitations. Modelling and constructing sometimes require a child to learn how to use tools as well as how to control media.

Modelling materials and methods include the following:

• modelling clay (i.e., plasticine)

• regular water-based clay (note safety precautions)

• modelling dough (see recipes, pp. 65-68)

• papier-mache (see recipes, pp. 65-68)

• wood-block sculpture (note safety precautions)

• cardboard/box and tube sculpture

• stitchery

• sawdust and paste (mixed before class)

• macrame

• soft sculpture (e.g., sculpture in cloth)

• simple mobiles and free-standing sculptures

• carving medium (e.g., soap, plaster,)

• wire

• sand-casting (i.e., pouring plaster into wet sand formations)

• paper sculpture

• found objects

• natural objects (trees, branches, stones)

• weaving

• collage

• felt, cloth, glue

For more information about working with art media, see Appendix E, "Safety and Art Materials".

Brian Joyce, Stella Maru School, Benoit 's Cove., Grade 6 "My Sneaker"

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Andrew Houac., OuiA the King School., Bcllbuma, Grade 2 'Tiu B1.t Sw~r"

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TEACHING STRATEGIES

Cultivating an Environment for Art Instruction

The teacher's role is to provide an environment in which rich art experiences can h~ppen ~d to guide and challenge all children m their art making. Accordingly, strategies and expectations must be appropriate to the individual situation. Art by its very nature, is one subject in which the individuality of each child can be accommodated. When c~ildren express themselves verbally, visually, dramatically, or musically, we should expect diversity in the content and sophistication of the expression. Diversity must be fostered.

Openness, flexibility, appreciation, encouragement, and acceptance are conducive to self-expression. At the same time, an organized physical environment, a set classroom routine, and clear b~haviourial expectations provide children with a sense of security.

An organized physical environment provides at least two other benefits. First, the children can easily take and return materials themselves, and therefore learn to take on some of the responsibility for the care of art materials. Second, confusion is avoided.

Directions should be clear and simple. If they are misunderstood, they can be repeated or demonstrated as required

Expectations should be adjusted to the individual child If a task is too difficult for a child, the time may be extended or the task reduced. if the task

20

is too simple, the child should be challenged with ideas, materials, and processes.

Child art is not the same as adult art. Adult forms of expression should not be expected from children.

Topics for art making should be explored using as many approaches as possible. Other modes of expression such as music, drama, dance, film, literature, and poetry, can be used to do this. If children use a multisensory approach to explore themselves and their environment, the children will most certainly discover aspects that may have been overlooked.

Children should have the option of using a variety of media. Children will prefer certain materials and processes more than others. They should be pennitted to use those with which they feel comfortable and are sure to obtain some measure of success. However, it is also important to encourage them to experiment with and learn about the potential of new materials as well.

The atmosphere in any art class should be encouraging and supportive; children should never feel uncomfortable about expressing their feelings and ideas.

Jessica Brake, SL Francia Element&ry, Panoru Pond, Kindez-garten "My Bal F..UIIIl"

Instructional Approaches

The instructional approaches used to teach art concepts and skills are very similar in methodology and organization to the approaches used in other subjects. It is not possible to prescribe in detail how every lesson should be taught because teacher interest, teacher training, class size, available resources, and individual needs vary from situation to situation. Flexibility is important. The "teachable moment" should never be missed. Teachers may have to switch plans in midstream because a certain suggestion or situation arises in class. Careful observation often indicates the direction the lesson should take and what an appropriate follow-up would include. Teachers should always change or adapt plans to fit their own situation. Knowledge of the students, the materials available in the school, and personal experiences should be a guiding force in lesson planning. Taking into consideration the variables previously

21

presented, the following guidelines will provide a framework within which teachers can develop instructional sequences in art.

Primary and elementary children curious about their world. Through exploration and experience with play, people, and their environment they attempt to make sense of it. They must refine and continue this process in school. This necessitates their becoming active!:;­involved through many experiences with real materials and events. They need to observe, touch, manipulate and describe before working with representations in art making. Children should also be encouraged to question issues and suggest solutions. How wdl ... child does this depends on the richness and significance of the topic, the direction by teacher's questioning, and tte opportunities given for predicting, comparing, contrasting, summarizing, and evaluating. Every lesson should be organized to encourage children's active participation and allow them opportunities to discover concepts through guided observation and the manipulation of mat ~rials. Within this general inquiry approach the teacher should also ensure that art learning experiences • are part of a long-term plan

• have specific purposes

• provide for continuity of learning

• encourage children to work at their rate of development

• provide time for shared learning

• provide immediate, positive reinforcement of the learning that has taken place.

Format

There is no single way to go about teaching art. It is possible, however, to include the points above by using a lesson format that has the following components:

• Introduction/Motivation (10-20% of teaching time)

• Activity Period (60-80% of teaching time)

• Culmination/Summary (10-20% of teaching time)

Introduction/Motivation

The function of the introduction to the art lesson is to focus the children's attention. There are many ways to do this:

• Pose a question about an event. activity, or object (e.g., recent visit by a clown).

• Have students recall content or concepts from a previous lesson (e.g., can anyone remember what we did to make our dinosaurs textured in our last lesson?).

• Pose a problem (e.g., how can we use these oil pastels to make the fur on our cats look soft?).

• Present a technique (e.g., today we are going to try painting the background of our pictures first).

Sometimes the introduction to a lesson will motivate pupils sufficiently so that they will need little further stimulation, but usually they will need to be motivated to elaborate on a theme or topic.

22

Motivation can take many forms, but without a doubt the most vital and successful art projects are usually the result of vivid and meaningful personal experiences. Nothing replaces direct contact or immediate observation for eliciting a richly expressive response. The role of discussion in motivation cannot be overemphasized.

Comparisons of visual aspects of an object. such as shape, texture, colour, size, direction, promotes keen observation. Rich verbal description fosters heightened visual awareness. Sharing observations, remembrances, and ideas may trigger more thoughts in other class members. Further, students must be encouraged to talk about their own work, the work of other students and artists. Looking and discussing slows everybody down so that the looking is prolonged and more insightful. Students will also come to realize, appreciate, and respect the variety among images, among the people who create them and our responses to them.

If the class plans to paint pictures of pets, the best thing to do is look at some pets and discuss them: the shape of the body and the head; the location, shape, and size of the ears and their relation to the size of the head; the texture of the coat; the colour of the animal; and so on. Although some of the children may have a well-developed mental image of the animal, many of the children have now been given the opportunity to enrich their visual concept of the animal. The same holds true whatever the object being depicted. If the class has an opportunity to go on a field trip to look at objects in their own environment so much the better.

Often, it is not possible to observe

an object firsthand. Then the teacher may employ alternatives such as looking at pictures of the objects, participating in related events, or dramatization. For example, in addition to describing the animal and its actions, the children can act out these things. The children and teacher should at the same time engage in discussion that will enrich the child's visual image of that object or event.

Sometimes the observation, description, and discussion may be centred on art works themselves. These may be student works or the works of professional artists. In either case, they may be discussed in terms of their subject matter just as objects and events can be discussed. Art works have the added benefit of incorporating design concepts and art processes for discussion as well. This is addressed in another part of this guide.

Description and discussion enhance the visual imagery of children of all ages. As the child grows older, observation becomes more complex; there is so much more detail to apprehend. Discussion therefore becomes more sophisticated. If depicting an orchestral performance, for example, the following may be a starting point for observation and description:

• the variety of shapes and sizes of instruments

• the arrangement of the musicians on stage

• the way musicians hold their instruments

• the way they move

• the seating arrangement of the audience

23

• the lighting

• the sounds

• the mood

Description and discussion cultivate rich observation and visual analysis. This activity ensures that all students get a good grounding before they even attempt to make a visual image. It is a good beginning to art making.

Timing is very important in successful motivation. The teacher can usually sense when children have reached a fatigue point. Time allocated to the motivational session should not infringe on the student's activity time. Sometimes, however, the students may become so involved in the motivation session that the activity session may need to be carried over to another period.

The following are some motivational materials and resources:

• original art works

• reproductions of paintings, sculpture, prints, and crafts

• photographs (colour, black and white)

• colour slides of art works and of the environment

• books (poetry, picture books, art books)

• recordings of music ·

• guest (clown, dancer, musician, scuba diver, etc.)

ctown

~n~one \i Ktt -\--o bv-y SoMe.

balloo ns ? (\ Angel Lynn Compton, Dcc:r Lake Pmtcooonal School, Kindcrgan= "Clow11"

• items from nature

• sketching trips

• models for drawing still life (bottles, found objects, etc.)

• artifacts from other countries and cultures (pottery, weaving, carving, etc.)

• costumes, puppets, toys, dolls

• devices that can expand students' visual perception (microscopes, prisms, kaleidoscope, minors, telescopes, magnifiers, etc.)

Activity Period

Preparation, distribution, collection, and cleaning of tools and materials can

24

be done by the children under the teacher's direction. Many classrooms have designated helpers assigned either on a daily or weekly basis who can also be used during art activities. Efficient classroom management can do much to reduce the physical and emotional drain of teaching and can free time for more genuine educational activity.

During the activity period, the teacher' s role is to help children say what they want to say in their own way. The child must remain in control of the ideas being expressed. In order for this to occur, the teacher has to assume the role of facilitator. The teacher, in the selection of objectives and motivational activity has initially assisted the child by selecting a framework within which to explore. Some children are capable of working within these parameters without any further assistance. There are other children who, for various reasons, cannot always be expected to solve problems and reach goals without help. When children have reached the end of their resources, they should receive assistance from the teacher before becoming frustrated. The teacher's assistance should be just enough to help the child overcome the immediate difficulty. Asking questions or demonstrating without imposing your own ideas is the best approach.

As teachers we must be supportive and encouraging throughout the activity period. We want to provide positive art experiences - one that will generate interest and encourage further development. It is often difficult to know what to say in this situation. Over the years we have probably heard or used a variety of responses: "Oh, how lovely", "That's great work", "I just love it". Such comments do nothing to

encourage dialogue with the child nor do they support the child's artistic development.

"Lovely" and "good" are often overworked. Such comments also place undue emphasis on the product and give little attention to the process which is often much more important to the child.

A common approach is to ask the child "What is it?" When a young child is questioned in this way, you may not get an answer because what s/he has created is very personal. At such times, you may find a child searching for an answer because s/he feels there must be one if you have asked.

