Arts & Activities Digital Edition JUNE 2013

7/30/2019 Arts & Activities Digital Edition JUNE 2013

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Enter your classroom into the Wyland National “Water Is Life” Art Challenge and receive a free canvas mural kit for your class, along with art tipsfrom renowned muralist and conservationist Wyland, and a teacher lesson booklet based on national art standards. Contest categories include

grades K-4, 5-8, 9-12. Over $2,500 in classroom prizes to give away.

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4 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m

PrOTeCT THe PLaNeT THrOUGH arT14 WYLAND: ARTIST AND CONSERVATIONIST Steve Creech

16 RECYCLING RENAISSANCE: RECYCLED GARDENS Lynn Gof f

18 RECYCLING RENAISSANCE: JUNK JEWELRY NECKLACES Viki Reed

46 TRIED & TRUE TIPS FOR ART TEACHERS: A CREATIVE FINISH Glenda Lubiner

eND-OF-THe-year IDeas20 MULTIPLE-PURPOSE REVIEW MURALS Rebecca Martin-Meissner

22 CARICATURE SELF-PORTRAITS Tracy Fortune

29 GRAFFITI-STYLE TEXT WARP Stephanie Syrakis

sPeCIaL FeaTUres aND COLUMNs12 iPONDER THE iPAD: TABLET TEST DRIVE Cris Guenter

13 STEPPING STONES: WAYS TO PREVENT BURNOUT Heidi O’Hanley

42 CLAY TIPS FROM DAVID AND TRACY GAMBLE: CHOOSING GLAZE COLORS

David L. Gamble

reaDy-TO-Use CLassrOOM resOUrCes23 CLIP & SAVE ART PRINT FEATURE, MYTHOLOGY IN ART:

BARONG Colleen Carroll

27 ARTISTS PAINT ... IMPRESSIONISM Barbara Herberholz

45 ARTIST OF THE MONTH: PAUL GAUGUIN

a&a aT yOUr serVICe30 2013 SUMMER BUYER’S GUIDE

38 CLAY CORNER

41 AD INDEX

42 VOLUME INDEX

DeParTMeNTs 6 EDITOR’S NOTE

9 MEDIA REVIEWS

10 SHOP TALK

ON THe COVer BELOW THE SURF © 2013, Wyland (American; b. 1956).

Oil on canvas; 36" x 24". Artwork appears courtesy of Wyland.

See “Wyland: Artist and Conservationist,” page 14.

CONTENTSVOLUME 153, No. 5 JUNE 2013

SUBSCRIPTIONS: (858) 605-0251; [email protected]. AD SALES: (800) 826-2216; [email protected]. AD PRODUCTION: [email protected]. EDITORIAL: (858) 605-0242; [email protected]. FAX: (858)605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.

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

subscriptions, add $20 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery tohis or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodicalpostage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark.

POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

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What a wonderul thing, protecting the planet through art. How? One way is creative, conscientious art teachers presenting

challenges to students that embrace reusing and recycling. Then there is the ar tist

Wyland, whose raison d'être, one could say, is raising our awareness about how

art can help us to appreciate and care more or the natural world around us (see

“Wyland: Artist and Conservationist” on page 14.)

Over the past 20 years, Wyland has painted with more than a million

youngsters, sharing his techniques and spreading his message. This all, the

Wyland Foundation will be holding its ar t challenge, “Water is Lie.” This art-

education program is dedicated to exploring the beauty o our oceans, lakes,

rivers, streams and wetlands through a collaborative art experience. Learn

more at www.wylandoundation.org/artchallenge, and be sure to sign up soon!

“Recycling Renaissance: Recycled Gardens” shareshow Lynn Go gave new lie to the discarded green paper in her scrap bins. She

turned it into a sculpting medium with which students built miniature Japa-

nese tea gardens. From the experience, the children learned that, with a bit o

imagination and industry, art materials can be ashioned rom what appear to

be throwaways. Take a look on page 16.

Viki Reed’s students came to understand the valueo discarded objects in “Recycling Renaissance: Junk Jewelry Necklaces” (page

18). Writes Viki, “When local recycling artist Shari Keith walked into the art

room wearing a skirt made o men’s old ties—with a salvaged pair o ladies

gloves sewn on the back or pockets—our students took notice!”

As part o their school’s “Go Green” campaign, students became involved in

a recycling art activity that also integrated math, writing and reading. When

asked how their thoughts about junk changed ater the activity, one boy summed

it up: “Junk is a misunderstood treasure!”

Don’t miss two perect projects or this time o year,when things are winding down in the art room: Tracy Fortune’s “Caricature

Sel-Portraits” (page 22) and “Grati-Style Text Warp” (page 29) by Stephanie

Syrakis. These activities will enthrall and engage your students during the

dwindling school days, challenge their minds and exercise their ar t skills.

As we close our 80th Anniversary year, we thank you or being such good riends o the magazine. We look orward to many more

years o sharing with each other the good things

happening in our nation’s art rooms. Enjoy the

summer, and we will see you soon.

e d i t o r ’ s n o t e

Maryellen Bridge, Editor and Publisher

[email protected]

Follow us on

p r e s i d e n t Thom von ron

e d i t o r a n d p u b l i s h e r Mlln Bidg

a r t d i r e c t o r Niki ackmnn

e d i t o r i a l a s s i s t a n t anntt Bdg

e D I T O r I a L a D V I s O r y B O a r D

eugn Gigb, J. Professor Emeritus, ArizonaState University, Tempe

Ci e. Gunt Professor of Arts Education/

Curriculum & InstructionCalifornia State University, Chico

Jom J. Humn Visiting Professor, Art Dept,

University of Wisconsin, Milwaukee

Bb Hbholz Art Edu cat ion Con sul tan t,Sacramento, California

Mk M. Johnon Director, Montgomery Museumof Fine Arts, Montgomery, Alabama

Gog székl Senior Professor of Art Education,

University of Kentucky, Lexington

C O N T r I B U T I N G e D I T O r s

Chl ann Bw Adju nct , Art Ins tit ute of Was hingto n Arli ngt on, Vir gin ia

Colln Coll Curriculum Writer and Author of Children’s Art-AppreciationBooks, Sleepy Hollow, New York

Gi Gnmn Art Dep t. Hea d ( Ret ire d), Wil lowb roo k Hig h S cho ol, Vil la Par k, Illi noi s

Pul Guhin Art Teac her (Re tir ed) , Cen tra l H ighSchool, Aberdeen, South Dakota

Pt Hill Art Teac her (gr ade s 1 –8), All Sai nts’ Epi sco pal Day School ,Carmel, California

Dbi Wt Lead Visual Art Teacher,

North Gwinnett High School,Suwanee, Georgia

a D V e r T I s I N G D e P a r T M e N T

a d v e r t i s i n g m a n a g e r Tc Bdicko tracy @artsandactivities.com

800.826.2216 or 888.651.7567

p r o d u c t i o n d i r e c t o r Lind Pton

p r o d u c t i o n m a n a g e r Kvin Lwi [email protected]

H O W T O r e a C H a r T s & a C T I V I T I e s

subciption svic To subscribe, renew, change an address or buy singlecopies, contact [email protected] (866) 278-7678.

Ltt to th edito Letters pertaining to magazine content and art educationin general are welcomed. Arts & Activities reserves the right to edit all letters for space and clarity. Send to [email protected]

Mnucipt Subjects dealing with art-education practice at the elementary andsecondary levels, teacher education and uses of community resources, are invited.Materials are handled with care; however, the publisher assumes no responsibility for loss or damage. Unsolicited material must be accompanied by a self-addressed,stamped envelope. For Writer’s Guidelines, visit www.artsandactivities.com/ WritersGuides. Address all materials to the attention of the Editor. Simultaneoussubmissions will not be considered or accepted.

Indx/Micoflm Article s are indexed i n Janu ary and June is sues. Issuesof Arts & Activities are available on microfilm and photocopies from: ProQuest Information and Learning, P.O. Box 1346, 300 N. Zeeb Rd., Ann Arbor, MI48106. (Issues beginning with January 1977 are available in microfiche.) Thefull text of Arts & Activities is also available in the electronic versions of theEducation Index.

Copight Pmiion Reproduction of any portion of this magazine without written permission is prohibited. Contact the Editor at the address shownbelow or the email address to the left or contact Copyright Clearance Center, 222Rosewood Dr., Danvers, MA 01923, (978) 750-8400, copyright.com.

www.tndctiviti.com

12345 World Trade Dr., San Diego, CA 92128 (866) 278-7678. Fax: (858) 605-0247.

Copyright © 2013 by Publishers’ Development Corp. All rights reserved.

PRINTED IN THE U.S.A.

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m e d i a r e v i e w s aUDIOVIsUaL BOOK/PrINT Jerome J. Hausman • Paula Guhin • Peter Hiller

CLICK CLICK CLICK! Photogph fo Childn (2011; $14.95), by George

Sullivan. Prestel Publishing.

Don’t let the pedestrian cover o thisbook ool you. Inside is an ediying,

inormative resource printed on heavy-

weight paper. Although there’s noth-

ing new about the suggested projects,

the numerous tips are helpul and the

images are sublime.

The prolic author (he has written

more than 100 books or young read-

ers) includes inormation about master

photographers Ansel Adams, Walker

Evans, Lewis Hine and other principal

gures. He shares quotes as well asinsights into their lives and their work.

Middle-and high-school teachers

will most appreciate this hardcover

book. It is 96 pages long, includes an

instructive section on the pinhole cam-

era and a chapter covering the history

o photography and the men credited

with inventing it. Among the 130 illus-

trations are those photos documenting

key events in time, e. g. rst fight, rst

atomic explosion and so on.

One o the more enjoyable projectsa photography teacher can schedule

is to book a computer lab and ask the

class to work at a photo-editing site

online. Sullivan makes brie mention o

the many ree, un sites available.–P. G.

www.prestel.com

LeT’s MaKe sOMe GreaT arT(2011; $19.95), by Marion Deuchars. Lau-

rence King Publishing Ltd. Written and illustrated by an artist

(and mother), Let’s Make Some Great

Art is sizeable and teeming with ideas

that ll 224 pages. Many o us will

discover nothing new in the activities,

but many o the pages oer excellent

prompts that encourage imaginative,

inventive art-making.

Some copying is suggested and the

publication is a coloring book on many

pages. While the author includes hand-

print turkeys, she also adds such tried-and-true techniques as upside-down

drawing, hatching and cross-hatching

and experiments with color. The art/

science connection is addressed (e.g.,

making a rainbow or a Möbius strip).

Deuchars inserts tidbits o worthy inor-mation that will interest older children.

The book is meant or 8-year-old

children and older. It’s a workbook

or, more accurately, a un book. Kids

can create their own versions o the

works o 12 well-known artists. A terse

paragraph about each artist introduces

these activities.

The author believes her book is or

anyone, no matter how old. She shared

her thoughts by e-mail: “For an artist to

develop, we always have to go back and ‘play’ [with] a child-like attitude ... being

spontaneous, all the things that kids do

naturally and adults have to work at! I

believe anyone can learn to draw, or at

the very least, learn to enjoy the process

of making art and that was the incentive

behind this book.”

Buy it or the drawing games and

or those exercises that stimulate sel-

expression and individuality.–P.G.

www.laurenceking.com

THe FaNTasTIC JUNGLes OF HeNrIrOUsseaU (2012; $17), Michelle

Markel (Author) Amanda Hall (Illustra-

tor). Eerdmans Books for Young Readers.

Did you know that eminent painter

Henri Rousseau was sel-taught rom

the age o 40? He studied photographs,

illustrations and paintings in the Lou-

vre. His antasies o other lands were

inspired by the Exposition Universellein Paris in 1889 (the World’s Fair). His

devotion to nature led him to sketch

rom lie at the Jardin des Plantes.

We endorse this picture book biog-

raphy or primary schools and the par-

ents o kids ages 5–9. Anyone, includ-

ing adults, could get lost in admiration

or the exceptional paintings o Amanda

Hall, while Michelle Markel’s writing is

expressive and moving.

The Fantastic Jungles of Henri Rous-

seau is a story o persistence andresolve and its signicance will not be

lost on children. Repeatedly panned

by severe critics, orced to give music

lessons to help support himsel, Rous-

seau did not give up. He was somewhat

vindicated in his lietime but never a nancial success, although he came

to be appreciated by some o the well-

known gures o his day.

