Technology in classrooms

Blog 23

Original Student work:

 One to one school:  Technology that has become pretty standard now a days.  The I-pads have Schoology on them  and each art assignment is accompanied with schoology questions.  Supporting documents, links to artist, power points, videos, and word documents are all posted on Schoology under class folders for students use.  Often the students are required to research an artist or style on their I-pad themselves before starting an assignment.  Students are required to collect and maintain a continuing portfolio of work on ARTSONIA.com.  Artsonia is an excellent site for this because the account will follow the student all the way from pre- school to 12^th grade.  The students maintain this account on their own and can add art work from home.  This helps students with the belief that their work is important and they can see improvement over time.  It also uses hands on learning techniques.  

What I questioned was: when the students would look up the examples of the current assignment and copy a full design (completely) from the internet.  There was one class that seemed inclined to do this a lot.  An example of this was when Several students looked up cartoon designs and copied them to the letter. The assignment was based off artist Bataclan's work and to draw something to make someone smile (no coping, no cartoon characters), on a 4 year old level, outline in sharpie, color in high intensity, and fill in space. They still copied illustrations,  instead of creating their own.  The same thing happened on several other assignments, they would even place the paper on the I-pad and trace the whole design.

Bren Bataclan

  

Paper College

Blog Prompt #19

Non Representational Paper College

•  Create a piece of artwork that is not representational.
•  It must focus on shape (positive and negative) and composition.( **see non-objective compositional arrangements below) 
• Problem solving creatively: Surprise Element
• This is a blind student project!!!! Do a sample for your self so you know what is going on, but do not show the students the final product.
• Do not tell students the whole project ahead of time.  Have them do each step without knowing the next step.

Definitions:

•       Non-Objective Art – Art that is not representational, containing no recognizable figures or objects.  Originally used to describe a type of abstract art that eliminated the idea of depth and concentrated on composing a harmonious arrangement of grids, shapes, and color.  
•      Paper Work/College: Paper work is very often considered to be, within the textile world at least, an integral part of the process of both textile design and textile artwork. In many cases the paper work is the first stage of a fairly lengthy process whereby ideas are first formulated, often changed and manipulated before being transferred to another medium, whether that be textile printing, weaving, quilting, embroidery, or indeed fine art painting. However, it should be noted that paper collage is in its own right an art form and should not be seen as a mere process towards another medium or idea.

Non-Objective Compositional Arrangements:

1. S or Z Composition: usually breaks the space up in a ‘s’ or ‘z’ shape (backwards or forwards or sideways). 
2. Cruciform composition: breaks the space up in the form of a cross.
3. Radial compositions:have an obvious spoke-like design. All lines should be broken, irregular or intercepted.
4. L or Rectangular compositions: have a large mass with a lateral plane (also look at landscape collages p.115 in Collage Techniques)  
5. Diagonal line composition: requires verticals or opposing slanted lines.   
6.The pattern composition: is possibly the most ideal and most difficult of schemes. You should have more positive areas than negative and it can be in many different combinations, such as;  

7. Horizontal compositions: contain a pattern that repeats across the plain of the artwork. 
8.Vertical compositions: contain a pattern that repeats up and down in the plain of the artwork. 
9.Overlapping Frames: is a pattern that overlaps or alternates like a checkerboard (Piet Mondrian and Frank Lloyd Wright).
10.Constellation patterned compositions: are usually used in wallpaper design in which a cluster of images, small to large, make up the pattern.

 **See document for visual aids on compositional arrangements:

It’s only paper… (non-objective compositions)https://drive.google.com/file/d/0B6bBOYhXVC3nc0JjVlJ1MlVaTXc/view?usp=sharing
 
Lesson Content:

1.Choose a color or black background.
      -In this example I used green and black

2.Rip or cut the foreground color paper and arrange it to make a non-objective composition
 -I choose to cut. 
 -It can be your choice as the teacher, or you can leave it to the individual students.
 

3.Students Choose other 2 smaller pieces of papers (textured/patterned)
   -Use origami paper, rice paper, tissue paper, patterned paper

 

4. Rip or cut the textured/patterned paper,  add to the non-objective composition, and arrange pieces.

  

 

 

      6.Problem solving creatively: Surprise Element 

         -You go by each student and give them a contrasting pattern/texture and color

         -Samples from wall paper books work great.

         -The student has to work the element into their existing composition work. 