We are often tempted to make a positive comment and follow it with a well-intentioned recommendation or correction. Children's art, however, is not intended to be a carbon copy of reality. The child includes or omits details depending on personal interpretation or stage of artistic development. Corrections or criticism may discourage children.

How then can we best encourage children during the activity period and at the same time provide opportunities for dialogue and learning? The following paragraphs offer a number of suggestions.

Allow the students time to consider and respond. The next time a student shows a work you smile, pause, and say nothing. This will give you an opportunity to reflect on what you might want to say and it will also give students an opportunity to talk first if s/he chooses.

Alternatively, the teacher can describe the image. Talk about the elements of

25

design evident in the child's art. Comments can focus on content, concepts, and feelings. Children need to hear art vocabulary. They need to realize that we are aware of the work they have done. This helps to develop their observational skills.

Comments or descriptions should include reference to

• The elements the child has used.

"You have used dark colours in your picture."

"I like the way the red contrasts with the blue."

• The art principles the child has used (e.g., rhythm, balance, composition)

"You did a good job of repeating that circular shape. It gives your picture a sense of rhythm."

"These two dark red horses really balance that large .blue one on the other side."

• The expressive quality of the child's work.

"The yellows in your picture n:ake me feel warm and happy."

"Those jagged lines make me th~nk about angry feelings."

• The inventiveness, ingenuity, and imagination in the child's work.

"Sara made her sun look different by using a number of warm colours."

"Bob's drawing shows us a different way to think about horses."

• Some desired behaviour in the child's efforts.

"Joey has spent a long time working on his picture. He wants us to know a lot about his new fort. "

• Evidence of improved skill and control of medium.

"Laura is doing an excellent job showing texture with her pastels. See how she has used short smooth lines."

When we take this positive, objective approach, we lend support to the child's affective and artistic development. One, children know that you are looking carefully at their art and that you are interested in it. Two, you are either giving children new art vocabulary or reinforcing vocabulary that has been used previously. Three, you are helping children to look closely at their own work. Four, you are helping children realize what skills they possess.

Remember that describing what you see does not mean saying what you think. Comments must be non­judgemental.

"You used a lot of blue and black." "You've filled up most of the paper. " "You've made many curved lines." "How did you move your hand to get these circles?" "How did you hold your crayon to get such dark lines?"

At times, teachers may hold up a student's work for the class to see. When this is done it is important to give specific reasons. For example, "This picture takes up the whole page used. See how the sky comes down to the hills and there are trees in the background." Such encouraging remarks can keep

26

children on target It should be possible to fmd something commendable in every child's picture.

Summary

After the art making phase, the students ' work should be displayed so that everyone can see it. Both the work and the process can then be discussed by the teacher and the students. This discussion should take place within the lesson, but if that is not possible, it can take place at the earliest opportunity or in the next lesson.

Discussion after the process is invaluable. It provides an opportunity to review the objectives of the lesson and focus on student achievement. It helps children consolidate concepts, review techniques, and identify alternatives, and it gives children the opportunity to see and appreciate a variety of approaches to art making. Discussion will even give some direction to future art endeavours.

The discussion must always be constructive, emphasizing achievement. Through questioning, the teacher can direct students to describe specific features and qualities of the art works.

The following excerpt gives more detailed information on leading this summary discussion (or as it is referred to in the excerpt - the critique).

The Process of Critiquing*

To critique does not mean to criticize. Through critiquing one is helping children to talk about their own work and progress. Even though the children may be too young to comprehend some of the qualities and concepts mentioned below, it is important

for the teacher to have a grasp of them, and to use them as a frame of reference in talking about the work or getting the children involved. The children may be too young to understand the concept and terms, but they are intuitive designers and these qualities may appear in their work.

How You Might Go About Leading a Critique

(A positive conversation about the children 's work or artist ' s work.)

• Look at the work ahead of time to see what there is and what it is like.

• Ask yourself questions such as: "How have the children dealt with the objectives of the activity, the challenge?" Describe some of the pieces to yourself (as if you were describing them to someone on the phone).

• Look at the colours, lines, shapes, size, how placed, spaces, textures, pattern, tonal qualities, contrast, variety, repetition, movement, centre of interest. Look for different styles and moods.

• Look for positive qualities or teaching points that could be brought out.

• Be positive and appreciative.

• Be neutral.

• Choose several examples to make a point.

• Accept more than one response to each question.

• Ask question that do not have an absolute right/wrong answer.

• Ask questions that bring out contrasting ways of working, but do not make value comparisons.

• Talk about the work rather than who did it. Be objective (e.g., "which painting" rather than "whose painting").

• Give children an opportunity to ask questions or make a point (positive or neutral). Give children an opportunity to talk about their own work.

Types of Questions • What colour seems brightest in the

painting?

• Which paintings have a great variety of colours?

• Which paintings have only a few colours? Can you describe the difference in effect?

• Which painting would you describe as bright? As dull?

• What feelings does the colour give?

*Peel Board of Education, Visual Arts: Primary Core Curriculum. Mississauga, Ont. pp. 219-220.

27

• Which prints have more empty space than printed surface? What is the effect?

• Which pattern is bold? Which pattern is soft and subtle?

• Where would you like to see these patterns used?

• Which designs have a strong focal point? What makes your attention focus there? Why do you look there first?

• Which pictures feel calm? Why?

• Is there one picture you would like to talk about? What do you find interesting?

• Would anyone like to talk about their own work?

28

Levels of Questions

Know ledge, comprehension (e.g.) Which words come immediately to mind? (It could be a spontaneous exercise in which you list words). What do you see in the painting?

Analysis (taking apart} How did the artist create this feeling? (list words to do with feelings.)

Synthesis (putting together in a new way) (e.g.) Image ... Project ... What if ... ?

Evaluation (significance, appreciation) (e.g.) What was communicated? What was the artist trying to say or get across.

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INTEGRATION

Art has a long history of integration. Like language, art has the facility to cross all subject barriers and permeate all aspects of the child's life. The skills learned in art can be used to enhance work in any subject. Art education encourages divergent and creative thinking, heightens student awareness of the environment, and develops special knowledge and concepts. Art activities are motivational; they are used for creating interest in many subjects. The ease with which art is integrated sometimes causes problems. Very often, the objectives of the art program are overlooked or, at best touched on briefly. For example, children may illustrate a language arts story without ever being taught art concepts or skills. Such an approach gives art less than its due. Art objectives should be included in any lesson that involves art making. If children are illustrating a story, a short lesson or an art concept (e.g., foreground, background) can be taught before they begin.

Another way to integrate art is to use the subject matter from other curriculum areas as motivation for visual expression. For example, an open-ended theme from the language arts program such as dragons or dinosaurs, can provide content for many meaningful visual experiences in sculpture, drawing, painting, or printmaking. To be truly integrated, art concepts and skills must be addressed in the lesson. Some aspect of texture, colour, shape, line, or scale may be addressed. This could be as simple as making a short reference to the concept, looking at a visual image illustrating the

30

concept, or referring to a previous art lesson the concept.

Integration means more than combining content or skills from various areas. As Lowenfeld wrote, the parts that are integrated must add up to something new for the child. It is when children have a view of the whole that true integration has taken place.

Gregory Watkins, Swnmcrlord Integrated Elementary, Grade I "S .. Boat"

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Michelle Kenny, St. Francia of Assisi School. Out.c:r Cove Grade 6 "Wioat I Wood.t LiU To Ha.,. /11 My Back YIITtl''

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31

EVALUATION AND REPORTING

Evaluating

A child's art work, first of all, makes a personal statement. Secondly, it displays the use of art concepts and technical skills. It is a combination of subjective elements (feelings, thoughts) and objective elements (art concepts, media skills). Evaluation is not so concerned with content (i.e., personal statement), but with the process of making art.

At each grade level, certain concepts and skills are introduced or emphasized. The order in which they are introduced and pace, the interest in and need for acquisition of them is not an exact science and varies from child to child. In a single class, students will use concepts and skills as they require them to enhance their personal visual expression. These concepts and skills assist the child's expressive · intention.

Every child's effort in visual expression is worthy of respect and appreciation. Art making is a valuable pursuit, regardless of the level of sophistication or degree of accomplishment. Through ait making, children explore themselves and their

environment. Making art encourages introspection and reflection. It promotes the recognition of individual differences and respect for those differences. Individual differences should be appreciated and accepted by all.

It is a serious concern when evaluation is thought of solely in terms of grading. This type of evaluation (summative) is often done at the end of a specified period of instruction, for example, at the end of the year or semester. Important as this may be, there are still many other aspects of evaluation which cannot be ignored. When evaluation makes no contribution to the improvement of learning and instruction and when it does not monitor the enroute success of students as they work toward specific learning objectives, then it is not fulfilling its intended purpose. Good teaching demands that evaluation be an integral part of the total educational process. Taken in this context, it focuses on what we are teaching, why we are teaching, how well we are teaching and what can be done to improve the teaching-learning situation.*

*Children Learning: A Primary Curricu/wn Handbook, Department of Education, Advance Edition, 1987, page 137.

32

Some Methods of Evaluating

There are many ways of assessing student progress in art. The main sources of information are the students' images, their talk about their art and the art of others, their technical skills, and their attributes. Evaluation should address only the individual child and his/her development; it does not involve comparison with other children.

Portfolios: Portfolios contain samples of individual student work, selected over a period of time. (All work should be dated.) A review of work will indicate development in terms of visual awareness, application of art concepts, refinement of skills, and refinement of expression. Personal growth may be reflected in the use of a broader range of media, techniques, and subjects. Students will be interested in seeing their own progress. A teacher­student review of the portfolio is excellent for stimulating discussion about the work and may give the student a sense of direction for future work.

Written and Oral Assignments: Language is important to art learning. Written or oral activities can be creative and employ a problem-solving approach. The development of an art vocabulary, as well as an understanding of concepts and art appreciation skills, can be best evaluated verbally. Through research and report activities and through discussion, the teacher can assess the child's art vocabulary, understanding of art concepts and ability to talk about art images.

Observation Checklists: Checklists of learning objectives, specifically for particular lessons or general enough to encompass the objectives of the program, can be created. Checklists should be

33

developed by individual teachers to suit their needs. Some sample checklists from Ontario and British Columbia are found on pages 35 and 36. Please note that if checklists are used, they need be used only periodical! y, and not every time an art activity is introduced.