Illustrator Hall altered prints o

Rousseau’s work in some cases. She

used watercolors and acrylics to create

densely colored paintings, two o which

eature actual historical gures such as

Georges Braque and Marie Laurencin.

Two keys in the back o the book iden-

tiy them. Back matter also includes a

denition o naïve art.Markel, who lives in the United

States, is an experienced children’s

book author and considers it an honor.

Artist Amanda Hall lives in England.

She states that she “likes cats, curious

aardvarks and big cups o tea.”–P.G.

www.eerdmans.com/youngreaders

raLPH MasIeLLO’s rOBOT DraW-

ING BOOK (2011; $16.95), by Ralph Masiello. Charlesbridge Publishing.

First- through ourth-graders who

love all things mechanical will eat

this one up. Step-by-step diagrams

show young artists how to draw

splendid robotic creatures. Kids and

teachers alike can ollow the clear,

easy-to-ollow illustrations o draw-

ings in progress.

To increase the odds o insert-

ing some originality, additional steps

encourage customization o the draw-ings. Drawing armor, more-challenging

claws, pulleys and gears are a way or

the more advanced student to add char-

acter and detail to his or her creation.

Masiello believes that simple steps

make anyone an artist. Each new action

is drawn in red, and more advanced

additions are drawn in blue. Finished

‘bots are shown ull-page and in ull

color. Most o them employ shading

and highlighting, although neither tech-

nique is described or explained.–P.G.

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CHrONICLe BOOKs Dream Carver, by Diana Cohn and Amy

Cordova, is inspired by renowned Oax-

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Ten colors to choose rom, such as

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>> M610Xa DraWING TaBLeT Genius, KYE Corp. While I typically report on apps and accessories or the

iPad in this column, I have long been a user o drawing

tablets. So, when I recently was asked i I would try out the

Genius EasyPen M610XA Drawing Tablet, I was curious,

and willing to give it a tr y and share my thoughts with you.

The M610XA is a mid-range priced drawing tablet that is

USB-based and runs on both Mac and Windows. This tablet

comes with the driver that makes it work (and must be

installed rom the CD rst), Adobe® Photoshop® Elements

9, Corel Painter Essentials 4, a cordless drawing pen that

requires one AAA battery (included), two extra pen tips and

pen-tip tweezers. There is a

multi-language booklet or

setting up the tablet.

There are more recent

versions o Photoshop Ele-ments and Painter Essen-

tials 4 now available on the

market, but just having two

art applications included

that can take ull advantage

o the capabilities o this

tablet makes or a very rea-

sonable, practical bundle.

The drawing/handwrit-

ing surace area or the

EasyPen Drawing Tablet

is 6" x 10" inches and theactual tablet measures

10" x 12". The design o

the tablet is sleek and thin. The our main unction buttons

at the top o the tablet are clearly labeled—Undo, Erase,Zoom in and Zoom out.

The tablet includes a transparent overlay sheet or use

in tracing or outlining drawings or diagrams. There are

“sot keys” available or establishing some pre-set tasks, i

you desire. The pressure sensitivity between pen and tablet

surace is impressive.

With the battery inside the pen, there is a bit o het to it

that many may appreciate. It took a bit o practice or me to

gure out how the pen actually unctioned. The experience

was similar to when one purchases a new car and things

are unamiliar or a bit.

I think this was because there is right-click button built into the pen handle. I am a Mac user, and am not used

to the right-click unction and kept accidentally clicking

it as I grasped the pen. Ater guring that out, the pen

responded easily to the tablet surace—even just above

the tablet surace.

Compared to a well-known tablet, I simply needed to

make a ew extra clicks with this one to get the same tasks

accomplished. While users o this tablet will nd no rills,

there is a ocus on digital drawing or painting. To me, this

tablet seems suitable or those seeking a basic drawing tab-

let to supplement their digital art e orts on the computer.

The Genius M610XA EasyPen Drawing Tablet iscompatible with Windows 7/Vista/XP and Mac OS 10.4

or above. To use it, you need an available USB port and a

CD/DVD-ROM drive. n

Dr. Cris Guenter is a graduate coordinator in the School o

Education o Caliornia State University, Chico, and serves on

the Editorial Advisory Board o Arts & Activities.

by Cris Guenter

TABLET TEST DRIVE

Wit te many art apps available or te iPad, ow do you know wic onesto coose? In eac column, Cris Guenter will review an app appropriate orart education or an iPad accessory. Cris will be igligting key eatures andsaring useul tips, all to elp you as make your art app coices.

In compltl pt viw, 6--old Izbll gv th Gniu eyPn M610XaDwing Tblt whil. sh thought it w lot o un nd hop to u it gin oon to ct

mo t. Uing pu-nitiv gphic tblt to dw nd pint i modn w tongg tudnt whil tching t kill nd colo tho.

Th nti tblt mu10" x 12" nd h 6" x 10"dwing uc .








asking or an entire stage, think about your priorities. Ask

your co-worker what it is they need, when they need it, and

i the students are capable o doing it. I am a huge an o

student involvement.

GeT THe sTUDeNTs INVOLVeD. Students have a lot o

pride in their own work and are more than willing to

help out. When school props are needed, I try to see what

the students can do. When students have ownership over

their own work and collaborate with others, they gain morepride in themselves and in their school. I encourage students

to do more because I want them to see that they can make

a dierence. It’s not that I don’t want to do the work...I’m

still there guiding them. I help them start the ideas and plan

the ramework o their designs. Once the main shapes are

started, the students take o with their own creativity.

COLLaBOraTe! Sometimes it’s good to break rom

your routine and plan a lesson with a colleague. As

an example, I collaborated with the school social worker

or the character theme “Integrity.” We worked together todesign a project around Earth Day, which gave many ideas

or themes related to integrity (caring or the environment,

taking responsibility, and working together to keep the

community clean).

My coworker and I collaborated to plan the day, classes

participating, and where to work. At the end o the day, 22

classes created 8-oot wide paper murals that were hung

around our school gym, and we ended with a gallery walk!

There were so many bonuses rom this event: the stu-

dents got to collaborate on a theme and their design, teach-

ers worked together to plan meeting times and materials,

it was a nice break rom normal routines, and everyoneinvolved had so much pride in their work, not to mention an

opportunity or a school-wide press release!

At the end o the school year, we’re tired and burnt. We all

get that way even when we’re super motivated. The key is to

never give up, and always try new things. You need to nd

ways to prevent the burn out, and spicing up the curriculum

is a key motivator. Don’t get tired o your job, even with trav-

eling. It’s a rewarding experience and I wouldn’t give it up

or the world. n

Heidi O’Hanley is an art teacher or Wilkins and Lyle Elementary Schools. Visit her blog at www.talesromthe

travellingartteacher.blogspot.com.

M y busiest time o the school year is rom January to April.

Since I travel, the bulk o my displays, contests, shows,

props and kiln loading take up most o the time, and by the

beginning o May, I am tired. Many teachers who take on too

much eel burned out beore the end o the school year. I would

like to share with you some suggestions or making it through.

FOLLOW yOUr CaLeNDar. In the beginning o the

school year, I write everything down in my calendar.

I collect dates or displays, musicals, contests, and anything

else that would be extra on top o my teaching. Having it on

your caldendar, and preparing in advance, prevents you rom

being overwhelmed with projects. I can’t deny that items

pop up without me knowing, and as much as we dislike when

it happens, i it’s in your job description, it must get done!

IF THe WOrKLOaD GeTs HeaVy, FIND a LessON

THaT LIGHTeNs THe LOaD. With all sculpture proj-

ects, paint set up, and storage concerns, sometimes you

need that project to help give you a break. Drawing proj-

ects are the best to use in these situations because materi-

als are the ewest and there are still plenty o concepts to

introduce to the students. You can also try dierent proj-

ects that are quick and un or the students.

As an example, Dale Chihuly’s glass sculptures make

great inspiration or a kindergarten project. All you need

is coee lters, markers, spray starch, and silo cups.

Have the students write their names on the cups withmarkers, then have them decorate the lters with dier-

ent colors. Spray the starch over the lters on top o the

cups and leave them in the classroom to dry. Your result

is a “Chihuly” paper sculpture or the students to have at

home! It’s perect to leave behind in the classroom when

pushing the cart rom room to room.

LearN HOW TO say NO. You may be the go-to

person or visuals in the school, but you also have

your own curriculum to worr y about. I another colleague

asks you or a display, or a prop, or visuals or their ownprogram, think about what you have to do rst. I they ask

or a quick sketch, by all means, help out, but i they’re

Stepping Stones is a montly column tat breaks down seemingly daunting

tasks into simple, manageable “steps” tat any art educator can take and apply

directly to teir classroom. Stepping Stones will explore a variety o topics and

sare advice or art-on-a-cart teacers and tose wit art rooms.

SteppingStones

2

1

by heidi o'hanley

WAYS TO PREVENT BURNOUT

3

4

5








Ov 500,000 tudnt hv viitd

th Wlnd Cln Wt Mobil

Lning Cnt. Th xhibit includ

40-pon onbod intctiv movi

tht, unning iv, comput-

modl imultion, nd citcp

with ctul lling in, wh tudnt

cn th impct humn hv on

ubn wt tm.

Famed marine-lie artist and con-

servationist Wyland has painted

some o the largest murals on earth.

I have seen him perilously lean over

the edge o a ully extended 80-oot

boom lit to complete the eye on a

lie-size breaching whale. I have elt

the scaolding shake on the side o a 10-story building as he rushes to

nish a pod o dolphins to beat the

ading light.

Wyland has painted 100 o these

murals in over 17 countries, including

many o our nation’s cities. I have mar-

veled and oohed and aahed with the

thousands o spectators each o these

murals draws.

But one o Wyland’s most aston-

ishing achievements is his near total

devotion to sharing the mural cre-

ation experience with students. In

the last 20 years, he has personally

painted with more than a million stu-

dents, sharing his mural techniques

and spreading a powerul message

about the way the arts can teach usto more ully appreciate the natural

world around us. Wyland brings a

resh approach to working collabora-

tively that oers an array o lie les-

sons that transcend the art itsel.

I have seen Wyland marvel over

an enormous blank wall in a blighted

urban area. While some may see only

an eyesore, Wyland sees something

o almost indescribable beauty. In

Th Wlnd Foundtion’ t nd cinc tvling tou hv lndd in ll 50 U.s. tt. H, Wlnd nd goup o oung tit in

st. Loui, Mo., nd thi own dpiction o th Miiippi riv wthd.

by Steve Creech

: Artist and

Conservationist






http://slidepdf.com/reader/full/arts-activities-digital-edition-june-2013 15/48w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3 15

his mind’s eye, he is busy complet-

ing an entire ecosystem o massive

marine mammals.

He uses no grids, only a steady hand,

and has an innate ability to imagine his

composition rom the perspective o 500

eet away, even though he is standing

within inches o a wall. He approachesthese works o art with a earlessness

that the best artists must have, not only

by committing to his subject, but doing

so in ull view o the public, who see the

art come to lie at every step.

Through this experience, the view-

ers come to understand that art is not

only about taking mental and oten

emotional risks. It also requires hard,

physical work. In the case o Wyland’s

murals, it may require a boom lit, a sky

climber or a scissor lit, hoses, air com-pressors, generators, paint guns and

more. At the end o the day, the artist

himsel is oten coated in blue acrylic

paint rom head to toe.

Art requires a deep interest and

study in the artist’s subject. Wyland

himsel has logged thousands o hours

as a SCUBA diver and underwater

photographer. He studies light rerac-

tion deep within the sea, and how

the particulates, seasons and time o

day can change that light. He knowsmarine animals by color, shape and

texture. He understands the preda-

tor/prey relationship in the ocean, the

tides, the currents, and the physical

laws beneath the sea that are so di er-

Wlnd touch up dtil on on o hi min-li mul.Cting uch lg mul tk tmin nd pciion tm- wok btwn lit opto nd pint.

ent rom the ones that hold sway over

our terrestrial lives.

Twenty years ago, Wyland started

a nonprot oundation to help children

rediscover the wonder o the ocean

through art. His talented and passion-

ate sta (including mysel) have been

ortunate to play a small role in this

mission. The Wyland Foundation con-

tinues to build on the legacy o wonder Wyland has let in many communities

around the world—with art contests,

exhibitions about resource conserva-

tion, and thousands o live events—

rom Puerto Rico to Washington, D.C.