 

7.Once arranged, take a photo

8. Start gluing the pieces (be mindful of where glue gets), things may change. 

 

 9.Sew in lines to enhance your principals of design

10.Shade in value (color pencils) to enhance your principals of design


Student Examples:


Elements & Principles of Art Design covered:

Color, Shape, Space, Texture, Line, Value

Balance, Emphasis, Contrast, Unity, Rhythm

https://docs.google.com/presentation/d/1KMXD7LBjhRM2Qlz4TsU389YI4wZmy5L-AtTVxFWANF0/edit?usp=sharing

 

Blog 22: Successful Art teacher

Blog 22: 

Ideal teaching situation:

         An ideal teaching situation would include a well rounded, sharing, successful mentor who is willing to show me the "ropes".  I think that in the first couple of years having a good mentor at your side will make all the difference.  Well funded art program, smaller teacher to student ratio, and up to date facilities would allow for a ideal teaching situation. 

Things that will allow me to be successful art teacher are organization, classroom discipline, communication, and assessments.  This will include materials, storage, lesson plans, and sample projects.Figuring out who and what my resources are will come with time, but will help with my success.    I believe in teaching students how to make the right choices when it comes to discipline and their behavior.  I don't believe in "punishment", but in learning experiences.  Logical consequences that teach students how to self-discipline is my goal.

 

Good Art Teacher: 8 Methods of Effective Teaching

As a result of recent brain research and data, various educational institutions and researchers have come up with a list of "best practices" for a good art teacher.

Lanlois and Zales (1992) identified eight proven methods of effective teaching:

1. High expectations of student achievement
2. Course methods and routines that are clear to the teacher and student
3. Varied and appropriate teaching method and materials
4. A supportive, cooperative atmosphere
5. Enthusiasm, energy, caring, and maintenance of a nonthreatening atmosphere
6. A manifest belief that their subject is important
7. Relates instruction to student interests
8. Content expertise

See more at: http://www.incredibleart.org/links/toolbox/practice.html#sthash.M3gO73Ti.dpuf

Best Practices: 7 Principles of Effective Education
Chickering and Gamson (1987) identified seven research-based principles of effective education.

1. Encourages contacts between students and art teachers
2. Developed reciprocity and cooperation among students
3. Uses active learning techniques.
4. Provides prompt feedback
5. Emphasizes time on task
6. Communicates high Expectations
7. Respects diverse talents and ways of learning

- See more at: http://www.incredibleart.org/links/toolbox/practice.html#sthash.M3gO73Ti.dpuf


       All the above will help increase student achievement in my course.  It s a cause and effect system.  I will continue to grow and learn from other professionals, my fellow art teachers, the art community, my continuing education in graduate school, art course, volunteer work & the community, my student, parents, and any other out let or experiences I can find. I have spent my whole life seeking new experiences and knowledge and this is a new and wonderful step along the way. 

Blog 24 Closing

Blog 24 April18, 2016

 Well I used the blog to record lesson plans and experiences in the classroom.  As for the practicum things when pretty well.  I had patience and heard what the students had to say.   They was a lot of complaining.  The students lack confidence in their artwork and sometimes this made them afraid to try new things. They can be very defensive if they feel like they are failing themselves, but never will tell you so.  I tell them the truth that I’m not good at every type of art, but I do try different types. It’s like exploration, you never know what you’ll discovery about yourself and be able to use in your artwork in the future. If you don’t try, you definitely will never know.  The students were each very different and each student had very different levels and types of artist abilities.  Getting to know their names was a challenge for me due to the six week schedule and I was only their on Fridays.  I saw three sets of classes come and go.  Each was different.  A lot of variety.

Over all I did just fine, but  learned a lot for the hands on experience.

Blog 21 Apr 13, 2016

Acrylic animal painting on recycled/found wood 

 

 Medias I have work in:

• graphite pencil
• Colored penicl
• Tempera/acrylic paints
• Clay/ceramics
• Charcoal
• Printmaking
• Photography: Black and white & Digital
• Some sculpture

The medias I would enjoy teaching are:

• Printmaking
• Painting
• Clay/ceramics

The medias I need more experience in or not as familiar with are:

• Watercolor
• Charcoal
• Sculpture
• Figure drawing



Intaglio, "Bee-lieve"  10/10 black ink

Intaglio, "Bee-lieve"  4/4 Yellow ink

Screen printing, "Urban Squirrel", 28/28,  4 Layers

Acrylic Paint, "Max", Abstract Animals

 

 

Pottery,  "Hedgehog of the Leaf", Spirit Rattle

 

 

Selected to be exhibited at the 2016 22nd Annual USC Juried Exhibition. 