Anecdotal Reports: An anecdotal report contains brief observations of the child's attitude, working habits, and understanding or application of information. Comments may deal with knowledge, attitudes, or skill development. Discussion periods provide a good opportunity for observing children's ability to use art terminology, their understanding of art concepts, and their appreciation of other points of view. Art activity provides the ideal opportunity for the teacher to observe whether the child can apply art concepts. Regular observations can provide an adequate basis for summative evaluation.

Reporting

Reports to parents ultimately reflect the child's growth in art. However, quite frequently these reports have done little to inform parents of what their children are doing in art, let alone how they are progressing. Comments that address the child's strengths and weaknesses are perhaps the most useful. Specific concepts, technical skills, vocabulary, and topics should be named in the report where possible. Some of the issues teacher comments may address are listed below:

Development of the Image

• Is interested in making images about (topic)

• Expiores _ ___._.,(t..,o~p"""'ic~) __ from many

angles

• Exhibits increased visual awareness (specify if possible)

• Exhibits increased use of detail in images (specify if possible)

• Shows marked development in composition

Design Concepts

• Identifies design concepts (may be specified)

• Applies design concepts in work

• Relates meaning to design concepts

Materials and Processes

• Identifies art materials (may be specified)

• Uses art materials effectively

• Improvises with art materials

• Demonstrates (drawing, painting, etc.) skills

• Respects art materials

Talking About Arl

• Uses art vocabulary

• Describes art works

• Analyses art works

• Expresses personal response to art works

• Makes informed judgements about art works

34

Work Habits and Attitudes

• Shows initiative

• Demonstrates independence

• Demonstrates resourcefulness

• Attempts new experiences

• Completes works

• Cleans own work area

• Expresses own ideas

• Expresses ideas freely

• Appreciates own work

• Appreciates work of others

• Exchanges ideas with others

• Appreciates individual differences

• Weighs suggestions and reaches own conclusions

Letter or percentage grades in art at the primary and elementary levels are inappropriate and potentially damaging.

• Art is a form of personal expression. Personal expression is highly individual. It is based on individual experiences and interests. Personal expression cannot be graded.

• Highly representational art is often considered to indicate superior artistic ability. Not only is this inaccurate, but it is discouraging to

students who have the inherent but undeveloped ability to create representational art and those who are neither interested in nor able to create this type of art.

The acquisition_ of skills and concepts is promoted for the purpose of allowing the child to realize his/her full potential expression for

' )

Shane Woodford, SL Joseph' a Elementary , Harbour Main, Grade 2 "1/arbo, Mail& Wluvf''

35

concepts and skills are used according to the child's purpose. Since their application is not standardized and each concept or skill is not in evidence in all children's work at the same time, it is be difficult to grade them.

Sample Teacher Checklist for Pupil Evaluation Date:

o - outstanding s - satisfactory u - unsatisfactory

Names of Students

John D.

Mary L.

LeaP.

Daniel R.

Rena B.

The following are other criteria that may be sub­stituted or added to the chart:

- identifies art tools - identifies art media - can identify art concepts - can apply art concepts

Lesson:

- exchanges ideas with others - acts responsibly in cleaning his/her own work area - expresses ideas freely

uses art media effectively - improvi ses with tools and materials

other criteria identified by the teacher

Ontario Ministry of Education Visual Arts, Primary and Junior Divisions: Curriculum Ideas for Teachers, 1985.

36

Student Eva luation Checkli st Non: Thi s general overv iew checklis t is prepared speci fica ll y fo r a G rade 6 eva luation .

Image Deve lo pment

Th e stud ent

• uses in fo rmat ion gathered in the study of craft exa m p les to deve lop hi s o r her own images fo r craft projects;

• u ses uniqu e and imag in ati ve ideas to so lve p rob lem s of im age deve lo pment ;

• represents a culture o r cultural aspec t w ith hi s o r her own images ;

• makes images fo r the pu rpose of adve rti sement. decoration, ce lebra­ti on , and/o r illustrati o n ;

• c reates with ease and fl uencv.

Elements and Princ iples of Des ign

Th e student

• works w ith di ffe ren t types o i l ine to simulate tex ture and/or pattern ;

• draws different objec ts, emphas iz ing their d isti nctive l inea r qualities ;

• uses analogous and complementary co lo rs;

• uses pattern as decorati on to enhance an object.

Processes and Materi als

Th e student

• experiments with di ffe rent approaches to each art material ;

• shows resourcefulness in working w ith a combinat ion o f material s and processes ;

• is ab le to hand le a number of tools and materials wi th an increasi ng degree of competence;

• shows respect for art material s and co-operates at c lean-up time.

Responding to Art

The student

• ident ifies and describes art and c raft examples from around the world using art termino logy ;

• states personal fee lings, meanings , and reacti o ns resulting fro m the analys is of an image;

• fo rms judgments regard ing art isti c sk i ll and craftsmanship.

Not yet

D D D D D

D D D D

D D

D D

D D D

With assistance

D D D D D

D D D D

D D

D D

D D D

*British Columbia Ministry of Education's Elementary Fine Ans: Curriculwn Guide/Resource Book, p. 37.

37

lndepen-dently

D D D D D

D D D D

D D

D D

D D D

Sharing the Art Program

Displays

Through art displays students, teachers, administrators, and parents will be able to see what children are doing in art classes. A wide range of student work and a variety of solutions to problem-solving exercises in art should be exhibited. Labels can pose questions that force viewers to study the works closely. Labels can also explain the objectives of an art exercise or describe art processes. Competitions, prizes, and awards should

Ill

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Angie Maher, SL Agnca' Elementary School, Pouch Cave, Grade 2 "LigiiJJwJU6"

38

be avoided. Instead, general exhibits should be encouraged. See display hints on pages 100-102.

Letters to Parents

Letters may be sent to parents periodically throughout the year to inform them about activity in the art class, to advise them about encouraging their child in art, to report on the general objectives of the program, etc.

:_~ ~b,mr ~~- -

SL Francill El , '\ cmcnUl-v p ,, arsons Pon " d, Kindergarten

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39

CLASSROOM ORGANIZATION AND MANAGEMENT

The art facilities should be a permanent part of the kindergarten room and may be a part of a primary classroom as well. An art activity centre should be located in an area that is accessible to the children at all times; one which will not disrupt work, or create clean-up problems or hazardous conditions. Materials should be of good quality and kept in good condition, and children should understand that clean-up and care of equipment and materials are their responsibility and part of the art process. Basic media for painting, drawing, collage, and construction should be available at all times, but the teacher should organize special activities or provide unusual media from time to time to motivate and challenge the children.

Activity Centres•

Drawing Basic materials include pencils, wide­tipped, nontoxic felt pens, crayons, chalks, and oil pastels. Use varied shapes, sizes, and textures of paper. Introduce other drawing tools which wake varied marks on surfaces (e.g., sticks, feathers, fingers). Motivation can be generated by the materials themselves, the child's own experiences, or teacher­initiated stories and discussion.

Painting Liquid paint should be thick and smooth. Pre-mix powder paints with water, liquid laundry starch, or soap to thicken. Both easels and flat painting surfaces are appropriate. Plastic sheets or newspaper will protect unwashable surfaces and smocks (old shirts) will protect children's clothing. Provide a variety of brushes. Flat paint and water containers prevent spills.

Clay Clay is superior to play-dough or plasticine but all of these may be used at

. this level. If kept moist in plastic bags and containers and used without water, clay is as clean and convenient to use as other modelling materials. Although children's results may be frred or glazed, it is not necessary at this level, and unfired clay can be recycled.

Printmaking Printing can be done with any materials or objects that will transfer ink or paint from one surface to another. Found objects, vegetables, cardboard, or styrofoam are appropriate, but finger painting, rollers, carbon paper, and rubbings are also useful. Provide a variety of papers for experimentation.

*Reprinted section of a chapter dealing with kinderganen from K-6 An, 1983, published by the Manitoba Department of Education.

40

Water-soluble paints and inks are essential. Starch or soap is an appropriate thickener and will aid clean­up.

Collage Cutting and pasting all sorts of materials are important manipulative activities. Introduce a wide variety of materials to provide multisensory experiences. Scissors should be sharp enough to cut heavy paper or fabric. Provide left­handed scissors. Children not yet capable of cutting can select, arrange, and glue pre-cut shapes or tear their own paper shapes. Background paper should be strong enough to support the materials glued to it.

Fabrics and Fibres Provide a wide variety of textures, patterns, and colours. Use precut scraps, or teach children to cut shapes with good scissors. Simple stitchery, sewing, and weaving techniques can be taught at this level. Tactile awareness, multisensory experiences, and classification and arrangement skills can be developed with these media.

Construction Provide opportunities for children to work with three-dimensional objects and materials. Children can create things to play with, or alter the classroom environment by creating spaces to move in and around. They can use basic tools such as hammers and saws, but need to be taught safety precautions, and should be supervised. These activities are important for developing gross motor skills and encouraging imaginative play.

41

Art Appreciation A stimulating classroom environment will provide many opportunities for multi­sensory awareness and visual discrimination exercises. Stimulate children through discussion of a wide variety of interesting objects and materials from nature and the environment, and visual materials, games, books, and toys. Good quality posters and prints, reproductions, photographs and magazine pictures, and children's art work also encourage observation and discussion of art. Displays should be changed frequently and reflect current interests and activities. The classroom should reflect the children's (not the teacher' s) interests and needs, and be well organized and aesthetically arranged.

Each of the above media or processes can be organized in an art activity centre on a permanent or rotating basis. Provide materials to be used independently or in groups. When necessary, provide initial motivation and instruction, and initiate discussion about the processes and products. See Appendix B for more information.

Arranging a Room for Art

Painting Activities

The following arrangements will work for any activity involving the sharing of supplies. Sometimes children may wish to paint standing even if chairs are attached to desks.

42

Paper

Sunlight fades construction paper. Keep it in a box or away from the window. Keep all paper scraps.

43

Store paper by size, flat on shelves or in boxes. Wide shelves must be available for big paper sizes.

Ideas for Art Shelves

44

Large bottles (out of student reach).

Teacher supplies, visuals, and books. Supplies that are not used regularly could also be kept here (out of student reach).

Student supplies used regularly. Shelves should be clearly labelled so things are kept in the correct places.

Class pictures can be stored in boxes. Folders are a good idea, too. They can be made from wallpaper ends.

Paper supplies for student use.

Distributing Supplies

Trays and dishpans make distributing and collecting supplies a lot easier.