The Wyland Foundation gives chil-

dren the tools they need to become

more creative, positive and solution-

oriented. In short, all the qualities a

person needs to turn a bleak urban

wall into a refection o the natural

beauty that surrounds us i we only

choose to see it. n

Steve Creech is Executive Director o the nonproit Wyland Foundation and

co-author with Wyland o “Hold Your

Water: 68 Things You Need to Know

to Keep Our Planet Blue” (Andrews

McMeel Publishing; 2006).

a pt o th opning tiviti o th

smithonin Ntionl Muum o Ntul

Hito’ snt Ocn Hll, Wlnd wokd

with locl oungt who ctd thi

own ocn-thmd mul.

GET INVOLVED IN WYLAND’S NATIONAL“WATER IS LIfE” CHALLENGE

Te Wyland Foundation as announced its national art callenge, “Water is Lie.”Te contest encourages students to collaborate on mural-canvas artworks.

Be sure to act now, as a limited number

o ree mural canvas kits, along wit arttips rom Wyland and Standards–basedlessons, are available to U.S. scools ona rst-come, rst-served basis. Register

your class at www.wylandfoundation.org/artchallenge or by calling toll-ree:(800) WYLAND-0 (995-2630).








RECYCLING renaissance

by Lynn Go

Recycled GardensRecycled GardensThe push to recycle and the reality o

shrinking budgets are both motiva-

tions or developing art lessons that

use materials that might otherwise be

thrown away.

I wanted to teach my third-graders

how to design and create a three-dimen-

sional Japanese tea garden. For the

medium, I turned to my scrap bins lled

with bits o discarded green paper. We would make our own sculpting material

out o those green scraps and, at the

same time, eliminate the step o painting

the topography o our gardens.

Ater a little bit o experimenting, I

came up with a material that worked

quite well and allowed every student

to nd success. To begin the process, I

invested in an inexpensive paper shred-

der to chop all o the green paper

scraps into small pieces.

These were set aside to soak in a bucket o water. I then used a blender to

reduce the soaked paper to pulp, which

was then dumped into a large colander

and drained. Many enthusiastic students

took delight in squeezing the water out o

the pulp until it was just damp.

The pulp was then placed in plastic

coee containers, and layered with a

sprinkling (about a teaspoon) o papier-

mâché paste powder. The paste was

mixed into the pulp by hand so it would

be evenly distributed. When the pulpstarted to eel a little slippery, I knew

that we had a product that could be

handled easily and would stick well to

almost anything! The pulp was sealed

and stored or up to a week with no ill

eects on quality or smell.

To start the unit, we viewed a Power-

Point presentation about the elements and

purpose o Japanese Tea Gardens as they

are ound here in the United States. We

discussed the dierent styles o lanterns

that are ound in the gardens, as well asthe presence o pathways, benches, lakes

and beautiul oliage. My third-graders

Kt

1

3








LEARNING OBJECTIVES

Upp-lmnt tudnt will ...• sculpt te topograpy o a Japanese

Tea Garden using recycled materials.• create elements o a Japanese Tea

Garden using clay.• understand te purpose and connection

o a Japanese Tea Garden as it is oundin te United States.

MATERIALS

• 8" x 10" mat board• Large paintbruses• Gray tempera paint• Combs• Paper scraps• Papier-mâcé paste• Wite eartenware clay• Black watercolor• Beads• Stones• Wooden crat sticks

• Articial oliage

see GARDENS on page 44

study riendship in their curriculum, and

we discussed how the gardens are a place

or two cultures to meet and develop a

mutual understanding.

Ater viewing the presentation, the

students were asked to design a garden

plan while keeping in mind that it must

be drawn rom a bird’s-eye view. They

were to include where they planned to

place lanterns and benches, as well as where they might place a pond with a

bridge and oliage.

During that same class period, the

students painted and combed pieces

o mat board using gray tempera paint

sTeP 1. shd pp.sTeP 2. sok hdddpp in wt.sTeP 3: U blndto mk pulp out ookd pp.sTeP 4. Din ndquz wt out opulp, hown b Kib (lt) nd Chitn.

NATIONAL ART STANDARDS

• Understand and apply media, tecniquesand processes.

• Understand te visual arts in relation to

istory and cultures.

som tudnt md tin cl niml, uch Conno’ duck (lt) nd Cmon’ bbit.

Mgt Mikl

MAKINGTHE PULP

2

4

w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3 17









be used in the next class to create their

own necklaces.

FLUrry OF eXCITeMeNT Day two

brought a furry o excitement as chil-

dren showed their plastic bags o junk

to Mrs. Keith. They chose a bigger

object on which to build their designs,

arranging and rearranging smaller

objects on top o it until they were

satised with their choices. Paper clips

were added that would later serve asholders or the colorul ribbon neck-

lace “chains.” Out came the glue to

hold everything together.

Next, Mrs. Keith showed students

how to pour thick, nontoxic sealer over

metal pour spout rom a box o dish-

washing detergent and her son’s old

orthodontic appliance!

PLayING WITH JUNK She then brought

out large boxes o clean discarded

objects, including toy parts, plastic

shapes, old hardware and unidenti-

able items, and laying one box at each

table, said, “Let’s play with junk and see

what designs we can make!”

Students eagerly sorted throughpiles o old objects, laying out their

pieces on paper, arranging and rear-

ranging symmetrical and asymmetrical

designs. This step was critical in allow-

ing students to think about how small

objects make up the whole. It was a bit

like putting together a puzzle, but noth-

ing had to t perectly. Their designs

were amazing!

At the end o the rst class, Shari

instructed the children to bring in

a plastic sandwich bag o their ownclean, small ound objects (excluding

sharp things or paper). These would

W hen local recycling artist Shari

Keith walked into the art room

wearing a skirt made o men’s old

ties—with a salvaged pair o ladies

gloves sewn on the back or pockets—

our students took notice! Our school

PTO had just launched a “Go Green”

school-wide recycling campaign, and

Shari was the perect t or an art unit

or Kindergarten through th grade.

Shari began by reading the poem

“Hector the Collector” rom Shel Silver-stein’s book, Where the Sidewalk Ends

(HarperCollins; 1974), and explained

how some people discard items others

may nd useul. Students understood

the concept, and recalled garage sales

they had visited or had participated in

at home.

Shari illustrated by showing exam-

ples o her own jewelry creations, beau-

tiul necklaces made entirely o small

ound objects and bits o junk. The

children were amazed! Her creationslooked like high-end accessories. One

o her necklaces even had a fattened

by Viki Reed

RECYCLING renaissance

Childnngd

mll objcton top o

bigg objctuntil tifd

with thichoic.

Jnk Jy







19

the whole creation, and told them the

necklaces would need several days to

dry. When students arrived or the third

art class, the sealer had dried hard and

clear, and everything was securely in

place. Ribbons were attached and the

necklaces were ready to wear!

Delighted with the outcome, stu-

dents wrote about their necklaces and

the process. They were told that just

as an author titles a book, they were to

title their creation.Mrs. Keith steered them away rom

obvious titles like “Junk Jewelry,”

encouraging them to instead look

at the objects they had chosen and

choose something more imaginative.

Soon, wonderul titles emerged, includ-

ing “Walk on the Beach” rom one

student who had used a seashell, and

“A King’s Throne” rom another who

had included a aux jewel and a shiny

piece o metal.

NeW aTTITUDe Students were asked

how their thoughts about junk had

MATERIALS

• Large and small discarded ound objects• Paper clips

• Glue• Ribbon• Nontoxic sealer


• Understand and apply media, tecniquesand processes.

• Coose and evaluate a range o subjectmatter, symbols and ideas.

• Make connections between visual art andoter disciplines.

• Refect on and assess te caracteristicsand merits o teir work and te worko oters.

LEARNING OBJECTIVES

elmnt tudnt will ...

• understand te value o discarded oundobjects.

• create a design using balance andsymmetry or asymmetry.

• construct a necklace using ound objects.• meet and learn rom a guest local artist.

changed now that they had used it to

make a piece o jewelry. Many com-

mented that they look at junk with a

whole new attitude.

Mrs. Keith also invited our teach-

ing sta to make a necklace in a spe-

cial ater-school workshop. We thenexhibited all 700-plus necklaces in our

school’s main hallway, and invited par-

ents to view the recycled masterpieces!

Not only were our students engaged

in a hands-on recycling art activity, but

this unit also integrated math (design,

symmetry and balance), writing (writ-

ten critique) and reading (the poem

rom Shel Silverstein). Extensions

o these and other disciplines could

include graphing what was collected

(math), and grouping or creating neck-laces according to cultural designs

(social studies).

Although we are a school that

recycles, this unit brought added

awareness o the global drive to “Go

Green,” and has heightened and

extended our eorts both school-

wide and in our community. As one

student wrote, “Junk is a misunder-

stood treasure!” n

Viki Reed is an art teacher at Kyrenede los Cerritos Elementary School in

Phoenix, Arizona.

w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3

ckcFom lt: “Thom th Tin,”b aidn; “X Mk th spot,” b

Mddox; “Kitlin’ Ht” b Kitlin;“Bottl Cp Dign” b Johu.








20

always blank at rst. I noticed the pictures became very

busy with little variety o details, or the scrap paper I had was

not big enough to add objects in the desired size.

The second time, I started by adding the basic details o the

picture, such as oreground, middle ground and background

shapes or a landscape, or cutting various sizes and colors o rect-

angles or a cityscape. I also opened the activity up to all levels.I created the rule that each artist could only add one

thing to the mural per day. These choices pushed students

at the end o the school year, I oten search or inspiring

ways to review, activities or students who are nishedearly and new ways to display my students’ creativity.

My students can always use more practice with both

vocabular y and expanding their ideas and visual details;

however, the end o the year also nds my students tired

rom tests, reviews and assignments. Ideas oten have to

be out o the box and eel more like play than work. One

answer came in the orm o a collaged mural o dierent

types o subject matter.

Each week, I put up a new piece o bulletin-board paper

with the name o the subject matter written above it, includ-

ing cityscape, landscape, still lie and seascape. Students

were invited to add details to the picture using scrap paper. This allowed or dierent levels and classes to make an ever-

developing artwork.

The changing nature o the pictures created a constant

interest among the students in seeing the progress o the

picture. New details would oten prompt students to ask the

identity and level o the artist.

Students were oten amazed by what dierent levels o

students could do—especially i it was revealed that the

artist in question was younger than the questioner. This

resulted in students pushing themselves even urther to add

things that had not been previously thought o, or use a new

technique in creating with paper.I’ve done this activity two dierent years. In the rst year,

only the upper grades worked on the mural. The paper was

Multiple PurposeMultiple-Purposeby Rebecca Martin-Meissner

scp, 1 (bov)nd 2.

Lndcp, 1 (bov)nd 2.

j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m







to come up with more details that were more original to each

individual artist, instead o trying to put the most details

on the picture in a day. It also opened up more discussion

opportunities or brainstorming among students.

The ever-changing nature o the works and the time it

took to make them resulted in students becoming interested

in both what type o picture would be coming next, and what would happen with each nished work. Students still

enjoyed picking out what they created personally, or added

new details to, ater the completion o the work. An idea that

was once intended or a bulletin board came to be displayed

in the hall and around the classroom.

In the end, the activity gave students a meaningul and

enjoyable way or each o them to review at his or her own

level and pace. n

Rebecca Martin-Meissner teaches art at A.W.E. Bassette

Elementary School in Hampton, Virginia.

21

eview Muralseview Murals

LEARNING OBJECTIVES

elmnt tudnt will ...

• work collaboratively to create a single artwork.• review te types o subject matter in art by creating an

original artwork.• add a variety o details to make an artwork more interesting.


• Understand and apply media, tecniques, and processes.• Coose and evaluate a range o subject matter, symbols and ideas.• Refect upon and assess te caracteristics and merits o teir

work and te work o oters.

MATERIALS• Scissors• Scrap paper

• Glue or tape• Crayons or markers

Citcp, 1 (bov)nd 2.










Next, students should add a neck and body using the

bubble drawing strategy, capturing the basic position o their

body doing the activity o their choice. They can then add

clothes and other details.

Most students have used colored pencils, but have littleexperience using a range o techniques. To help build

their colored-pencil drawing skills, I demonstrate a variety

o techniques, such as burnishing, two-tone, ading and

cross-hatching. Students nish their caricatures using two

or more techniques. For a proessional result, I suggest stu-

dents outline their drawing with a ne-tipped marker.