 

Cyanotype Print, "Blue Tree"

Mix Media Print, "Playful Waters"

blog 20 Careers in Art

Blog 20

Apr 4, 2016

Part of high School education is explore different types of Careers in Art. 

• Teaching a variety of lesson the in compose modern and up to date careers in the field of art
• Have students do reports, research, projects, and class presentation on different career and types of arts.
•  requiring students to Maintaining portfolios
• Have class critics
• Have students us proper art terminology
• Keep up to date on art college, scholarships, entry requirements, and educational opportunity for students.
• Have professional artist from the community visit and discuss the career path they took.
• Have students sell or produce a/some produces and sell them. 

 

Markers, ink and washes

Blog 18
March 18, 2016
Markers, ink, and washes

 
Marker Wash Project:
Supplies:

• Paper: Watercolor paper or smooth sheet of paper especially made for pen and ink.
• Brushes: There are paintbrushes made specifically for watercolor and ink. The bristles are designed to hold that type of media.   To cover a lot of large areas, then use a bigger brush;. For finer details, try a small and rounded brush.
• Water:  It will help give you control over your pigment and tone. Some people like to have two separate water containers. One stays completely clean and the other is allowed to get dirty as to not alter your wash.
• Palette:  For mixing and creating clean washes. You can use anything as your palette as long as it keeps colors separated.
• Markers: old, used, new they all work. I used Crayola, the washable type.
• Ink: There are a lot of brands and options for types of ink. Some have an acrylic base while others are resemble a dye.

 Project:
1. Draw a still-life (or the subject of the project)

Creating a wash





2. Put marker tip in small amount of water.  Use the wash on your picture.

3.The general idea is to work light to dark, and large to small. Don’t start with the darkest shade. It will be hard to do anything with that, like add variation in tone, detail or even other colors. Instead, work in layers.

4.Start with the lightest shade you see. Wait for everything to dry before proceeding to the next layer, which is going to be slightly darker than the last. Mix the wash and apply it to the necessary areas. Again, wait for it to dry and mix again. Repeat the process until you’ve added all of the tones so you have a nice balance of contrast.

5.If you have any fine details, like the edge of an object, you can use a tiny brush or even a nib to accentuate them.

 

 

Other ink wash options:  You want to create a some interesting, experimental washes that aren’t concerned with form.  One way to do this is a “wet-on-wet” technique. Wet the area of paper that will receive the ink. Make it as big or as small as you want. Then, using your brush, drop ink onto the watered spot. It will have a mind of its own and pigment will feather in multiple directions.  Alternatively, you can pick up the paper and guide the ink around the page.

 

Elements and Principles of design:

Shape / Form: Shape implies spatial form and is usually perceived as two-dimensional. Form has depth, length, and width and resides in space. It is perceived as three-dimensional.

Color: all come from the three primaries and black and white. They have three properties – hue, value, and intensity.

Value: refers to relative lightness and darkness and is perceived in terms of varying levels of contrast.

Space / Perspective: Space refers to the area in which art is organized. Perspective is representing a volume of space or a 3-dimensional object on a flat surface.

Unity: is achieved when the components of a work of art are perceived as harmonious, giving the work a sense of completion.

Class field trips

Blog 17

March 23, 2016

 

Field trips

Pearl Fryar Topiary Garden:

 Pearl Fryar moved to Bishopville in 1976.  The three acres that surround his home was flat and barren. In the early 80's, he began planting and pruning trees and shrubs. After two decades of  constant labor, he transformed his yard into an internationally-known topiary garden that attracts 5,000 visitors a year. The trees and shrubs are works of art. There are hand made sculptures through out the garden.

A Man Named Pearl – Documentary & Reviews

A feature-length documentary released across South Carolina in 2007, A Man Named Pearl is now taking national film festivals by storm.
 

Pearl Fryar is man who did not know the rules, so he didn't know what he was not suppose to do.  He tried and did things that no one had tried.  He pushed the limits, tied, failed and tried again, he had no real education in gardening, just desirer and wiliness to try and work.  This is fundamental to art and education.  Students should be able to experience the outcome of this and meet the man if still possible. 

 

Combining this trip with a sculpture lesson and elements & principle of Three Dimensional design.  Several ideas come to mind. 

-A school garden

-The sprite tree (pervious blog)

-recycle/found object sculpture (contact garden to see if students can place them at the Topiary garden)

-Have students brig sketch books and sketch drawings for  future paintings

-Photograph project.

     While researching field trips I found one website that would I feel would be helpful for a teacher or parent who was completely lost on the on the subject: classtrips.com. 