45

An art cart is a useful idea, especially if you share supplies with other teachers.

Student Helpers

Students should wear protective clothing when using messy supplies. An old shirt makes a good smock.

Always have plenty of newspapers for covering tables.

Student helpers should be given specific areas to keep tidy.

Choose a different group of students each month to be in charge. Keep a list of helpers ' names on the wall so children know when it is their turn.

46

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47

Paint

Liquid Tempera

To prevent spills, place paint bottles in a holder such as a cardboard box or a basket.

To keep paints from drying out, cover with plastic wrap or use lids.

Prepare enough paint sets so that no more than four children use one set at a time.

Fill bottle half full with paint. If the paint gets too thick, add a little water.

Mix colours on a separate palette. Saucers, plastic egg cartons, or plastic lids may be used as palettes.

Tempera Blocks

Paint trays can be purchased for paint blocks. Small plastic yogurt or butter containers may also be used.

Keep dark colours at one end of the tray and light colours at the other end.

Clean dirty paint blocks with a clean brush or sponge. Wipe muddy paint with a paper towel.

Moisten tempera blocks with a few drops of water fifteen or twenty minutes before use. Pigment will be easily picked up from the block.

Colours may be mixed on a separate palette.

48

Looking After Supplies

Paint Brushes

Brushes should be stored stick down in their container. Or, they may be left to dry in a horizontal position.

Label each container so that brushes are kept together according to size.

Always wash brushes after use, in lukewann water with cake or liquid soap. Rinse well.

Never press down hard when using a brush. Use light, sweeping strokes.

Glue Bottles

Baby-food bottles are good for storing glue. Label glue bottles so they are not confused with white paint.

Apply glue with plastic spreaders or popsicle sticks.

49

Wipe covers and bottle lips clean before recapping bottles, to prevent the tops from sticking on.

Crayons and Pastels

Crayons may be stored in colour families. Students should return colours to the correct box. This helps to prevent crayons getting messy and dirty.

Everything should have a special place in the room. Boxes can help keep things straight. Even a small amount of supplies should be well organized. Children should know where things belong and how to care for them. Label boxes clearly.

50

Work in Progress

It is important to have space in your room in which to dry wet work or store incomplete work. Space is often a problem, but these ideas may help.

Use a clothesline and pins. Or nail clothespins through the spring to a piece of wood suspended from the ceiling.

Install a string across a window for hanging papier mache projects

A big refrigerator box makes an excellent movable wall. Wet paintings can be pinned on for drying.

Hang a string with hooks attached from the ceiling. Make sure hooks are safely located above the students' and teacher's heads.

51

If a work curls up during drying, leave it overnight between two tables.

Display Ideas

Work should be mounted or displayed against a suitable background.

Choose a mount colour that enhances the work (e.g., light-coloured work, dark mount).

If your display is going on a wall, consider the wall colour. Pictures going on a dark wall may not need to be mounted.

If you have a bulletin board covered with brightly coloured paper, mounting pictures may not be necessary.

For variety, try a staggered effect or intersperse small pieces of work among larger pieces.

Jump out over the boundaries of a bulletin board for a different effect.

52

Small and finely detailed pictures should be displayed at eye-level and where they can be easily seen.

Display units can be made by taping cardboard pieces together. These will stand up on tables, counters, and floors.

53

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Works should be displayed where they won't get rubbed by people passing.

A line across the room could be used for display or for drying wet work.

Work can be framed in many interesting and inexpensive ways. Students can make their own frames from shells, macaroni, sticky-backed paper shapes, styrofoam packing pieces, paper shapes, etc.

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Work should be clearly labelled on or near the frame.

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54

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Ceiling hooks can be installed for hanging mobiles.

When displaying 3D work, try to vary heights and sizes. Covered cardboard boxes can be used as pedestals.

Use photographs, magazine cuttings, and other visuals along with original work in a display.

Make your display as eye-catching as you can!

55

Fragile work such as clay sculpture should be displayed in a protected place or clearly marked.

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Display Games

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Displays should be changed regularly to keep viewers interested.

Find a display place where lots of classes and visitors can view the works (e.g., the library, entrance hall, corridors).

Public buildings may also display work (e.g., the post office, bank, shopping mall, library).

Invite another class to your room for a viewing session.

Give your students a chance to talk about their work.

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Have an exhibition! Save work throughout the year, and have an annual event. Invite parents, relatives, local people, the media, other schools - invite everyone! Take photographs and invite a prominent member of the community (e.g., the mayor, a school board member, a member of the clergy) to an opening. A ribbon-cutting ceremony is always fun.

58

MATERIALS AND RESOURCES

Most schools have catalogues from which art supplies may be ordered. There are several ways to stretch a dollar:

• If supplies are available from several sources, compare prices. This saves a bit of money here and there.

• Buying in bulk saves money. Combine in-school orders. Several schools may order together to reduce shipping charges.

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Art periods can be scheduled so that they are not at the others of the same permits the sharing among classes.

same time as level. This of materials

Found materials can often be substituted for both consumable and nonconsumable items.

Nonconsumable Materials

Item Amount Per Class Amount Per Amount Per (24) Grade in School School

Paintbrushes

• round -medium 24 small 24

• flat - large 24 medium 24

Scissors 24 Stapler 1 Knife (X-acto) 24 Mixing trays (for 24 paints) Tempera block 12 trays (large) Water containers 12 Glue bottles 24 Sponges - large 2 (clean ups)

small 24 (painting, printing)

Clothes pegs 1 package Needles - sewing 24

darning 24 Pins 1 box Dishpans or 2 buckets for water Spoons for stirring 2 Ruler 24 Rolling pin 12 Brayer (rubber 8 roller) Toothbrush 24 Drawing board 24

NOTE: This may be used as a rough guide.

60

Consumable Materials

Item

Glue - white paste

Pastels (oil)

Crayons

Pencil - soft lead 4B

Charcoal (sticks)

Drawing ink (water soluble)

Coloured pencils

Large tempera blocks (5-6 assorted colours)

Liquid tempera paint (5-6 assorted

colours)

Paper - white cartridge 30x45 em (12x18")

cream manilla 30xc45cm (12x18")

Construction paper -assorted 30x45cm

Newsprint 30x45cm (12x18")

Mural paper

Tissue paper - as required

Amount Per Class (24)

1 litre 3 kilograms

24 boxes

24

1 box

500 millilitres

24 packages

1 litre of each

1000 sheets

1000 sheets

500 sheets

2000 sheets

Amount Per Grade Level in School Amount Per School

24 boxes

12 of each

2 rolls

61

Item

Crepe paper - as required

Bristol board - as required

Clay

Fabric - burlap 12" squares

Thread

felt 12" squares

assorted cottons (as collected)

Yam - assorted colours and textures

Printing ink - water base 300cc tube, assorted colours

Masking tape

String

Popsicle sticks (craftsticks)

Toothpicks

Paper cutter

Amount Per Class (24)

24 kilograms

24

24

3 spools

10

5 rolls

1ball

1 box

12 boxes

Amount Per Grade Level in School Amount Per School

1

62

BASIC SAFETY RULES

For the most part, safety in the art class is simply a matter of common sense. Some rules are listed below.

1. Read labels to determine whether materials are hazardous. Use nontoxic materials whenever possible.

2. Store materials safely. Keep lids on all liquids and powders.

3. Do not permit food in the art class.

4. Use adequate ventilation.

5. Do not allow students to use the paper cutter.

6. Only elementary level students should be allowed to use sharp knives, carving tools, or handheld power tools. The safe use of sharp tools must be demonstrated before any student is permitted to use one, and even then students must be carefully supervised. Students should wear goggles when using these tools.

*For more detailed information, see Appendix E.

63

7. Do not let clay particles spread in the atmosphere. Clean tables with damp sponges and floors with damp mops. Do not sand clay pieces.

8. Sponge or mop up any liquid spills (paint, ink, etc.) immediately.

9. Do not apply fixative or spray paints in the students ' presence. Apply only if absolutely necessary and in a well­ventilated area.

10. Have students wash hands after art class.

Special needs children deserve special consideration. A child who has to work very close to his/her work is likely to inhale fumes or dust. Children on medication should not be exposed to some materials. It is best to check with parents.

Recycled Materials

Materials

Cardboard boxes

Newspaper

Plastic containers • large (e.g., ice cream) • small (e.g., yogurt)

Plastic lids Yam Fabric Buttons Ribbon Wood scraps Thread Wallpaper Egg cartons Tin cans Old socks Pantyhose, nylons Plastic bags Toothbrushes Magazines Cardboard tubes Shells Feathers Floor tiles Pebbles Milk cartons Muffin tins Paper bags Pine cones Corrugated cardboard

64

Uses

sculpture, storage of supplies, masks, display stands protection for tables and floor, collage, papier-mache water containers, storage, paint pots for liquid or block paints

mixing trays weaving, collage, mobiles soft sculpture, collage sculpture, collage, weaving sculpture, collage, weaving sculpture, printmaking soft sculpture, collage collage, painting storage, sculpture storage, sculpture puppets, soft sculptures, toys, dolls soft sculptures, toys storage, paint smocks spatterpainting, imprinting in clay collage sculpture, puppets sculpture, collage, imprinting in clay sculpture, collage paint mixing, printmaking sculpture storage, sculpture paint trays for block paints, storage puppets, masks, storage imprinting in clay, sculpture sculpture base, drawing board

Finding Art Materials

There are many sources of art

materials. Businesses are constantly discarding things that can be put to use in the art room and that can be obtained at little or no cost. Always call ahead and make an appointment; often, the ideal time is just before garbage day.

Make lots of contacts. Let everyone know you are looking for things and before long you will have people calling you to pick up a collection of materials.

Have students take a letter home asking parents to help supply material for the art room. Most families are willing

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65

to save things, and students will be delighted to be able to contribute to the art program.

• grocery store: cardboard boxes • printers' shops: paper scraps • lumber stores: wood scraps • carpet stores: long cardboard tubes,

carpet pieces, cushion flooring, etc. • service stations/tire outlets: old

inner tubes • glass shops, hardware stores,

building supplies: plexiglass scraps • sewing shops: scraps of material • framing shops: plexiglass, wood

scraps • wallpaper stores: wallpaper samples • travel agencies: posters

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Substitutes

Recipes

Paste for Papier-Mache

flour water

• Add water to flour and mix to the consistency of thick cream.