Students nish their artworks by cutting out their drawing,

mounting it on 12" x 18" colored construction paper and adding

an identication label. I photos were used, these images can

be attached to the nished artwork. Students, sta and visitors

love looking at the caricatures in the hallway. n

Tracy Fortune is a middle-school art teacher in Lakewood,

Wash., and is the author o “Exploring Careers In Ar t.”

Many students have seen artists sketching portraits

or caricatures at a air, carnival, mall or park. Some

wonder what it would be like to draw people or a living, and

many aspire to draw the human ace well. Some nd the idea

daunting, as they lack the skills and experience needed.

To build students’ skills in drawing people, I teach a

caricature unit that combines drawing large, realistic aces

with small, humorous, cartoonish bodies. This caricature

emphasis helps students eel more successul, as it lessensthe pressure to draw photo-realistically.

I begin the unit by showing students a PowerPoint on

caricatures to clariy what they are, and to inspire students.

I want them to learn the skills needed to draw a caricature

sel-portrait o themselves engaged in a avorite activity. Many

students benet rom a demonstration on drawing individual

acial eatures, with tips on drawing eyes, noses, mouths and

ears. For example, I show them how they can use curved lines

to create the oundation or an eye or a mouth. Students then

practice drawing acial eatures in their sketchbook.

Next, we discuss the proportions o the ace, ocusing on

the approximate placement o each eature. For example, Iexplain our eyes are about halway down on our head, and

our ears attach to our heads at the same height as the corner

o our eye. To reinorce this understanding and the drawing

o individual acial eatures, students do an exercise where

they add eatures to a partially drawn ace.

To help students draw themselves in action, I demon-

strate what I call the “bubble drawing” strategy. This tech-

nique makes it relatively easy to draw people doing various

activities, and is a skill used to draw wooden manikin gures

and in cartooning. Students develop their bubble drawing

skills by rst replicating my exemplars, and then use the

strategy to draw gures in action positions o their choice.Students can use a photograph o themselves or a mirror

to assist them in capturing key elements o their ace.

NATIONAL STANDARDS

• understand and apply media, tecniques and processes.• refect upon and assess te caracteristics and merits o teir

work and te work o oters.

LEARNING OBJECTIVES

Middl-chool tudnt will ...

• study te art o caricature.• realistically render te eatures o te uman ace.• draw te uman body in a cartoonis manner.• gain condence and eel successul in creating a sel-portrait.

MATERIALS

• 12" x 18" construction paper• 12" x 18" drawing paper• Colored pencils

• Fine-tipped markers• Mirrors or student potos• Caricature examples

by Tracy Fortune

JnnKiZch








PrIMary Share the Clip & Save Art Print with students and explain

that this is a mask rom Bali, an island o Indonesia. (Point

out Bali on a world map and its distance in relationship to

the United States).

Next, explain that this mask represents a sacred, or

holy, creature called “Barong,” and is used in a ceremonial

dance that dramatizes good vs. evil. Share the video o the

Barong dance ound at: www.britannica.com/EBchecked/

topic/1557300/Barong

Spend a ew minutes discussing the Art Print. Point out

that the mask probably represents a lion. Ask students to

describe the details (ornate decoration around the ace, jew-

els, real hair, resh fowers), prominent eyes and angs, etc.

Next, give students pre-cut mask templates and a

selection o materials, such as yarn, eathers, old pieces

o costume jewelry, torn paper, pasta, abric fowers, etc,

and let them experiment with the materials to design an

original mask.

Ater students have settled on a design, give them

paste or glue to asten their materials onto the paper

template. Once all students have completed their masks,

have a parade around the classroom as a celebration o

their hard work.

eLeMeNTary Display all the Clip & Save Art Prints on the board, and

briefy share this month’s Art Print. Review with students

the names o each, and ask them what they can remember

about each creature.

Do a survey o the class to determine which creatures are

“goodies,” and which are “baddies.” Arrange each category

into two groups. Discuss some o the visual characteristics

that contribute to a creature being deemed good or bad (the

primary colors in the rainbow serpent or good; the angs,

claws and ugly ace o the dragon or bad).

Next, give students time to draw an original creature,

either a “Goodie” or “Baddie.” Encourage them to incorpo-

rate some o the visual elements ound in the Clip & Save

Art Print series o mythological creatures. Ater students

have completed their work, create a Hall o Fame and a Hall

o Shame area on a bulletin board where students can post

their original Goodie or Baddie creature.

MIDDLe sCHOOLShare the Art Print with students. Explain the signicance o

the Barong to Balinese culture. Share the video o the Bar-

ong dance mentioned in the Primary instructions, to the let.

Ask students to name animals that might be represented in

this work o art (lion, bear, boar, snake/dragon). Make a list

o these as students oer ideas and leave this list on display

during the activity.

Next, place students into pairs or small cooperative

groups. Explain that they will be designing an oversizedmask o a creature inspired by the Barong mask. I you have

access to computers in your classroom, give students time

to do an image search o additional Barong masks as part o

their preparation.

Pass out a piece o poster board to each group. Help

students decide on the basic acial shape o their creature

and, i necessary, with making the initial outline. Have

students careully cut out the ace, and the holes or eyes,

nose and mouth.

Give students an assortment o collage materials rom

which to decorate their creature’s ace. When masks arecomplete, allow each group time to present their work.

Finally, display all nished works alongside this month’s

Art Print.

HIGH sCHOOL

Share the Clip & Save Art Print with students. Explain to

them the signicance o the Barong to Balinese culture.

Share the video o the Barong dance mentioned in the Pri-

mary instructions, above. As in the primary activity, post

all o the Art Prints around the classroom. Give students

time to revisit the images and record eatures that each

have in common.

Next, place students into pairs or small teams and chal-

lenge each o them to create a wearable mask that syn-

thesizes elements rom all o the mythological creatures

in this years Clip & Save Art Print series. Ater work is

completed, give each team time to present their work and

to share how the creatures rom the series inspired their

original concept.

Barong, Bali, Indonesia

CLASSROOM USE OF ThE ART PRINT Clip & Save Instructions: The monthly Art Print is meant to be removed rom the center o

the magazine, laminated or matted, and used as a resource in your art room.–Editor

Go to artsandactivities.com and click on tis button or links to websitesrelated to tis article.





http://www.britannica.com/EBchecked/topic/1557300/Barong











J U N E 2 0 1 3




“Animism,” or the attribution o a living soul to plants,

inanimate objects and natural phenomena, predates Hin-

duism in Bali; the Barong as a protector o a village or

region is a natural outgrowth o this belie.

“The origin o the Barongs is obscure, but the generally

accepted theory is that they are derived rom animal spirits,

chosen by societies who seek their protection. The people o these

societies may believe that their ancestors were certain animals,

or may believe that an animal was aided by their ancestors,

and in order to repay the debt, the animal has agreed to protect

succeeding generations.” ( www.windsong2.com )

The Barong mask shown in this month’s Art Print

is ornately decorated and replete with a beard made

rom human hair and

three rangipani fowers.

The stylized ace o the

Barong is most probably

meant to be a lion, with

the golden ornamenta-

tion raming the ace—perhaps its mane.

“The masks o Barong

and Rangda are consid-

ered sacred items, and

beore they are brought out, a priest must be present to

oer blessings by sprinkling them with holy water taken

rom Mount Agung, and oerings must be presented.”

( www.indo.com )

The Barong dance is a sacred ceremonial dance that

ollows a basic series o stages. In the rst stage, the Bar-ong enters with a pair o rolicking monkeys; the scene

is playul and light.

In the next stage, Rangda enters, along with a troupe

o male dancers. She casts an evil spell upon them,

thereby inducing them to all on their keris, or daggers.

Barong and a priest cast their own spell o protection,

and most o the men are saved.

In the nal stage, Barong and Rangda conront one

another, ater which Rangda is chased o and Barong

restores peace and harmony in the universe.

To see a video clip o the Barong dance, visit: www.

britannica.com/EBchecked/topic/1557300/Barongdance.htm

by Colleen Carroll

In this year’s Clip & Save Art Print series, students

have met 10 o the most extraordinary mythological

creatures ever imagined. Some were o the air (the

grin, and the raven); some slithered over the earth

(the rainbow serpent o Aboriginal Australia); and some

swam the seven seas (the Norse Midgard Serpent).

Some o these creatures use their powers to destroy

(the dragon o Christian mythology, and the gorgon

Medusa o ancient Greece), while others use their pow-

ers or creation, good ortune and happiness (Ganesha,

Rangi and Papa, and Quetzalcoatl).

To conclude the series, good will, once again, over-

comes evil as students travel to the Indonesian island

o Bali to meet a mytho-

logical creature known

as “Barong.”

“Barong is the sym-

bol o health and good

or tune, in opposition

to the witch, Rangda(also known as Calona-

rang). During a dance-

drama in which deeply

entranced perormers turn

swords on themselves but emerge unharmed, Barong

conronts Rangda in magical combat. Barong is brought

to lie by two dancers encased in an ornately decorated

harness. From the gure’s mask hangs a beard o human

hair decorated with rangipani fowers, in which the

magic power o Barong is thought to reside.” ( www.britannica.com )

The Barong dance is a classic example o one o the

most common themes in mythology: the battle o good

vs. evil. The Barong creature represents an animal spirit,

and diers rom region to region across the island o

Bali. The most common is the Barong lion, rom the

Gianyar region. Other orms are the boar, the tiger,

and the dragon/serpent. Still another orm represents

a giant called Barong Landung . Some barong creatures

are hybrid orms, such as a lion-tiger combination, while

the kek is an mythological creature not associated with a

particular animal.

“Barong dances, among the most

sacred in Bali, symbolize the intertwining

o good and evil and the complex

relationship between man and

the supernatural.” —baliaround.com

CLIP & SAVE ART NOTES

Mythology in Ar t




http://indo.com/

http://indo.com/

http://indo.com/




http://www.britannica.com/







http://indo.com/




On the right side o this painting, see the woman in the

doorway, watching the little girl playing with a hoop

outside. Perhaps she is calling the child to come in or lunch.Claude Monet loved fowers and had beautiul gardens in

the places he lived in France. See the dabs o paint in the trees

and on the fowers. A vine is climbing up the

house. I we look at a small section close up,

we can see that it is quite dierent rom what

we see at a distance or when we squint our eyes at it.

This Impressionist artist endeavored to capture the

eect o a scene as it would be perceived in a feeting

glance—a quick impression. He was one o the plein-air

artists believing that it was important to paint in the open

air. Monet sometimes stopped mixing paint on his palette

and applied it directly to the canvas in small dabs. At 16 years o age, Monet drew caricatures and sold them,

saving his money to go to Paris. He arrived there to study

art when he was 18. He also served with the Arican Light

Inantry in Algeria, where the desert landscape and bright sunshine excited him and infuenced his uture work.

Later in lie, his works were highly regarded and he

was able to purchase a home and garden in

Giverny, north o Paris. His goal was to paint

light and nature as he saw them in a brie

moment. His painting, Impression: Sunrise, gave the title that

was given to Monet and his associates: Impressionists. n

This excerpt is adapted rom Barbara Herberholz’s digital

Art Docent Program. For elementary classrooms, each

lesson presents six amous artworks to show to the class on

whiteboards, with theme-related studio art activities. Learnmore at : artdocentprogram.com.

27

Artists Paint ... ImpressionismArtists Paint ... Impressionism

Clud Mont (Fnch; 1840–1926). The Artist's House at Argenteuil, 1873. Oil on cnv; 23.687" x 28.875".

Th at Intitut o Chicgo, M. nd M. Mtin a. ron Collction.Artwork is in te Public Domain.©/


by Barbara Herberholz

http://www.artdocentprogram.com/





http://www.artdocentprogram.com/



http://slidepdf.com/reader/full/arts-activities-digital-edition-june-2013 28/48j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m

MotivationSquint your eyes and look at an outdoor landscape. Do you

see dark and light areas? Do you see where the sun is shin-ing and making things seem to sparkle?

Impressionist artists insisted on painting outdoors,

directly rom nature. They put colors on their canvas in

tiny dabs, wanting your eyes to mix the colors and give you

the impression o light on the surace o things. They used

no black or outlines around shapes.