Wallpaper Paste

500 mL wheat flour 125 mL sugar 2.5 L water

• Mix dry ingredients in a saucepan. • Add water slowly, to make a paste

without lumps. • Add remaining water. • Bring mixture to a boil, stirring constantly.

Cook until mixture is thick and translucent.

Makes two to three litres of paste. Keep refrigerated to prevent the growth of mould.

Modelling Clay

1 part flour 1 part salt 1/2 part water

• Mix flour and salt

or

• Slowly add water and mix.

2 parts flour 1 part salt 1 part water

• Knead for a few minutes and store in a plastic bag.

• Colour with food colouring.

66

Carving Material

Water 1 part plaster 1 part sawdust

• Set aside water in a bowl.

• Mix dry ingredients and add slowly to water until the dry ingredients build up above the surface of the water.

• Allow to soak twenty or thirty seconds.

• Stir thoroughly making certain any lumps are broken. • Pour mixture into cardboard mould.

Clean up plaster mixture immediately. Excess plaster should be wiped from mixing bowl and put in the garbage. DO NOT WASH DOWN THE DRAIN.

Plasticine Substitute

1 1/4 cups flour 1/2 cup salt

1/4 cup vegetable oil 1 2/3 cups boiling water food colouring

• Mix dry ingredients and add oil. Add food colouring to boiling water, and add other ingredients.

• When mixture holds together, knead until smooth. • Keep in airtight container or wrapped in plastic.

Can be used again and again. Will slowly dry if left uncovered.

67

Acrylic-like Paints

White glue Liquid tempera paint

• Add paint to white glue until desired colour is achieved. The result is a thick, creamy paint that adheres to plastic and styrofoam.

Please note: Keep brushes to use with this paint only.

Finger Paint

1 cup liquid starch 6 cups water 1/2 cup soap chips Liquid Tempera Paint

• Dissolve soap chips in the water until no lumps remain. • Mix well with the starch and remaining water. • Divide into small containers and add paint for colour.

Finger Paint

125 ml wheat flour 500 ml water 15 ml glycerine food colouring or nontoxic tempera paint • Mix flour and water to form paste. • Cook at low heat, stirring constantly. • If mixture is too thick, add a small amount of water. • Divide mixture into small covered jars and add colouring.

If results are unsatisfactory, try adding more glycerine or sugar. Use promptly or store in the refrigerator to prevent the growth of mould and yeast. Grain alcohol (50 ml) or any antibacterial solution will act as a preservative.

68

Nonconsumables

Tempera Block Trays

Old muffin tins, containers or small plastic lids can substitute for commercial trays.

Mixing Trays

Use large plastic lids, muffin tins, ice cube trays, or floor tiles.

Drawing Boards

Corrugated cardboard sheets 40 x 50cm. Masonite cut to size.

69

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The Community

It is possible to use businesses and people in the community for ideas and inspiration. Try organizing field trips to all sorts of local spots - shops, farms, a pond, a cove, a park; take a nature walk, observe the local architecture. All of these can provide terrific experiences that can be translated into an art lesson.

Print and Film Materials

Slides and Filmstrips

• Check to see what is in the school library. Many filmstrips used for other subjects can be used as resources for art.

• Check with the art coordinator or the contact person for your school board. • Check to see what is available from the Department of Education. • Make your own slides.

• Check at art galleries for slides to borrow or buy.

Posters

• Government departments, museums and galleries, travel agencies, companies, grocery chains, cinemas, publishers, etc.

Postcards

• Galleries and museums (art reproductions) • Souvenir shops (local scenes)

Outdated Calendars

• Each year calendars go on sale around February. Students can bring old calendars in January.

Christmas Cards

• Have students bring them in after Christmas. Other types of greeting cards are also useful.

71

Magazines

• Collect, cut out. and laminate pictures.

Books

• Cheap art books are sometimes available from new and secondhand book stores. These can be cut up and the images laminated.

AudioNisual Resources

National Film Board of Canada Building 205 Pleasantville St. John ' s, NF AlA 1S8

Films and video cassettes available for rent or purchase.

Instructional Materials Section Department of Education Building 951 Pleasantville P.O. Box 8700 St. John's, NF AlB 4J6

Films, videos, slides, filmstrips on loan (free of charge).

Periodicals

Art Education National Art Education Association 1916 Association Drive Reston, VA 22091 9 issues a year (Covers current issues in art education)

72

School Arts

Arts and Activities

Art and Man

School Arts Printers Building Worcester, Mass. 01608 9 issues a year (A magazine for art educators in the classroom, primary to secondary levels.)

Publishers Development Corporation 8150 North Central Park Avenue Skokie, Ill. 60076 (Primary to secondary levels.)

Art and Man 902 Sylvan A venue Englewood Cliffs, N.J. 07632 (For intermediate through senior high. Centrefold reproduction in each magazine.)

Art reproductions are often found in other educational magazines such as The Instructor.

A collection of art books, idea books, and books with large visuals can enrich an art

program. Good deals can often be found on the sale shelves in book stores.

Children's Books

Barrett, P. and Barrett. The Line Sophie Drewfl'he Circle Sarah Drew. Scroll Press, 1973.

Bond, J.C. Brown Is a Beautiful Colour. Franklin Watts, 1963.

Cohen, Miriam. No Good in Art. Dell, 1986. ISBN 0-440-46389-0

73

Fisher. Boxes! Boxes! Viking Press, 1984.

Hoban, Tana. Is It Rough? Is It Smooth? Is It Shiny? Greenwillow, 1984. ISBN 0-688-03824-7

Cicles, Triangles, and Squares. MacMillan, 1974. ISBN 0-02-744830

Dots, Spots, Speckles and Stripes. Greenwillow, 1987. ISBN 0-688-06863-4

Is It Red? Is It Yellow? Is It Blue? Greenwillow, 1978. ISBN 0-688-84171-6

Red, Blue, Yellow Shoe. Greenwillow, 1986. ISBN 0-688-06563-5

Round and Round and Round. Greenwillow, 1983. ISBN 0-688-01814-9

Of Colours and Things. Greenwillow, 1989. ISBN 0-688-07535-5

Johnson, Crockett, Harold and the Purple Crayon. Trophy, 1981. ISBN 0-06443022-7

Lionni, Leo. Little Blue and Little Yellow. Astor-Honor, 1981. ISBN 0-8392-3018-4

Lobel, A. The Great Blueness and Other Predicaments. Harper, 1968. ISBN 0-06-023938-7

Newlands, Anne. Meet Edgar Degas. Kids Can Press, 1988. ISBN 0-921103-48-4

Pienkowski, Jan. Shapes. Simon and Shuster, 1989. ISBN 0671-68135-4

Reid, Barbara. Playing with Plasticine. Kids Can Press, 1988. ISBN 0-921103-41-7

Showers, Paul. Find Out by Touching. Harper, Crowell Jr. Books. ISBN 0-690-29782-3

Learning To See

Bjork, Christina. Linnea in Monet's Garden. Farrar, Straus, and Giroux, 1987. ISBN 9-12-958314-4

74

Go In and Out the Window. The Metropolitan Museum of Art. Holt, 1987. ISBN 0-8050-0628-1

Raboff, Ernst, Harper

Henri Toulouse-Lautrec, 1988. ISBN 0-397-32229-1 Albrecht Durer, 1988. ISBN 0-397-32216-X Henri Matisse, 1988. ISBN 0-397-32221-6 Henri Rousseau, 1988. ISBN 0-397-32211-6 Leonardo da Vinci, 1987. ISBN 0-397-32218-6 Marc Chagall, 1988. ISBN 0-397-32222-4 Michelangelo, 1988. ISBN 0-397-32223-2 Pablo Picasso, 1987. ISBN 0-397-32224-0 Paul Gauguin, 1988. ISBN 0-397-32225-9 Paul Klee, 1988. ISBN 0-397-32226-7 Raphael Sanzio, 1988. ISBN 0-397-32227-5 Vincent van Gough, 1988. ISBN 0-397-32230-5 Pierre Renoir, 1987. ISBN 0-397-332217-8 Rembrandt, 1987. ISBN 0-397-32228-3 Diego Rodreguez, 1988. ISBN 0-397-32219-4

Professional Resource Books

Burton, Leon and Kathy Kuroda. Arts Play, 1981. Addison-Wesley, ISBN 0-0201-00201-9

Carson, J. Tell Me about Your Pictures. Prentice-Hall, 1984. ISBN 0-13-903121-9

Chapman, Laura. Approaches To Art Education. Harcourt, Brace, Jovanovich Inc., 1978. ISBN 0-15-502896-0

Cherry, C. Creative Art for the Developing Child: A Teachers Handbook for Early Childhood Education. Fearon-Pilman, 1972. ISBN 0-8224-1630-1

Fein, Sylvia. Heidi's Horse. Exelrod Press, 1984. ISBN 0-917388-02-X

Gaitskill, C. D., and AI Hurwitz. Children and Their Art; Methods for the Elementary School. Harcourt, Brace, Jovanovich, Inc., 1982. ISBN 0-15-507299-4

75

Gardner, Harold, Artful Scribbles, Basic Books, 1981. ISBN 0-465-00451-2

Herberholz, Barbara and Lee Hanson. Early Childhood Art 3rd ed. Wm. C. Brown Publishers, 1985. ISBN 0-697-03249-3

Herberholz, Donald and Kay Alexander. Developing Artistic and Perceptual Awareness. 5th ed., Wm. C. Brown Publishers, 1985. ISBN 0-697-03221-2

Hurwitz, A. The Gifted and Talented in Art: A Guide to Program Planning. Davis Publications, 1983. ISBN 0-87192-143-X

Linderman, Marlene. Art in the Elementary School, 3rd ed. Wm. C. Brown, 1984. ISBN 0-697-03317-9

Linstrom, Miriam. Children's Art, University of California Press, 1974. ISBN 0-520-00752-2

Lowenfeld, Viktor and W. Lambert Brittain. Creative and Mental Growth. Macmillan, 1987. ISBN 0-02-372110-3

Wachowiak, Frank. Emphasis Art: A Qualitative Art Program for the Elementary School. Harper & Row, 1985. ISBN 0-06-046871-8

Wankleman, Willard F., and Philip Wigg. A Handbook of Arts and Crafts 6th ed. Wm. C. Brown Publishers, 1985. ISBN 0-697-03606-5

Wilson, Marjorie, and Brent Wilson. Teaching Children to Draw: A Guide for Teachers and Parents. Prentice-Hall, 1982.

76

Professional Associations

Art Council of the N. T .A. c/o Newfoundland Teachers' Association 3 Kenmount Road St. John's, Nfld AlB lWl

The Canadian Society for Education Through Art (CSEA) 3186 Newbound Court Malton, Ont. L4T 1R9

The National Art Education Association (NAEA) 1916 Association Drive Reston, Va. 22091

The International Society for Education Through Art (INSEA)

Suppliers of Art Materials

Local

M. Francis Kelly Ltd. 5 Golf A venue St. John's, Nfld AIC 5C5 Phone: (709) 8273

Also check local office supply stores, department stores, etc.

77

National

Atlantic Pottery Supplies P.O. Box 611 Dartmouth, N.S. B2Y 3Y9 Phone: (902) 466-6947

Brault & Bouthillier 700 Beaumont A venue Montreal, P.Q. H3N 1V5 Phone: (514) 273-9186

Moyer's 700 St George Boulevard Moncton, N.B. E1C 8M7 Phone: (506) 857-2983

Visuals

Art Image Publications, Inc. P. 0. Box 159, Stn. E Montreal, P.Q. H2T 3A7 Phone: (514) 495-1222

Shorewood Reproductions, Inc. 27 Glen Road Sandyhook, Conn. 06482 Phone: (203) 426-8100

HBJ-Holt Canada 55 Homer Ave. Toronto, Ont. M8Z 4X6 Phone: (416) 255-4491

78

APPENDIX A: LOOKING AT AND TALKING ABOUT ART WORKS

Looking at an art work and discussing it, whether it is a photograph, a painting, a sculpture, a piece of pottery, or whatever, takes time. Opportunities for discussing art works may arise any time, not necessarily in the art lesson. For this reason, an outline of questions and topics is provided to give some direction to the discussion of art works.

The role of the teacher is to ask questions and encourage students to find answers (which may vary). Resist the temptation to direct the children's attention to examples of this or that in an image. Instead, have them play detective.

Things to Look for in an Art Work

1. Ask questions about recognizable objects in an image.

What kinds of objects do you see? (children, other people, animals, trees, snow, buildings, food, etc.)

Try to elicit detailed descriptions if they do not come naturally, by asking questions like

What do they look like?

What are they doing?

What time of day is it?

Is it cold there?

What season is it?

What are they wearing?

Do we see the same kinds of things around us?

2. Ask questions about design elements and principles.

What kinds of lines do you see? (thick, dark, fuzzy, curving, etc.)

What kinds of shapes and forms do you see? (circles, irregular, large, cubes, etc.)

What kinds of colours do you see? (bright, dark, warm, neutrals, etc.)

AAl

What kinds of textures do you see? (rough, fuzzy, spongy, smooth, pebbly, etc.)

What kind of space do you see? What makes it that kind of space? (deep, shallow; detail, size, location, etc.)

Where are the light areas? Where are the dark areas? (bottom, middle, top, right, centre, etc.)

What kind of balance is used? (symmetrical, asymmetrical, radial)

What is the first thing you see when you look at this art work (focal point)? (answers will vary)

What do you see repeated in the image? (lines, shapes, objects, etc.)

Is there contrast in the image? How is it created? (colour, shape, texture, etc.)

Is there a sense of movement in the image? How is it created? (line, shape, repetition, etc.)

3. Ask questions about art materials and processes.

What medium has the artist used? (paint, oil pastels, clay, etc.)

How has the artist used the medium? (thickly, thinly, roughly, delicately, in combination with other media, etc.)

4. Ask questions about the meaning and mood of the work.

What do you think the artist was trying to say in the work? (show us an everyday object in a new way; present beautiful shapes and colours; express loneliness, grief, joy; describe the power of the ocean; portray a family, etc.)

Can you think of just one word to describe the overall meaning or feeling of the image? (love, excitement, joy, anger, fear, hate, simplicity, loneliness, sadness, peace, mystery, horror, etc.)

AA2

APPENDIX 8: THEMATIC SOURCES

The following broad themes have been adopted, with minor modifications, from Alberta Education's Elementary Curriculwn Guide, 1985.

Plants

Forest plants Jungle plants Flowers Tropical plants Fruit

Animals

Wild plants Desert plants Trees Lichen Nuts

Animals and Environment

Jungle animals Wild animals Dinosaurs

Sea Animals

Fish Whales Walrus

Birds

Bluejays Turrs Ravens

Insects

Spiders Beetles Wasps

Farm animals Arctic animals

Seals Squid Char

Crows Ducks Bull birds

Ants Moths

House plants Sea plants Shrubs Fungi

Circus animals Extinct animals

Dolphins Sea urchins

Puffins Geese

Bees Butterflies

ABl

Prehistoric plants Edible plants Weeds Mushrooms

Desert animals Pets

Mollusks Lobster

Gulls Snowbirds

Caterpillars Mosquitoes

Reptiles

Snakes Crocodiles Lizards Turtles

Amphibians

Frogs Salamanders Newts

Environment and Places

Water

Rivers Lakes Streams Bogs Oceans Marshes Brooks Ponds Waterfalls Barasways Fiords Tickles

Earth Forms

Mountains Icebergs Tundra Erosion Sand Rocks Hills Glaciers Caves Delta

• stalactites • stalagmites

Weather

Rain Snow Hail Wind Fog Sleet Sunshine Clouds

Places

Towns Cities Countries Farms Backyards Forests Parks Fields

• natural • landscaped

Villages • local • around the world

AB2

Time

Yesterday Tomorrow Night Day Winter Summer Spring Fall

Manufactured

Buildings

Home Castles Restaurants Garages • apartments Farm Teepees Temples • cabins Igloos Libraries Fireballs • tents Stages Offices Factories • huts • clubhouses

Motkrn Technology

Computers Spaceships Video games Robots Light/sound systems

Decorative and Functional Objects

Dishes, pottery Rugs Tools Clothing Costumes Masks Footwear Furniture Body tatoos Sports equipment Jewellery

Constructions

Roads Bridges Walkways Traffic patterns Railways Canals Wharves Paths Boardwalks Overpasses

Vehicles

Bicycles Cars Ships Airplanes Trains Spaceships Boats

Machines

Farm implements Office equipment Fishing gear Outboard motors Snowmobiles Domestic machines

AB3

Fantasy

Mythical people science fiction Talking animals Superheroes

People Environment

Familiar Occupations

Celebrities

Movie stars Judges

Historical

Knights Cave people

Royalty

Kings Harlequins

Special Days

Christmas Halloween

Elves Storybook people Giants Mythical animals Ghosts Goblins

Martians Witches Trolls

Mythical gods and goddesses Fantasy from Children's Literature

Storybook Space age

Rock stars Elders

Vikings

Princes Jesters

Thanksgiving Valentine's Day

Ethnic Stone age

Athletes Astronauts

Pirates

Queens Knights

Easter Birthday

AB4

Sports

Heroes TV personalities

Explorers

Princesses

St. Patrick's Day

Personalized Subjects

• I am skipping. • A gingerbread house. • I am eating a sandwich. • The zoo. • I am brushing my teeth. • Climbing a mountain. • I am playing ball. • Flowers in my garden. • I am going to a party. • Picking flowers. • I am picking berries. • The sun makes flowers grow. • I am brushing my hair. • Star light, star bright, first star I've • I am touching my toes. seen tonight. • I am tying my shoelaces. • The man in the moon. • My new socks. • Camping outdoors. • I am running with my kite. • My house. • We are playing hopscotch. • The school playground. • We are playing marbles. • Hopscotch on the sidewalk. • We are building a fort in the snow. • The tallest building. • We are throwing snowballs. • Our library • My brother and I are washing the dog. • Our ___ _ • My friends and I on the swings in the • Playing hide-and-seek.

playground. • My street. • The wind is blowing my hair. • The most beautiful seashell. • We are walking in the park. • The waves are dancing. • We are walking ___ _ • Rocks have patterns. • My dad and I go to the supermarket. • A pile of leaves in my yard. • Watching television with my family. • Fruits and vegetables at the • Going to the dentist. supermarket. • At the gas station. • Taking a bus. • Delivering the mail. • Taking a plane. • Looking at a parade. • Riding a roller coaster. • At the concert. • We travelled to ___ _ • Other. • Going sliding.

• Going skating. • My favourite animal. • The snowplow at work. • Walking my dog. • The first crocus. • My cat and her kittens. • Going for a swim. • The fastest horse. • Other. • Feeding the birds. • The fish farm. • The Christmas story. • The Teddy Bear's Picnic. • The animals leave the stable. • I went fishing. • The stockings are full. • A baby ___ _ • A gift for my best friend. • A bird house in a tree. • An Easter egg hunt.

AB5

• Easter eggs in many colours. • The scariest witch. • I went to a concert. • Beautiful dancers. • The trumpet makes a loud sound. • My favourite rock stars. • The (A topic based on

favourite T.V. program.) • Other.

AB6

APPENDIX C: SAMPLE ART ACTIVITIES*

*Reprinted from K-6 Art, 1983 pp. 62-69, published by the Manitoba Department of Education.

PAINTING

Purpose

1. Tools and Paint Mixtures

• To introduce children to the physical qualities of paint

• To give children opporturuues to experiment with marks that various tools can make.

• To help children learn that colours can be mixed together to create new colours.

2. Surfaces, Sizes, and Shapes

• To encourage children to consider the shape and size of a paper while painting on il

• To encourage children to explore painting on different textured surfaces.

• To provide a 3-D experience: children paint inside, outside, and all around their work.

SAMPLE ART ACTIVITIES

Motivation/Discussion

• Explain that paint is usually mixed with water, but it can also be combined with other materials to create different textural effects.

• Explain that almost anything can be used as a painting tool. Marks can be thick or thin, textured or smooth, straight or crooked.

• Have children discuss large and small paper shapes.

• Have children feel and describe paper textures.

• Explain that when a room, furniture, or a house is painted, it must be covered on all sides, because we see all sides.

ACI

Materials/Resources/Process

Materials: Tempera mixed with a little water, a lot of water, liquid detergent, wallpaper paste, sand, etc.

Tools: Fingers, feathers, sponges, Q-tips, large and small painting rollers, toothbrushes.

Process: Have the children mix paints with water and other materials. Use various tools to make different marks and textures. (At times, provide a wide range of coloiD'S, at other times, limit the range to two or three hues.