We can look outdoors or we can use a color photo

and two L-rames. These will help us select a portion

o the photo or your composition. L-rames are like

little cameras.

In the Studio1. Ater you have selected your composition, either rom

nature or a photo using L-rames, make a light pencilsketch o the main shapes and parts. Plan the entire com-

position, letting things touch the sides o the paper. Don’t

include little details at this point.

2. Pour small amounts o tempera paint in your palette

and use a cotton swab or small brush to apply the colors

in tiny dabs. Remember how the Impressionists placed

tiny dabs o several colors next to each other so your eyes

would mix the colors. For example, to make a light blue,

put dabs o white along with dabs o blue.

3. Complete your picture by covering the surace o

the paper with tiny dabs o paint. Check your work now

and then by squinting your eyes to see the eect you areachieving.

Materials• Tempera paint: white, turquoise, magenta and yellow

• Cotton swabs or small bristle brushes

• 6" x 9" white paper

• Paper plates or palettes

• Water containers

•Paper towels

• Two L-rames (Large L’s made rom two 2-inch-wide

strips o construction paper and glued or stapled at

one end to orm an L)

Artists Paint ... Impressionismgrade 5–6

National Art StandardsUnderstand and apply media, techniques and processes

Students refect upon and assess the characteristics and

merits o their work and the work o others

28

VocabularyDabsImpressionism

L-ramesPlein-air








W hen I was a rst-year art

teacher, I moved ve states

away rom home or the opportunity

to teach art. I arrived with eager

ambitions and expected all my mid-

dle-school students to want to be in

that classroom as much as I did. The

administration asked me i I could “get

the kids hooked on art.” That’s exactly

what I planned on doing.Upon meeting each class, and

introducing them to the art room, I

asked what they would like to learn

in art class. They bombarded me with

great ideas: ashion design, painting,

clay ... Then, one child raised his

hand and said he wanted to learn how

to create grati. I added it to my list,

but was thinking to mysel that it was

ar too controversial or me to actu-

ally teach.

Later, as I worked on nal lessonpreparations or the semester, I looked

again at the word “grati” on my list. I

began researching it and started to look

at it with a child’s eye: It’s colorul, it’s un

and it can be used to get important mes-

sages across. I then prepared a lesson, to

which I have made many improvements

over the years and has served me well.

THe IMPOrTaNT DIsTINCTION to get

across was that we were looking at

grati as an art vs. grati as vandal-

ism. I showed them a PowerPoint Icreated with several examples. We dis-

cussed that it is art when created on a

surace that we have permission to use.

I discussed how some o the rst paint-

ings were done on cave walls, and that

even Leonardo Da Vinci’s The Last Sup-

per was painted on a wall. This opened

a discussion on murals and rescos.

I told them that we were studying

our grati as art, not as vandalism, so

it did not need to be put on a wall. As a

class, we looked at the technique that

went into creating the letters. We stud-ied examples o grati, with an artist’s

eye. We discussed color, shading and

creative letter manipulation. Students

were ascinated. To this day, I’ve never

presented a lesson that gets kids as

excited to create as this one did (and

LEARNING OBJECTIVES

Middl-nd high-chool tudnt will ...

• understand te dierence between gratias art and grati as vandalism.

• warp text to create a grati-style ont.• practice making teir letters look 3-D.

NATIONAL STANDARDS

• Understand and apply media, tecniques,and processes.

• Understand te visual arts in relation toistory and cultures.

MATERIALS

• Grapite and colored pencils• 8" x 12" paper

“Inpi,” b Tlo.

“Blnc,” b Pig. “Dm,” b Kl.

see GRAffITI on page 44

by Stephanie Syrakis








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32

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Krueger Pottery, Inc.800-358-0180www.kruegerpottery.comAD BR CE FN SH

Krylon Products Group216-515-7693www.krylon.comHC PT

Laguna College o Art & Design949-376-6000www.lagunacollege.eduSH

Laguna Clay Co.800-452-4862www.lagunaclay.comAB AD AV BR CE FN HC PT SA SP

Leaning Post Productions845-496-4709www.leaningpost.comAV CO PB

Leslie Ceramics Supply Co510-524-7363www.leslieceramics.comCE

Lightoot Ltd, Inc951-693-5165www.lightootltd.comAV CO DG EP FN PC SA SH

Lightoot Ltd.951-693-5086www.cartoonsupplies.comCO DG EP GR PC SH

Liqui-Mark Corp.800-486-9005www.liquimark.comDG HC

Liquitex Artist Materials888-422-7954www.liquitex.comAB AD GR HC PT SP

L & L Kiln Mg., Inc.800-750-8350www.hotkilns.comCE HC JM SG

Loew-Cornell, Inc.201-836-7070www.loew-cornell.comBR CE PT

Lyra888-736-5972www.lyra-pencils.comCE CY DG DR PS PT

Madison Art Shop732-961-2211www.madisonartshop.comAB DG DR EP FR HC PC PR PT SP

Hash Inc.360-750-0042www.hash.comCO DG

Haystack Mountain Schoolo Crats207-348-2306www.haystack-mtn.orgSH

Hemlocks Studio828-885-2831www.hemlocks.comSH

iLoveToCreate, Duncan Ent. Co.800-438-6226www.ilovetocreate.comAD BR CE DY HC JM PC PT SH

Incredible Art Departmentwww.incredibleart.orgPB

Inovart Inc.800-292-7622www.inovart.netCA CT DG EP FR HC LO PR RS

Interlochen Ctr or Arts800-681-5912www.interlochen.orgSH

Jack Richeson & Co, Inc.800-233-2404www.richesonart.comAV BR DG DS EP FN HC PC PR PS PTSH SP

Jacquard/Rupert, Gibbon &Spider800-442-0455www.jacquardproducts.comAB BR DY FI HC PT

Jiy Mixer800-560-2903www.jiymixer.comCE PT

J&J Display 800-347-2008www.jjdisplay.comAD DE

Jones Publishing, Inc.

800-331-0038www.jonespublishing.comCE HC PB

JourneyEd800-874-9001www.journeyed.comCO DR GR

Kids Can Press800-265-0885www.kidscanpress.comDG PB PR PT SP

KidsKards888-543-7527www.kidskards.comFD

Makit Products Inc.972-709-1579www.makit.comFD HC PC PH

Martin/F. Weber215-677-5600www.weberart.comAV BR DG EP PB PC PS PT SH

Maryland Inst. College o Art410-225-2300www.mica.eduSH

Marywood University 570-348-6207www.marywood.eduSH

Masters Int’l Color Wheel Co.303-320-9330www.mastersinternational.orgAD BR CA CE CT DG DR DY EP GRHC PC PR PS PT SP

Mat Basics Inc.800-543-4251www.matbasics.comFR

MatBasics Inc.678-513-1324www.matcutter.comFR

Mayco Colors614-876-1171www.maycocolors.comBR CE HC PT SH

McClain’s800-832-4264www.imcclains.comBR PC PR PT

Midlantic Clay 856-933-0022www.midlanticclay.comCE

Midwest Productswww.midwestproducts.comAD HC SH

Mile Hi Ceramics, Inc.800-456-0163www.milehiceramics.comAB AV BR CE DS HC JM RS SA SP

Minn. Coll. Art/Des. Rm M105612-874-3765www.mcad.eduSH

Minnesota Clay USA952-884-9101www.mm.com/mnclayus/

AB BR CE SA SPMKM Pottery Tools920-830-6860www.mkmpotterytools.comCY FN HC SP

Modern Art Museum oFt. Worth817-738-9215www.themodern.orgSH

Molly Hawkins’ House888-446-6559www.mollyhawkins.comAD BR CA CE CT CY DG DR DS EP FRGR HC JM PC PR PS PT SP

Mountain Color715-312-0603www.mountaincolor.comFD

J

L

M

I

K

AB Airbrush*




CODES

H


http://www.graphicdisplaysystems.com/



http://gpcpapers.com/



http://www.pictureframes.com/scripts/WebObjects/PictureFrames.woa/wa/Home



http://www.greatclay.com/Merchant2/merchant.mvc



http://www.greenwichhouse.org/gh_pottery/index



http://www.groovy-tools.com/



http://www.handyart.com/



http://www.harrisville.com/




http://www.klopfensteinart.com/



http://www.kopykake.com/



http://www.kqed.org/



http://www.kruegerpottery.com/



http://www.krylon.com/



http://www.lcad.edu/



http://www.lagunaclay.com/



http://www.leaningpost.com/



http://leslieceramics.com/










http://www.liquimark.com/home.html




http://www.liquitex.com/



http://www.hotkilns.com/



http://www.loew-cornell.com/



http://www.lyra-pencils.com/index_mac.html



http://www.madisonartshop.com/



http://www.hash.com/2007web/



http://www.haystack-mtn.org/





http://www.hemlocks.com/



http://www.ilovetocreate.com/



http://www.inovart.net/



http://www.interlochen.org/



http://www.richesonart.com/




http://www.jacquardproducts.com/




http://www.jiffymixer.com/



http://www.jjdisplay.com/



http://jonespublishing.com/



http://www.journeyed.com/



http://www.kidscanpress.com/



http://www.kidskards.com/



http://www.makit.com/




http://www.weberart.com/



http://www.mica.edu/



http://www.marywood.edu/



http://mastersinternational.org/



http://matbasics.com/



http://matcutter.com/



http://www.maycocolors.com/



http://imcclains.com/



http://www.midlanticclay.com/



http://midwestproducts.com/


http://www.milehiceramics.com/



http://www.mcad.edu/



http://www.minnesotaclayusa.com/



http://www.mkmpotterytools.com/



http://www.themodern.org/





http://mollyhawkins.com/




http://www.mountaincolor.com/



































































33

Muddy Elbows316-281-9132www.soldnerequipments.comCE SP

Nantucket Island School508-228-9248www.nisda.orgSH

Nasco Arts & Crats800-558-9595www.enasco.comAB AD CE DE DG DS EP FN PC PH PRPT SA SP

National Artcrat Co.888-937-2723www.nationalartcrat.comAB AD CE DE DG EP FN HC PS

National Art Education Assoc.703-860-8000www.naea-reston.orgPB

National Art Supply 800-821-6616www.nationalart.comAB AD BR CA CE CT CY DG DR EPHC PC

New Century Arts206-284-7805www.paperclayart.comCE SP

New Mexico Clay 800-781-2529www.nmclay.comBR CE JM SP

New York University 800-771-4698www.education.nyu.eduSH

North Star Equipment800-231-7896www.northstarequipment.comCE FN SP

Ohio Ceramic Supply, Inc.800-899-4627www.ohioceramic.com

Ohio State University, Art Dept.614-292-7183www.art.osu.eduSH

Olsen Kiln Kits760-349-3291www.olsenkilns.comCE SP

Olympic Kilns800-241-4400www.greatkilns.comCE HC JM SP

Oregon College o Art & Crat503-297-5544www.ocac.eduPR SH

Original Works800-421-0020www.originalworks.comFD

Orton Ceramic Foundation614-895-2663www.ortonceramic.comCE FN PB SA SH

Quarry Bookswww.quarrybooks.comPB

Quinlan Visual Arts Center770-536-2575www.quinlanartscenter.orgDE SH

Rembrandt Graphic Arts800-622-1887www.rembrandtgraphicarts.comPR

Renaissance Graphic Arts, Inc.888-833-3398www.printmaking-materials.comPR

Rhode Island School o Design401-454-6201www.risd.edu

SH

Ringling College/Art & Design941-955-8866www.ringling.eduSH

Rockland Colloid503-655-4152www.rockaloid.comGR HC PH PR

Rock Paint Distr./Handy Art800-236-6873www.handyart.comAD BR DS PR PT

Rocky Mtn. College o Art &

Design303-753-6046www.rmcad.eduSH

Royal & Langnickel Brush Mg.219-660-4170www.royalbrush.comBR CE EP HC PS PT

Royalwood Ltd.800-526-1630www.royalwoodltd.comFI HC LO

Roylco800-362-8656www.roylco.com

HC

Runyan Pottery Supply, Inc.810-687-4500www.runyanpotterysupply.comAB BR CE CT FN HC JM SA SH SP

Sakura o America800-776-6257www.gellyroll.comDG DR GR PS SH

Sanord Corp.