Materials: Large and small pieces of paper cut into geometric and organic shapes. A variety of textures: corrugated cardboard, manila cream paper, tissue paper, newspaper, wallpaper, egg cartons. Paint and painting tools (see above). Large boxes from appliance stores.

Process: Have children cut holes in boxes for windows and doors. Use large brushes and rollers with premixed tempera paints.

DRAWING

Purpose

1. Drawing Materials

• To help children observe and describe the different characteristics of lines and marks that can be made with drawing materials.

• To give children varied opportunities for drawing.

l. Idea Starters

• To offer children ideas that can be devel~ through drawing.

Motivation/Discussion

• Have children experiment with lines and marks that can be made with a crayon, pencil, pastel, and marker.

• Have them use their fmgers to "draw" lines in the air.

• Have children look at and discuss reproductions of line drawings by artists.

• Help children make idea-starter pages. Glue something, or make a line or a mark on a page: a small piece of a magazine picture, a glued-down piece of yarn, some seeds, a piece of fabric.

AC2

Materials/Resources/Process

Materials: Crayons, pencils, nontoxic felt markers, oil pastels. (Have crayons and pencils available at all times.) Papers, newsprint, coloured paper, bond paper, craft paper. A variety of sizes should be available at all times. Newsprint is fine for general use.

Process: Have children make many different marks and textures using various materials.

Materials: Magazines, found objects, glue, art paper, pencils, felt pens, crayons.

Process: Have children cut out and glue one item to a piece of paper. Use this object as a visual cue for making a drawing. Have them make up a story about it

CLAY

Purpose

1. Introduction, Clay for Play

• To help children undezstand basic physical pwpeities of clay.

• To allow children to use clay as an extension of play activities.

• To encourage children's language development

l. Model, Shape, Coastruct

• To introduce children to simple, basic techniques of ceramic work.

• To help children expl<n expression in a 3-D medium.

• To encourage children's language and skill development

Motivation/Discussion

• Explain that clay comes from the ground. When it is moist, it can be shaped. When it dries, it hardens and can be fired to be made even harder. Many things are made from fired clay.

• Explain that clay can be used to make many things, and that it can be reused.

• When children are ready, show them various clay techniques: pinch methods, coil-building, modelling, slab-building.

• Show and discuss pictures of things made with clay: local pottery, South American figmines and animals, Navajo pottery.

AC3

Materials/Resources/Process

Materials: Moist clay. Canvas or newspapers to cover tables. Assonrnent of clay tools, found and bought

Process: Have the children play with clay to become familiar with its qualities. They can use fingers and tools to pound, roll, squeeze, cut, and texture the clay.

Materials: Same as Clay 1.

Process: Have the children make a pinch pot by rolling clay into a little ball, pressing thumbs into centre, and pinching around. They can do coil-building by rolling out "snakes", and coiling and piling them on top of each other. Or, they can flatten clay into slabs, cut pieces out, and assemble them.

..

COLLAGE

Purpose

1. Colours and Papers

• To help children develop skills in cutting, tearing, and pasting papez.

• To help them develop an awareness of different weights of paper and plastics.

• To encourage them to explore colour overlapping.

2. Texture, Nature, Classification

• To help children develop awareness of the textures, colours, and shapes of objects in the environment

• To help children develop skills in classiftcation, collage, and assemblage.

Motivation/Discussion

• Have children view, handle, and discuss the thickness and texture of paper and cellophane. Have them try to look through them.

• Discuss colour changes as different colours of tissue and cellophane are glued over each other and other paper.

• Have children collect many collage materials from the natural environment and the home.

• Discuss their qualities. Sort into various categories; e.g., round things, rough things, natural things.

• Have children select the topic.

AC4

Materials/Resources/Process

Materials: Scraps of coloured cellophane, tissue paper, bond paper, and consttuction paper. (Restrict the colour range to red, yellow, and blue [primary colours] to encourage mixing.) Cream manila or white cartridge paper. Thin glue, paste <X' liquid laundry starch. Glue brushes.

Materials: Fabric scraps, buttons, ribbons, string and yam, wood scraps, sawdust, sandpaper, leaves, rocks, grasses, feathers, pictures, paper, wrappings, packages, etc. PV A or white glue, paste <X' flour and water. For lightweight collages, use pieces of old boxes.

Process: Have the children glue collage materials on background paper.

FABRICS AND FIBRE

Purpose

1. CoUages and Sewing

• To help children develop visual and tactile awareness of fabrics.

• To ~h children dlat fabrics are used to make many things: clothing, curtains, rugs, upholstered chairs, soft toys, etc.

l. Sewing and Weaving

• To help children develop visual and tactile awareness of fibres.

• To teach children how fibres are used to make yam and cloth, and how yams are used for sewing things together.

Motivation/Discussion

• Have the children examine and discuss a variety of fabrics. Unravel fabrics to discover their structure.

• Ask children to coUect fabric scraps. Classify according to colours and textures.

• Have children examine warm clothes and cool clothes.

• As a class, examine warm clothes and cool clothes.

• Have children experiment, and discuss how individual fibres can be twisted and spun into yam.

• Discuss textures and colours of spun yam.

• As a class, examine loosely woven cloth and simply sewn clothing.

AC5

Materials/Resources/Process

Materials: All types of fabric scraps -loosely woven cottons, knitted and quilted fabrics, fake furs, polyester, etc. (Glue stiff cardboard for a collage base.)

Process: Have the children practice sewing scraps together. Make texture collages. Make pictures, using a fabric scrap as an idea-starter (see DRAWING).

Materials: Unspun wool or hemp, loosely spun wool and string; yams of various textures, thicknesses, and colours; burlap or other loosely woven cloth; glue. Large blunt darning needles.

Process: Have the children experiment with fmger spinning. Glue yam onto burlap for yam pictures. Practice simple sewing and stitchery or simple cardboard loom weaving.

L

CONSTRUCTION

Purpose

1. Boxes and Other Cardboard Containers

• To help children consider all sides of a construction and develop awareness of 3-D forms.

• To help them develop skills in manipulating tools and materials and solving construction problems.

2. Wood

• To help children learn how to handle tools.

• To teach them about the qualities of wood, and what can be done with wood.

• To help them develop motor control and eye-hand coordination.

Motivation/Discussion

• Have the children collect cardboard boxes and containers of all shapes and sizes.

• Discuss with the children things that can be made by assembling boxes; e.g., houses, monsters, vehicles, space ships.

• Have the children experiment and invent various ways of attaching boxes to each other, using glue, tape, wire, etc.

• Explain that wood comes from trees. It can be in many different states: larger boards, small boards, rough or smooth, hard or soft, sawdust, wood shavings.

• Explain that wood can be glued and nailed, sanded and sawed into pieces.

• Demonstrate how tools must be used safely and correctly.

AC6

Materials/Resources/Process

Materials: Cardboard boxes and containers, glue, scissors, craft tape, masking tape, stapler, soft wire and/or string, small keyhole saw, utility knife (for teacher's use only), paints, brushes.

Process: Have the children play and experiment with materials and ways of attaching them. Encourage children to ask for help when they need it.

Materials: Large variety of wood scraps, white glue, nails, sandpaper, hammer, saw, vice, wodc bench or a sheet of plywood on the floor for working space.

Process: Have children assemble and glue wood scrap sculptures. Nail pieces of wood together. Learn and practice how to handle the saw. Assemble, glue, and nail together own inventions.

ART APPRECIATION

Purpose

1. Art Appreciation

• To help children make body expressions of their impressions of painting and sculpture.

• To encourage them to discuss the subjects and ideas seen in paintings and sculptures.

• To develop children's awareness of i~ and feelings found in paintings and sculptures.

l. Art Appreciation

To help children develop awareness of what other people create in an and craft

• To help them to understand that an is a part of culture.

Motivation/Discussion

• Explain that there are many ways of experiencing art works.

• Show how to make body movements which imitate movements seen in a painting or sculpture.

• Help the children make up a story about the person who created it.

• Describe the shapes and colours in a piece.

• Play appropriate music while viewing art works.

o Invite a visiting artist or craftsperson to talk and demonstrate for the children.

o Bring one or two real pieces of an or craft work to the classroom. View, touch (if appropriate), and discuss. Tell the children about the piece.

AC7

Materials/Resources/Process

Materials/Resources: Trips to museums and art galleries. Slides and poster-size reproductions. W odes by other children and themselves.

Process: Look at and discuss various examples with the children. Discuss how the art works make children feel, which ones they like and why.

Materials/Resources: Visiting Artists Program (V AP). Local arbsts and craftspeople. Demonstrations at local fairs, festivals, and craft shows. Inuit, native, and other ethnic an and craft works. W orb by local artists, friends, or relatives.

Process: Describe, analyze, and evaluate examples with children.

APPENDIX D: VISUAL GAMES

APPENDIX D: VISUAL GAMES

Climb-in Game (large visual required)

Objectives

• To respond to a visual. • To realize that people see things differently. • To develop an understanding of reactions. • To accept different responses.

Look and Think

• Climb into the painting. • Walk up to one of the people. • Imagine what you say to him/her. • Imagine what the person says to you. • Imagine what happens next.

Discuss

• Where did you enter? • Where did you stand or sit? • Whom did you talk to? • What did the person say? • Is that person or animal male or female? • What happened? • How can you tell? • How did you feel? • What did you say? • Did you stay or leave? • Why did you say it? • Why? • Did you sit down?

This game works particularly well with a large slide image. The students may even act out their experience in front of the screen. Choose an image that contains a number of people or animals. The first part of this game should be done in silence. Students should be allowed plenty of time to look. It is important that students create their own reactions to the picture. Compare reactions.

Extensions: This game could also be played with visuals that do not contain people (e.g., an abstract painting, a landscape). Ask questions like "Where did you go?" "How did you feel?" "Which lines did you follow?"

ADl

The Conversation Game Oarge visual required)

Objectives

• To develop visual awareness. • To develop an empathy with characters

in pictures. • To promote different interpretations.

Look and Think

• Look at the characters in this picture • How are they dressed. • How they are standing or sitting. • What are they looking at? • What are they thinking? • How do they feel?

Activity

Make speech balloons for one or two characters.

Have students bring their speech balloons up to the characters and say their lines . Students may use different voices for their characters.

Compare ideas. Point out how ideas are similar or different. Discuss why the children said what they did.

AD2

The Memory Game (large visual required)

Objectives

• To develop visual awareness. • To see a composition as a unified whole.