800-323-0749www.sanordcorp.comBR CA CY DG DR PS PT

Otis Coll. Art/Des. Cont. Ed/Summer310-665-6850www.otis.eduSH

Pacon Corporation800-333-2545www.pacon.comDG FR PC

Paragon Industries, L.P.972-288-7557www.paragonweb.comCE SG

PCF Studios, Inc.585-229-2976www.pcstudios.comAV CE SH SP

PCS Bookswww.pcsbooks.com.auPB

Peninsula Art School920-868-3455www.peninsulaartschool.comSH

The Pennsylvania State University 814-865-6570www.worldcampus.psu.eduSH

Pentel o America800-262-1127www.pentel.comDG DR

Perectone Mold Co.800-828-2634www.taubdental.comHC SP

Peter Pugger Mg.707-463-1333www.peterpugger.com

CE FNPeters Valley Crat Center973-948-5200www.pvcrats.orgSH

Phelps Publishing216-752-4938www.phelpspublishing.comDG HC PB

Picasso People716-684-0244www.picassopeople.comSH

PMC Connection866-762-2529

www.pmcconnection.comBR HC JM

Polyorm Products847-427-0020www.sculpey.comCE HC SP

Popular Ceramics715-445-5000www.jonespublishing.comCE

Pottery Making Illustrated614-794-5890www.pottertmaking.orgCE PB

Printmakers Machine Co.800-992-5970www.printmakersmachine.comPR

Saral Paper Corp.212-247-0460www.saralpaper.comCA CE DG DR GR HC PC SG

Sargent Art Inc.800-424-3596www.sargentart.comAB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP

Savannah College o Art & Design912-525-5000www.scad.edu

SH

School o the Art Inst. o Chicago312-899-5100www.artic.eduSH

Sax/School Specialty 888-388-3224www.saxarts.comAB AD AV BR CA CE CT CY DE DGDR DS DY EP FD FI FN FR HC JM LOLT PC PH PR PS PT RS SG SH SP

Scottsdale Artists’ School800-333-5707www.scottsdaleartschool.orgSH

Scratch-Art Co., Inc.203-762-4500www.melissaanddoug.comCY DG HC PC PR

Segmation858-206-3289www.segmation.comDG HC SH

Shefeld Pottery 888-774-2529www.sheeld-pottery.comBR CE SA

Shimpo Ceramics800-237-7079

www.shimpoceramics.comCE HC SH

Sierra Nevada College775-831-7799www.sierranevada.edu/workshopsSH

Silvergraphics Studio866-366-5700www.silvergraphics.comFD GR

Skidmore College Summer 6518-580-5052www.skidmore.eduSH

Skutt Ceramic Products503-774-6000www.skutt.comCE FN JM SA SG SP

Smith-Sharpe Fire Brick Supply 612-331-1345www.kilnshel.comCE

Smooth-On, Inc.800-762-0744www.smooth-on.comCE HC SP

Socwell LLCwww.4clay.comCE

Spectrum Glazes, Inc.800-970-1970www.spectrumglazes.comCE PT

P

Q

R

S

N

O


http://www.soldnerequipment.com/



http://www.nisda.org/



http://www.enasco.com/artsandcrafts/



http://www.nationalartcraft.com/



http://www.naea-reston.org/



http://www.paperclayart.com/



http://www.nmclay.com/



http://steinhardt.nyu.edu/



http://www.northstarequipment.com/



http://www.ohioceramic.com/



http://art.osu.edu/

http://art.osu.edu/

http://art.osu.edu/

http://www.olsenkilns.com/



http://www.greatkilns.com/



http://www.ocac.edu/



http://www.originalworks.com/blog/



http://www.ortonceramic.com/




http://www.quarrybooks.com/



http://www.quinlanartscenter.org/



http://www.printmaking-materials.com/



http://www.risd.edu/



http://www.ringling.edu/



http://www.rockaloid.com/






http://www.rmcad.edu/




http://www.royalbrush.com/welcome/intro.php







http://www.roylco.com/




http://www.runyanpotterysupply.com/




http://www.sakuraofamerica.com/




http://www.sanfordb2b.com/us/Pages/Index.aspx



http://www.otis.edu/



http://www.pacon.com/index.php



http://www.paragonweb.com/



http://www.pcfstudios.com/



http://www.pcsbooks.com.au/


http://www.peninsulaartschool.com/



http://www.worldcampus.psu.edu/



http://www.pentel.com/



http://www.perfectonemolds.com/



http://www.peterpugger.com/



http://www.petersvalley.org/






http://picassopeople.com/Home.html



http://www.pmcconnection.com/



http://www.sculpey.com/



http://www.thenewmagazinecity.com/popular-ceramics.html

http://www.jonespublishing.com/


http://ceramicartsdaily.org/pottery-making-illustrated/



http://www.printmakersmachine.com/



http://www.saralpaper.com/



http://www.sargentart.com/sa/index.asp



http://scad.edu/

http://scad.edu/

http://scad.edu/

http://scad.edu/

http://www.artic.edu/



http://store.schoolspecialtyonline.net/OA_HTML/xxssi_ibeDefaultCenter.jsp?type=IBE&name=Sax_Landing_Page&minisite=10206




http://www.scottsdaleartschool.org/



http://scratchart.com/



http://www.segmation.com/index.asp



http://www.sheffield-pottery.com/Default.asp?Redirected=Y



http://www.shimpoceramics.com/




http://www.sierranevada.edu/academics/summer-art-workshops-2/




http://silvergraphics.com/



http://cms.skidmore.edu/index.cfm



http://www.skutt.com/



http://kilnshelf.com/



http://www.smooth-on.com/



http://4clay.com/

http://4clay.com/

http://www.spectrumglazes.com/








http://4clay.com/














http://scad.edu/





















http://www.thenewmagazinecity.com/popular-ceramics.html




















http://art.osu.edu/













34

Speedball Art Products800-898-7224www.speedballart.comCA DG PC PR PT RS

Split Rock Arts Program612-625-8100www.cce.umn.edu/splitrockarts/SH

Square 1 Art888-332-3294www.square1art.comFD

SRA/McGraw-Hill972-224-1111PB

S&S Worldwide800-243-9232www.ssww.comCE CY EP HC PC PT

Staedtler-Mars, Limited800-776-5544www.staedtler.caDG DR GR HC PS

Standard Ceramic Supply 412-276-6333www.standardceramic.comCE

Strathmore Artist Papers800-353-0375www.strathmoreartist.comPC

Studio Sales Pottery 585-226-3030www.studiosalespottery.comCE HC

Tandy Leather Factory 817-872-3200www.tandyleatheractory.comHC LT

Taos Art School575-758-0350www.taosartschool.orgSH

Tara Materials800-241-8129www.taramaterials.comBR FR PC PH PT

Teachers College Columbia Univ.212-278-3270www.tc.columbia.eduSH

Teachers, Art Center College626-396-2319www.artcenter.edu/teachersSH

Texas Pottery 800-639-5456www.texaspottery.comBR CE HC SH SP

Triarco Arts & Crats, Inc.800-328-3360www.etriarco.comAB AD AV BR CA CE CT CY DE DGDS DY EP FN FR GR HC JM LO LT PCPH PR PS PT SG SP

Trinity Ceramic Supply 214-631-0540CE

Truro Center or the Arts508-349-7511www.castlehill.orgSH

TTU Appalachian Center or Crat931-372-3051www.tntech.edu/cratcenterSH

Tucker’s Pottery Supplies800-304-6185www.tuckerspottery.comBR CE CT FN SP

Tulsa Stained Glass918-664-8604www.tulsastainedglass.comSG SH

Union Rubber Co.800-334-8219www.best-testproducts.comAD

United Art and Education800-322-3247www.unitednow.comAB AD BR CA CE CT CY DG DR DS EPFI FN HC JM LO PC PR PS PT SG SP

University o the Arts215-717-6000www.uarts.eduSH

U.S. Artquest, Inc.517-522-6225www.usartquest.comAD BR HC RS

U

ProductCategories

(AB) AIRBRUSHAardvark Clay & SuppliesAmerican Ceramic Supply Co.A.R.T. Studio Clay Co.Axner Pottery SupplyBailey Ceramic SupplyBigCeramicStore.comBlick Art MaterialsContinental Clay Co.Createx Colors

Florida Clay Art Co.Great Lakes Clay Jacquard/Rupert, Gibbon & SpiderKopyKake Ent.Laguna Clay Co.Liquitex Artist MaterialsMadison Art ShopMile Hi Ceramics, Inc.Minnesota Clay USANasco Arts & CratsNational Artcrat Co.National Art SupplyRunyan Pottery Supply, Inc.Sargent Art Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.United Art and Education

(AD) ADHESIVE/FIXATIVESActiva Products, Inc.American Ceramic Supply Co.Blick Art MaterialsColArt Americas, Inc.The Compleat Sculptor, Inc.Continental Clay Co.DelphiDiscount School SupplyEarth GuildEd Hoy’s InternationalElmer’s Products, Inc.Evans Ceramic SupplyGlue Dots Int’l (GDI)GraxGreat Lakes ClayHandy Art/Rock Paint Dist.iLoveToCreate, Duncan Ent. Co. J&J DisplayKrueger Pottery, Inc.Laguna Clay Co.Liquitex Artist MaterialsMasters Int’l Color Wheel Co.Molly Hawkins’ HouseNasco Arts & CratsNational Artcrat Co.National Art SupplyRock Paint Distr./Handy ArtSargent Art Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.Union Rubber Co.United Art and EducationU.S. Artquest, Inc.Utrecht Mg. Corp.Vanguard Crats

(AV) AUDIO/VISUALArtograph, Inc.Arts AttackArtsoniaAxner Pottery SupplyBags UnlimitedBailey Ceramic SupplyBlick Art MaterialsThe Color Wheel Co.Coyote Creek ProductionsCrystal ProductionsEmbrace ArtGetting To Know, Inc.Great Lakes Clay Jack Richeson & Co, Inc.Laguna Clay Co.Leaning Post ProductionsLightoot Ltd, IncMartin/F. WeberMile Hi Ceramics, Inc.PCF Studios, Inc.

AB Airbrush*




CODES

TUtrecht Mg. Corp.800-223-9132www.utrecht.comAD BR CT DG DR DY EP FN FR GR PCPR PS PT SP

Vanguard Crats800-662-7238www.vanguardcrats.comAD BR CE CY DY HC LT PC PS PT

Vent-A-Kiln Corp.716-876-2023www.ventakiln.comCE SA

Video Learning Library 541-479-7140www.art-video.comAV

Visual Manna573-729-2100www.visualmanna.comDG GR PB PT

Wacom Technology Corp.360-896-9833www.wacom.comCO DG HC PH PT

The Wallace Foundationwww.wallaceoundation.orgSH

Watson Guptill Publications800-278-8477www.watsonguptill.comPB

Welsh Products, Inc.800-745-3255www.welshproducts.comCO FD GR PR

Western Michigan University 268-387-2436www.wmich.edu/artSH

Whittemore-Durgin Glass800-262-1790www.whittemoredurgin.comHC SG

Wikkistix 800-869-4554www.wikkistix.com

HC SP Winsor & Newton800-445-4278www.winsornewton.comBR CA CY EP HC PC PS PT

Witzend Workshop, LLC203-393-2397www.twisteezwire.comCY DY FI HC JM SP

Women’s Studio Workshop845-658-9133www.wsworkshop.orgFI SH

Woodstock School o Art

845-679-2388www.woodstockschooloart.orgSH

V

W


http://www.speedballart.com/



http://www.cce.umn.edu/Split-Rock-Arts-Program/




http://www.square1art.com/




https://www.mheonline.com/


http://www.ssww.com/



http://www.staedtler.ca/



http://standardceramic.com/



http://www.strathmoreartist.com/



http://studiosalespottery.com/



http://www.tandyleatherfactory.com/en-usd/home/home.aspx



http://taosartschool.org/



http://www.taramaterials.com/



http://www.tc.columbia.edu/



http://www.artcenter.edu/teachers/


http://texaspottery.com/


https://www.etriarco.com/triarco/


http://www.trinityceramic.com/

http://www.castlehill.org/


http://www.tntech.edu/craftcenter/home/



http://www.tuckerspottery.com/tkps/index.php



http://www.tulsastainedglass.com/



http://papercement.com/



http://www.unitednow.com/



http://www.uarts.edu/



http://usartquest.com/



http://www.utrechtart.com/



http://www.vanguardcrafts.com/



http://www.ventafume.com/content/pages/electric-kiln-venting?gclid=CIHJnL705bUCFc0-MgodtFcAmg