Look and Think

• Look at the picture. Do not talk. • Think carefully about all that you see.

Activity

• Tum off slide projector, or hide the image. • On a sheet of paper, list all the things you saw. • When ideas seem to be running dry bring back the picture. • Did you forget anything?

For younger children or students who find writing difficult, use a questioning game.

Flash back to the image if necessary.

~"'"'J -tru.s see~ ~----

AD3

c.olo~s ~k.\es ~

The Matching Game

Objective

• To see the connection between a 2-D shape and a 3-D form.

Activity

Make prints from well-known objects; e.g., toilet rolls, egg boxes, pencils, popsicle sticks.

Display the prints and the objects they were made from.

The objects may be hung on strings, so that they can be pressed onto the prints to see if they fit.

l}o 'jo"" k"'ow w"'•·;~ ObJt-"-t-S WV'~ '-'~.J n, W'~"Q. ~8)t. P Y""'-t S?

r-••• ---..,~

·~0goo ( ~~~~-] 0

J I IT 1111

(A"' 'jo"' SU wL..~~~ r,:'"""b ~ ~o.."Q..

*""e)Q ob· e.c.h

W~~C.~ obje.d W~\ .

14~ ~ ""'-0)~ ·h~Q.\ ·~ ~~ p-r~+~

Make a display of prints, but do not tell viewers what objects were used to make the prints.

AD4

The Emotional Lines Game

Objectives

• To express an emotion through line. • To discover many varieties of line.

Activity

Experiment with line making based on emotions. Make a display of student work. Have students fmd lines in the designs that remind them of certain emotions.

Can you find lines in these designs that look:

ADS

This game may be used for fmding specific kinds of lines.

Games Children Can Play Themselves

Squiggle Game

Objectives

• To develop imaginative drawing. • To see how a line can be developed

into a picture.

Activity

• Play with a partner. • Player #1 draws a quick squiggle.

• Player #2 makes the squiggle into something. You may turn the page around if you wish, s/he is reminded of.

Picture Hangman

Objectives

• To see how a picture is formed in stages. • To attempt to imagine a finished image

from lines.

Activity

One line at a time makes up the picture drawn by player #1. Player #2 takesone guess after each line is drawn. Each incorrect guess add a line to "hangman", the same as in the word game, until either the subject of the drawing is identified or the hangman is complete.

AD6

I

Speed Draw

Objectives

• To sketch images simply and quickly.

Activity

Speed draw can be played on the chalkboard or on a flipchart. Word cards can be prepared in advance, either by the teacher or by student groups. The students are divided into teams. Each team member has a chance to draw an image within a specified period of time. His/her team members call out answers until the correct one is guessed. A point is given for each correct guess within the time limit. The team with the most points at the end of the game wins.

Guess the Object

Objectives

• To describe an object in detail. • To form a mental image of an object

from an oral description.

Activity

• Two students sit back to back. One holds an object, the other has a pencil and paper.

• The first student must describe the object without saying what it is.

• The second student must draw what s/he thinks the object is.

• When the drawing is finished, compare the object to the drawing.

AD7

Art Puzzles

Objectives

To familiarize students with works by the masters.

Activity

• Make a jig-saw puzzle from a work of art.

• Paste a g~ large visual onto a piece of cardboard Cut into puzzle pieces.

• Keep the pieces in a labelled box or bag, and accessible to students.

ADS

APPENDIX E: SAFETY

APPENDIX E: SAFETY

Did you know that construction paper may contain toxins?

Did you know that powdered tempera paint is harmful if breathed in?

Did you know that some felt-tipped markers give off toxic fumes?

Did you know that some tempera paint contains toxins that can be absorbed through the skin?

On the following pages, safe ways to work with potentially hazardous materials are discussed and substitutes for some of them are described.

AEl

Potentially Hazardous Materials

Material

Coloured inks

Construction paper

Leather

Magazines

Paper (construction, tissue, crepe)

Hazard

• May contain benzidine­type dyes (can cause bladder cancer)

• May contain toxic dyes as colour

• May be treated with fungicide (mercury compounds)

• Toxic chrome salts used in tanning some leather

• Skin allergies • Poisoning possible if

chewed

• Preservatives in paper • Lead chromate inks

present in colours

• Fungicides often used to treat paper

• Azo or benzidine in direct dyes for colour (benzidine is know to cause bladder cancer)

AE2

Precaution/Substitute

• Use only those labelled nontoxic.

• Use food colouring instead.

• Do not drink. • A void skin contact. • Clean up spills thoroughly,

using rubber gloves, a sponge, and large quantities of water.

• Do not clean up with bleach; this can create a worse problem. Many chlorinated chemicals are carcinogenic.

• Use nontoxic materials. • A void wetting the paper. • Prevent students from

chewing the paper or putting it in their mouths.

• Prevent students from chewing leather.

• Do not use with young children.

• Prevent students from chewing the paper.

• Insist on nontoxic paper. • Moderately safe when dry,

avoid wetting. • Crepe paper contains

flame-proofing chemicals (borax compounds, TRISS).

Material

Wallpaper paste

Hazard

• May contain formaldehyde or mercury fungicide

AE3

Precaution/So bsti tute

• Prevent children from eating it.

• Use nontoxic paste. • Make up your own (see

recipe in Art Materials Section, pp. 65-68).

Dust Particles

Material

Burlap hemp

Clay

Jute

Modelling materials (papier mache)

Paint (powdered tempera)

Pastels

Hazard

• Dust

• Silicosis (potter's lung) from inhalation of dust from dry clay

• can be a talc body (usually contains asbestos)

• Skin or respiratory allergy

• Fine dust in commercial product

• Lead chromate and other inks on paper

• Preservatives

• May contain toxic pigments or dyes

• Inhalation of powder dust

• Toxic dust of f'me pigments in chalk pastels

• Same pigments as used in paints

AE4

Precaution/Substitute

• Gently wash burlap before using it, if this is a problem.

• Buy clay wet. • Always use clay wet. • Use nontalc clays. Insist

on asbestos-free clay.

• It may be necessary to use a dust mask or wear vinyl or rubber gloves when working with jute.

• Use only nontoxic materials.

• Never let young children use powdered tempera. Use not recommended in schools unless premixed by teacher.

• Use other forms of tempera.

• Do not allow students to paint their skin.

• Use products labelled non­toxic.

• Don't use with young children.

• Use only oil pastels. • Have children keep hands

clean. • Wash with soap and

water.

Material/Medium

Plaster of Paris

Sandpaper

Hazard

• Irritation of eyes and respiratory system from dust

• Will dry skin

• Sanding dust

AE5

Precaution/Substitute

• Plaster of Paris is non­toxic, but the dust can be irritating. Use care when handling the powder; use dust mask or respirator.

• Use approved dust mask. • Stop often and clean up

with wet sponge.

Vapours and Fumes

Material/Medium

Aerosol sprays

Felt pens (permanent markers)

Glue

India ink

Shellac

Styrofoam

Hazard

• Organic solvents • Very fine particles of

resins, paints, or lacquer propelled into the air

• Greatest danger in inhalation

• Toxic organic solvents

• Toxicity of some glues

• May contain carbon black contaminated with aromatic hydrocarbons (carcinogen)

• Volatile solvents • May contain methyl

hydrate

• Toxic gases released when heated (hot wire cutters, blowtorch, matches), especially styrene gas: known narcotic, respiratory and eye irritant

• possible nerve and liver damage

AE6

Precaution/Substitute

• Use only in a ventilated area or substitute other techniques for the application of coatings.

• Use water soluble materials if possible.

• Never use mouth atomizers.

• Use nontoxic, water soluble markers.

• Avoid contact adhesives (solvent) rubber cement (solvent), epoxy (hardener, toxic), formaldehyde-resin (resorcinol).

• Use safe, nontoxic white glue or PV A (polyvinyl acetate emulsion).

• Use nontoxic types, such as fountain pen ink.

• If using India ink of unknown quality, do so with mechanical ventilation. (fumehood)

• Use a mechanical ventilation (fume hood).

• Use a knife to cut, or if using a hot wire cutter, do so only in a fume hood.

Material

Varnish

Wax

Electric frying pan (for heating wax)

Hazard

• Volatile solvents

• Toxicity of some waxes • Release of acrolein fumes

and other irritants from overheating

• Irritating fumes released from pyrolization of wax spatters on pan

AE7

Precaution/Substitute

• Use mechanical ventilation (fume hood).

• Use food-grade paraffin waxes.

• Use a double boiler to control heating.

• Cover exposed parts of pan with removable aluminum foil and replace foil frequently.

• Use a pan in good repair. • Use ventilation.

Skin Irritants and Allergies

Material

Burlap

Charcoal

Clay

Crayons

Ink, coloured

Paint, Tempera Disk or Block

Hazard

• Skin allergies • Irritation if treated with

formaldehyde

• May contain carbon black (carcinogenic)

• Cuts and abrasions from wet clay containing grog

• Dermatitis from bacteria mould or fungus in wet clay containing grog

• Toxicity of some brands

• Dyes • Solvents • Pigments

• May contain toxic pigments or dyes

• May contain irritants such as binders (gum arabic and tragacanth)

• May contain preservatives

AE8

Precaution/Substitute

• Gently wash burlap before using it if this is a problem.

• Use only nontoxic types. • Use vine charcoal. • Use vinyl or rubber gloves

when handling sticks.

• Use clay without grog for young children.

• Use only nontoxic crayons.

• Use nontoxic inks. • Avoid skin contact. • Clean up spills thoroughly

using rubber gloves, a sponge, and large quantities of water.

• Tempera disk or block is the safest form of tempera for classroom use.

• Clean up spills promptly with a wet sponge or wet mop.

• Do not allow students to paint their skin.

• Use products labelled non­toxic.

Material

Paint, liquid tempera

Plasticine

Hazard

• May contain toxic pigments or dyes

• May contain irritants such as binders (gum arabic and tragacanth)

• May contain preservatives

• China clay, oil base, dyes (colour), preservatives, silicates, turpentine

• Ingredients toxic if ingested

• Skin problems (some brands)

AE9

Precaution/Substitute

• Clean up spills promptly with a wet sponge or wet mop.

• Do not allow students to paint their skin.

• Use products labelled nontoxic.

• Use only nontoxic brands. • It may be necessary to

have some children use barrier cream on their hands; check with parents.

• Have students put hands inside plastic bags, or wear vinyl gloves.

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