http://www.art-video.com/



http://www.visualmanna.com/



http://www.wacom.com/index.html



http://www.wallacefoundation.org/Pages/default.aspx


http://www.randomhouse.com/crown/watsonguptill/



http://www.diyprintsupply.com/



http://www.wmich.edu/art/home.php



http://www.whittemoredurgin.com/



http://www.wikkistix.com/



http://www.winsornewton.com/



http://twisteezwire.com/



http://www.wsworkshop.org/



http://woodstockschoolofart.org/
































http://www.trinityceramic.com/



















35

Sax/School SpecialtyTriarco Arts & Crats, Inc.Video Learning Library

(BR) BRUSHESAardvark Clay & SuppliesAMACO/BrentAmerican Ceramic Supply Co.Armada Art, Inc.ArtisanArt Supplies WholesaleBailey Ceramic SupplyBamboo ToolsBigCeramicStore.comBlick Art MaterialsCapital CeramicsCascade School Supplies, Inc.Ceramic Supply ChicagoColArt Americas, Inc.Continental Clay Co.Daler-Rowney, USADiscount School SupplyEarth GuildEd Hoy’s InternationalEvans Ceramic SupplyFM Brush Co.Funke Fired ArtsGreat Lakes ClayHandy Art/Rock Paint Dist.iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard/Rupert, Gibbon & SpiderKrueger Pottery, Inc.Laguna Clay Co.Loew-Cornell, Inc.Martin/F. WeberMasters Int’l Color Wheel Co.Mayco ColorsMcClain’sMile Hi Ceramics, Inc.Minnesota Clay USAMolly Hawkins’ HouseNational Art SupplyNew Mexico ClayPMC ConnectionRock Paint Distr./Handy ArtRoyal & Langnickel Brush Mg.Runyan Pottery Supply, Inc.Sanord Corp.Sargent Art Inc.Sax/School SpecialtySheeld PotteryTara MaterialsTexas PotteryTriarco Arts & Crats, Inc.Tucker’s Pottery SuppliesUnited Art and EducationU.S. Artquest, Inc.Utrecht Mg. Corp.Vanguard CratsWinsor & Newton

(CA) CALLIGRAPHY Blick Art MaterialsColArt Americas, Inc.Earth GuildInovart Inc.Masters Int’l Color Wheel Co.

Molly Hawkins’ HouseNational Art SupplySanord Corp.Saral Paper Corp.Sax/School SpecialtySpeedball Art ProductsTriarco Arts & Crats, Inc.United Art and EducationWinsor & Newton

(CE) CERAMICSAardvark Clay & SuppliesActiva Products, Inc.AtosaAMACO/BrentAmerican Ceramic Supply Co.Ampersand Art SupplyArmory Art CenterArteakesA.R.T. Studio Clay Co.Aves StudioAxner Pottery SupplyBailey Ceramic Supply

Hash Inc. JourneyEdLeaning Post ProductionsLightoot Ltd, IncLightoot Ltd.Wacom Technology Corp.Welsh Products, Inc.

(CT) CUTTING INSTRUMENTSAmerican Ceramic Supply Co.Armada Art, Inc.Bamboo ToolsBlick Art MaterialsCascade School Supplies, Inc.Earth GuildEd Hoy’s InternationalFiskarsGroovy Tools LLCInovart Inc.Masters Int’l Color Wheel Co.Molly Hawkins’ HouseNational Art SupplyRunyan Pottery Supply, Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.Tucker’s Pottery SuppliesUnited Art and EducationUtrecht Mg. Corp.

(CY) CRAYONSArt Supplies WholesaleBlick Art MaterialsColArt Americas, Inc.CrayolaDiscount School SupplyDixon Ticonderoga Co.Faber-Castell USAFinetec USAGeneral Pencil Co.Golden Artist ColorsLyraMKM Pottery ToolsMolly Hawkins’ HouseNational Art SupplySanord Corp.Sargent Art Inc.Sax/School SpecialtyScratch-Art Co., Inc.S&S WorldwideTriarco Arts & Crats, Inc.United Art and EducationVanguard CratsWinsor & NewtonWitzend Workshop, LLC

(DE) DISPLAYSAtosaAmon Carter MuseumArtsoniaArt Teacher on the NetBlick Art MaterialsEd Hoy’s InternationalFlourish CompanyGraphic Display SystemsGreenwich House Pottery J&J DisplayNasco Arts & CratsNational Artcrat Co.

Quinlan Visual Arts CenterSax/School SpecialtyTriarco Arts & Crats, Inc.

(DG) DRAWINGAmpersand Art SupplyArmory Art CenterArtograph, Inc.Art StampsArt Supplies WholesaleArt Teacher on the NetBlick Art MaterialsCascade School Supplies, Inc.ColArt Americas, Inc.CrayolaDaler-Rowney, USADiscount School SupplyDixon Ticonderoga Co.

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37w w w . a r t s a n d a c t i v i t i e s . c o m x 8 0 Y E A R S • j u n e 2 0 1 3

ARTS & ACTIVITIES’ comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services is a ready reference for teachers,

administrators and purchasing agents. Telephone numbers and websites shown with listings provide prompt access for inquiries, orders and special requests. Be sure to

say you found them in Arts & Activities magazine!









ored pencils or crayons, the student colors the potsthree dierent ways. Then, ask the student to pick hisor her avorite. They always seem to have a preer-ence with one o the three pots they have colored.

Many clay artists begin by sketching their pots tocreate a defnite plan/design or their piece. It startswith dividing up the space and then using colored pen-cils, crayons or pens to test out ideas. Try it with yourolder students. It will make them plan and problem-solve beore they touch the clay or choose glazes.

How many times have you been asked by a stu-

dent, “What color glaze should I use?” I get thisquestion all too oten. I believe it comes rom wantingto have a successul-looking pot, but also rom a lacko confdence and direction in their glazing abilities. Ifnd the question more prevalent in older children andadults. I think the younger ones don’t question theirabilities quite as much and just go or it.

Forming the pot is just part o the total experiencein making clay objects. Most pots are made withouta plan or how they are going tobe glazed. Starting with a quicksketch could help plan out the total

experience—creating a blueprinto one’s design.Today, with the availability o

so many commercial underglazesand glazes, the color choices canbe a bit overwhelming. I solve thisdilemma by asking the student tomake three quick drawings o hisor her pot. I do mean quick—nomore than fve minutes should bespent on them. Then, using col-

CLAY TIPS rom David and Tracy Gamble

Choosing Glaze Colors by David L. Gamble

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In every January and June•Summer issue, Arts& Activities magazine publishes a Volume Index.

The Index lists, by category and author, the articles that ran during a particular five-issue volume. Werecommend that you keep the Volume Indexes in a binder or file for reference when looking for articles and information dealing with a particular topic, medium, artist, art technique, and so on.

VOLUME 153, FEBRUARY–JUNE 2013

v o l u m e i n d e x

ART APPRECIATION/ART HISTORY Artists Paint ... Celebrations, May., p. 23Artists Paint ... Children, Apr., p. 23Artists Paint ... Impressionism, June, p. 27Artists Paint ... Self-Portraits, Feb., p. 23Artists Paint ... Women, Mar., p. 27Clip & Save Art Print: Barong, June, p. 23Clip & Save Art Print: Perseus with the

Head of Medusa, May, p. 19Clip & Save Art Print: Quetzalcoatl,

Feb., p. 19Clip & Save Art Print: Raven

Transformation Mask, Mar., p. 23Clip & Save Art Print: Saint George and

the Dragon, Apr, p. 19Wyland: Artist and Conservationist,

June, p. 14

CERAMICS/CLAY Clay Tips from David and Tracy Gamble:

Exploring Color theory with Glazes,Feb., p. 28

Clay Tips from David and Tracy Gamble: TheImportance of the Bisque, Apr., p. 30

Clay Tips from David and Tracy Gamble:Choosing Glaze Colors, June, p. 38

Clay, Wonderful Clay, Feb., p. 18

Professions in Clay, Feb., p. 26Sculptures of Artists in Clay, Feb., p. 14Tile Inspirations, Feb., p. 16

CHILDREN’S ART DIARY Color Artists, Apr., p. 12Messy Artists, Feb., p. 12

CHOICE-BASED ARTArt History from the Inside Out, Mar., p. 16This is Not Art, It’s Engineering!, May, p. 11

CLIP & SAVE ART PRINTSBarong, June, p. 23Perseus with the Head of Medusa, May, p. 19Quetzalcoatl, Feb., p. 19Raven Transformation Mask, Mar., p. 23Sainta George and the Dragon, Apr, p. 19

COLLABORATIVE PROJECTSArt Rescue in a Troubled World, Mar., p. 36Mask Making: An Exercise in Imagination

and Skill, May, p. 31Multiple-Purpose Review Murals, June, p. 20Supersize It, May, p. 26

COMMUNITY CONNECTIONSArt Rescue in a Troubled World, Mar., p. 36Wyland: Artist and Conservationist,

June, p. 14Tile Inspirations, Feb., p.16

DRAWING AND PAINTINGArt Rescue in a Troubled World,

Mar., p. 36Caricature Self-Portraits, June, p. 22Graffiti-Style Text Warp, June, p. 29Images of Me, Mar., p. 18Inspired by Sarah Morris, Mar., p. 30Loosen Up with Watercolor-Marker Figure

Drawings, Mar., p. 20Marc’d Up Animals, Apr., p. 14Messy Artists, Feb., p. 12Multiple-Purpose Review Murals, June, p. 20Paint Streams & Color Schemes, Apr, p. 18Watercolor Tales, Apr., p. 16Winter Collages, Feb., p. 11

ELEMENTARY (grades K-5)Art Rescue in a Troubled World,

Mar., p. 36Beautiful Butterflies in Simplified

Symmetry, Mar., p. 34Cézanne and Beyond, Apr., p. 28Classroom Collaboration: Supersize It,

May, p. 26Clay, Wonderful Clay, Feb., p. 18Mask Making: An Exercise in Imagination

and Skill, May, p. 31Multiple-Purpose Review Murals, June, p. 20Professions in Clay, Feb., p. 26Recycling Renaissance: Is My Shoe Art?,

May, p. 28Recycling Renaissance: Recycled Gardens,

June, p. 16

END-OF-THE-YEAR IDEASCaricature Self-Portraits, June, p. 22Multiple-Purpose Review Murals,

June, p. 20.

iPONDER THE iPADPaper is Powerful, Mar., p. 12Tablet Test Drive, June, p. 12

METAL TOOLINGBeautiful Butterflies in Simplified

Symmetry, Mar., p. 34

Click this icon on the

Arts & Activities website

for our Writer’s Guidelines

and to learn how to nominate

a student for our

Young Artist feature.

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Clay is Cool, Feb., p. 38Color and Drawing, Mar., p. 46Composition and painting, Apr., p. 38A Creative Finish, June, p. 46

YOUNG ARTISTSAngela Kim, Young Eun, Mar., p. 22Brew, Caitlyn, Apr., p. 25Cerjan, Kole, May, p. 25

Jamshidi, Neeka, Feb., p. 25

AUTHORS Belefski, Erin, May, p. 28Carroll, Colleen, Feb., p. 19; Mar., p. 23;

Apr. p.19; May p. 19; June, p. 23Conley, Julia M., Mar., p. 20Creech, Steve, June, p.14Deaver, Anne, Feb., p. 11Egenes, Barbara L., Mar., p. 30Fortune, Tracy, June, p. 22Fowler, Judith, Mar., p. 36Gamble, David L., Feb., p. 28; Apr.,

p. 30; June, p. 38Gazda, Molly B., Feb., p.14Gianis, Robin., Feb., p.16Goff, Lynn, June, p.16

Greenman, Geri, Mar., p. 18, Apr., p. 16Greenwood, Nate, Apr., p. 14Guenter, Cris, Mar., p. 12; June, p. 12Guhin, Paula, Apr., p. 18Hathaway, Nan E., Mar., p. 16Herberholz, Barbara, Feb., p. 23; Mar.,

p. 27; Apr. p. 23; May p. 23; June, p. 27Hinshaw, Craig, May, p. 31

Jaquith, Diane, May, p. 11Lawrence, Sarah, May p.26Lee, Kim J., Mar., p. 22Lubiner, Glenda, Feb., p. 38; Mar., p. 46;

Apr. p. 38; May p. 38; June, p. 46

Martin-Meissner, Rebecca, June, p. 20O’Hanley, Heidi, Feb., p. 10; Mar.,

p. 14; Apr., p. 10; May, p. 10; June, p. 13

Osterer, Irv, Feb., p.13Peace, Suze, Feb., p.25Reed, Viki, June, p. 18Skophammer, Karen, Feb., pp.18, 26;

Apr., p.26Sterling, Joan, Apr., p. 28Syrakis, Stephanie, June, p. 29Székely, George, Feb., p.12; Apr., p. 12Thompson, Terri, Apr., p. 25

West, Debi, Mar, p. 32Wolfe, Linda, Mar, p. 34Yonker, Kim, May p. 25

MIDDLE AND SECONDARY (grades 6-12)

1 Lesson + 3 Objectives = Huge Success,Mar., p. 32

Action Collages, Apr., p. 26Caricature Self-Portraits, June, p. 22Graffiti-Style Text Warp, June, p. 29Images of Me, Mar., p. 18Recycling Renaissance: Is My Shoe Art?,

May, p.28Loosen Up wirh Watercolor-Marker Figure

Drawings, Mar., p. 20Marc’d Up Animals, Apr., p. 14Mask Making: An Exercise in Imagination

and Skill, May, p. 31Paint Streams & Color Schemes, Apr, p. 18A Project with Heart, Feb., p. 13Tile Inspirations, Feb., p.16Sculptures of Artisits in Clay, Feb., p. 14Watercolor Tales, Apr., p. 16Winter Collages, Feb., p. 11

MIXED MEDIAAction Collages, Apr., p. 26Beautiful Butterflies in Simplified Symmetry,

Mar., p. 34Recycling Rernaissance: Is My Shoe Art?,

May, p. 28Recycling Renaissance: Recycled Gardens,

June, p. 16Mask Making: An Exercise in Imagination

and Skill, May, p. 31Supersize It, May, p. 26Winter Collages, Feb., p. 11

PAPER/PAPIER-MACHE/COLLAGEAction Collages, Apr., p. 26Mask Making: An Exercise in Imagination

and Skill, May, p. 31

Supersize It, May, p. 26Recycling Renaissance: Recycled Gardens,

June, p. 16Winter Collages, Feb., p. 11

PRESCHOOLInspired by Sarah Morris, Mar., p. 30

READY-TO-USE RESOURCESArtist of the Month: Henri Rousseau,

May, p. 37

Artist of the Month: Honoré Daumier,Feb., p. 37

Artist of the Month: Jean-Honoré

Fragonard, Apr., p. 36Artist of the Month: Paul Gauguin,

June, p. 45Artist of the Month: Vincent van Gogh,

Mar., p. 29Artists Paint ... Celebrations, May., p. 23Artists Paint ... Children, Apr., p. 23Artists Paint ... Impressionism, June, p. 27Artists Paint ... Self-Portraits, Feb., p. 23Artists Paint ... Women, Mar., p. 27Clip & Save Art Print: Barong, June, p. 23Clip & Save Art Print: Perseus with the

Head of Medusa, May, p. 19Clip & Save Art Print: Quetzalcoatl,

Feb., p. 19

Clip & Save Art Print: RavenTransformation Mask, Mar., p. 23

Clip & Save Art Print: Saint George andthe Dragon, Apr, p. 19

RECYCLING/USING FOUND OBJECTS

Is My Shoe Art?, May, p.28Recycling Renaisance: Junk Jewelry

Necklaces, June, p. 18Recycling Renaissance: Recycled

Gardens, June, p. 16

Supersize It, May, p. 26

STEPPING STONESBalancing Curriculum and Materials,

Feb., p. 10Challenges and Joys of Sharing Spaces,

May., p. 10Including Technology is Not That Tricky,

Apr., p. 10Project Preparation, Mar., p. 14Ways to Prevent Burnout, June, p. 13

THREE-DIMENSIONAL DESIGN Clay, Wonderful Clay, Feb., p. 18Recycling Rernaissance: Is My Shoe Art?,

May, p. 28Mask Making: An Exercise in Imagination

and Skill, May, p. 31Professions in Clay, Feb., p. 26Sculptures of Artisits in Clay, Feb., p. 14Supersize It, May, p. 26Tile Inspirations, Feb., p. 16

TRIED & TRUETIPS FOR ART TEACHERS

Art with Dimension,May, p. 38








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still does).

Ater viewing

examples, I made

sure each student could make a bold

letter. I told them to print a capital

letter on their page and outline it (or

those who cannot visualize how to

make bold letters). Then, together we

worked on how to create shadows

or those letters. Once the studentsgured out how to add a shadow to

a standard bold letter, we discussed

how to manipulate that letter into a

grati ont.

I told them they “have to change

each aspect o the letter.” They could

not take anything away rom the

shape o the letter—they need to add

to it. We started with the top, and

changed the shape, then the bottom

piece(s) o the letter. I the letter

had a center piece, it also had to bechanged. Once they mastered chang-

ing their letters, they worked on add-ing a shadow to it.

FOr THe assIGNMeNT, students chose

a word (not a name) with ve letters

or more. A shorter word would be

too easy. They had to make sure that

some part o their design touches

each edge o the paper. They also

needed to draw one letter backwards.

Finally, when it was time or them to

color each letter, each needed to have

ve colors in it. The students worked on their proj-

ects or about a week and the outcome

was amazing. When I displayed them

on the bulletin boards outside the art

room, they captivated the entire stu-

dent body. Passers-by stopped in awe

o what the art students created. And, I

heard many o them say, “I want to take

art!” That’s when I knew I had accom-

plished the goal I rst set out or—to

get students to love art. n

Stephanie Syrakis teaches art at Lake

Gibson Middle School in Lakeland, Fla.

GRAffITIcontinued rom page 29

I’ve never presented a

lesson that gets kids as

excited to create as this

one did (and still does).

that would serve

as the back-

ground or the

garden. (Other types o cardboard

curled too much because o the mois-

ture rom the paper pulp.)

In the next class, we reviewed hand-

building techniques or clay, such as

rolling coils and how to score and slip

two pieces o clay together. The stu-dents were given examples o dier-

ent types o lanterns, and were asked

to create at least one miniature lan-

tern and a garden bench. During the

class, students who nished early were

encouraged to sculpt tiny animals one

might nd in a garden. Once the pieces

were bisque-red, they were stained

with black watercolor and wiped until

they resembled stone.

To introduce the process o orm-

ing the garden, I demonstrated how the paper pulp was made. Showing the

students the process helped to relieve

the anxiety some experienced about

GARDENScontinued rom page 17

handling sticky green stu.

Next, I demonstrated how to roll

the pulp between one’s hands to cre-

ate a coil, and then press it onto the

background to create the topography

o the garden. The paper pulp was the

perect medium or embedding step-

ping stones, beads or fowers, articial

oliage and the bisque-red pieces that

we had created. (Some o the beadsand stones needed a little extra glue

because o the smooth suraces.)

The students glued tissue paper

onto areas that were designated to be

water. I emphasized that the topogra-

phy should be built up around the gar-

den pathways, and that Japanese Tea

Gardens are always kept neat and tidy.

The students worked quickly with

much excitement and conversation

about the creative eatures o their gar-

dens. Small stairways led to gardenbenches, turtles and ducks foated in

ponds, and one tiny ox crept across the

topography. The many creative land-

scapes looked like wonderul places to

rest and visit with riends. n

Lynn Go is an art teacher at Belvedere

Elementary in Arnold, Md.

VOCABULARY

Bird’s-Eye View Japanese Tea GardenLandscape

Landscape ArcitectPaper Pulp

Topograpy





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a r T I s

T O F T H e M O N T H

P u l G u g u i n , b o n J u n 7 , 1 8 4 8

P u l G u g u i n ( F n c h ; 1 8 4 8 – 1 9 0 3 ) . T a h i t i a n W o m e n O n t h e B e a c h , 1 8 9 1 . O i l o n c n v ; 2 7 . 2 " x 3 5 . 8 " . M u é d ’ O y , P i , F n c .

A r t w o r k i s i n t h e P u b l i c D o m a i n .

©




the school hallways lined with bulletin

boards lled with a changing display

o student art. Every project, every

child—that is her goal.

In June, though, she has learnedto start taking down those projects to

send them home with her student art-

ists beore the nal week o school.

Doing this a week early ensures that

the projects actually make it home to

the “amily gallery.”

But oh, what to do with those blank

walls! This year, she looked through

some o her avorite prints o water

and mountain landscapes—Albert Bier-

stadt, In the Mountains; Edward Hop-

per, Lighthouse at Two Lights; Winslow Homer, The Blue Boat and Breezing Up.

She put one print in the middle o each

bulletin board, lling the school with

inspiration or the change o pace that

summer brings, or summer activities

and a chance to highlight some more

art in our hallways.

HaPPy BIrTHDay to Maurice Sen-

dak (June 10, 1928), Christo (June

13, 1935), and M.C. Escher (June 17,

1898). To celebrate, have your studentscreate some “wild things,” wrap objects

or make tessellations or an end-o-the-

year project.

Thank you Ellen, Chrissy and Bar-

bara or the wonderul and helpul end-

o-the-year tips.

Wishing you all a restul and cre-

ative summer ... but don’t orget to keep

sending those tips! n

Glenda Lubiner teaches elementary art

at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an

adjunct proessor at Broward College.

Only a ew weeks let o school and

then we are ree ... well, we will

not have to get up early, but I know our

brains will still be working and we will

be uriously writing down ideas and

new art lessons or September. I try

to revisit old art lessons and put a new and improved spin on them.

I also aim to regenerate during the

summer. Try to nd some workshops

in your area; you might nd some

through your local high school, parks

and recreation center, colleges, or

through your local or state art associa-

tion. It is always nice to work on your

own art once in a while since so many

o us rarely have the time to do that.

As we clean up our rooms or

another year, we are always lookingor some great end-o-the-year projects

that are quick, meaningul and un.

GaMING LIKe yOU’Ve NeVer seeN IT

BeFOre! Forget the video games, the

iPhones, the PS3s and Xbox 360s! Ellen

McMillan rom Monarch High School

in Coconut Creek, Fla., has her students

make art-related games. They bring in

old games and paint, design, or change

them and then they play them at the end

o the year. That way, she says, you can

clean up your supplies and at the same

time the students have things to do that

are art related and un. Students havemade card games, matching games, and

monopoly-type games.

ONe MaN’s TrasH Is aNOTHer MaN’s

TreasUre Rather than throwing away

dried-up markers, Chrissy Chiddo Leis-

hear rom St. John the Baptist Catholic

School in Silver Spring, Md., has the

students dip them in a cup o water

and they can then “paint” with them.She keeps a basket in the corner o her

room dedicated to dead markers. This

makes or a un end-o-the-year activ-

ity and the students love to watch the

water change colors!

Chrissy also saves the marker caps

to turn into cool art projects, like a

mosaic mirror! She rinses all the caps,

lets them dry, and glues each pieceonto a ramed mirror. It adds a splash

o color to her classroom and reminds

the students you can be creative with

your “junk!” Have the students dec-

orate something with recycled or

ound objects.

LeaVING yOUr MarK For the last

art class beore the eighth-graders

graduate, Chrissy pulls out the paints,sponges, brushes, straws, marbles,

LEGOs, toy cars—and anything else

the students can use to paint. She has

them create several abstract paintings

on small 4" x 4" white paper. They

choose two o their avorites and when

they are dry, Chrissy makes a display

or her closet door that stays up or the

ollowing school year.

A Jackson Pollock quote hangs in

the middle, reading, “It doesn’t make

much dierence how the paint is put

on, as long as something has been said.”

This is a great ollow-up activity to an

abstract art lesson and a way or the

students to leave a “mark” beore they

leave the school.

INsPIraTION FrOM THe arT rOOM

During the school year, Barbara Owen,

rom Tenacre Country Day School,

Wellesley, Mass., loves to walk through

tip #2

A Creative Finish

G l e nd a L u b i ne r

aTTeNTION reaDers

I you would like to sare some o your

teacing tips, email tem to Glenda at:[email protected]

tip #4

tip #3

tip #1












YOU are a creative leader.Expand your horizons! Access opportunities, connect

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Arts & Activities Digital Edition JUNE 2013

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