    It has categories for subject matters, states, fundraiser, and lesson plans.  They even break down in school activities and out of school activities.  This seems like a great tool. 

    I myself have not used it and need to do more research on the sight.  On first glance though, it seems like a good tool for information and ideas. 

http://www.classtrips.com/lpitem/103827/films-lesson-plan

 

 

 

 

 

Sculpture Bought Materials

 

Blog 16

March 21, 2016

Sculpture Bought Materials

Spirit Tree Rope/Wirer Sculptures

History: Spirit Trees Legends are plentiful about connections between humans and trees — what will  your special tree reveal about you?
    
       Legends about trees have permeated cultures and theologies around the world since ancient times. The Tree of Life, the Tree of Wisdom or Knowledge, the World Tree, the Cosmic Tree — these are names for a symbolic or metaphorical tree that stories, ideas, and beliefs about life have been centered around. Nordic and Mesoamerican mythologies brought the concept that the world is supported on a strong tree that divides the realms of heaven, human existence, and the underworld. Native American legends regarding trees as caregivers and providers are abundant. The Cherokee call trees “The Standing People” and have a special fondness for cedar trees due to a legend in which the spirits of their ancestors were placed within a cedar. This "Spirit Tree" is created from lengths of coiling core, glued together and wrapped with wire to impart flexibility to the branches. It can be finished with paint and wire, and personalized with objects or images suspended from the branches or placed around its roots.

GRADES 6-8  Adjust as needed.

Materials (required):  Coiling Core-1/4" x 180 ft coil-share one across class/Coiling Core-1/2" x 100 ft coil-share two across class/ Aleene's Quick Dry Tacky Glue-4 oz -share three across class/All-Purpose Chipboard-30 ply-22" x 28"- share one sheet among 12 students/ Armature and Sculpture Wire-14 gauge- 350 ft spool-share one across class.
Optional Materials:  Economy Glass Bead Assortment-1 lb /  Copper Wire-24 gauge-100 ft spool/ Liquid Watercolor-assorted colors/ Crushed Pebbles-White/ Framed Up Jewelry Accents, assorted/anything else personal to the artist.

Preparation:

 1. Cut coiling core into 12" sections. Plan on five pieces of 1/2" and five pieces of 1/4" per tree (10 ft total). Coiling core may be cut with sturdy scissors or with a paper trimmer.

2. Cut 7" to 8" square bases from chipboard, scraps of cardboard, or matboard.

Process

1. Bend all coiling core lengths against the curve to straighten as much as possible.

2. Gather five pieces of small coiling core into a bundle. Stagger lengths. Bind with masking tape towards the bottom.Process, continued

3. Create the tree trunk. On a large  piece of coil, apply a line of glue  about 2" long below the center of the length, but not all the way to the end. See illustration (A). Position the coil with the glue side against the bundle of small coils and hold briefly until glue begins to grab. Repeat with remaining large coils, staggering their lengths as well, until they surround the bundle of small coils. Wrap with masking tape to secure while the glue dries. NOTE: The upper 9" of the coils will remain unglued and can be spread apart to begin positioning of branches.

4. Glue the short, loose ends of the paper coil bundle to the square base, pressing down and spreading them apart to form the roots of the tree. Apply masking tape to the roots to hold the tree upright on the base while the glue dries.

5. Bend and twist the long, loose ends of the paper coils to create tree branches. Loosen the ends of the coils and gently spread the paper to create leaf-like fullness on the end of each branch.

6. Insert wire sections into the trunk of the tree. The wire may be bent and curled to make more branches or vines. It may also be wrapped around individual branches to make them easier to bend, to hold them in place and to suspend objects from the branches. 

7. The Spirit Tree may be left white or painted.
Options — Glue pebbles, sand, or dried moss to the base to cover the chipboard. — Hang beads, charms, photos, or other objects from the branches with wire or string. Glue strands of cotton or wool to the branches to imitate moss.— An alternate lesson plan could focus on the Japanese art of bonsai.

Art lesson from http://www.dickblick.com/lesson-plans/spirit-trees/

 

Sculpture:Found Materials

Multiples Found Object Three-Dimensional Design Project Materials:

Five or more found objects

Glue

Scissors

tape

string

paper

cloth

wool

wire

anything to combine the objects.

 

Project description:

Students will combine multiples ( five or more) of like found objects to give them a new form. 

Students will bring together five (or more) like found objects and make one new from by combining these objects. 

Students will use techniques of binding, wrapping, coating, or other methods of joining the five+ objects to each other and to other materials in order to make the sculpture visually captivating.

 

Students can make the piece elegant, sublime, beautiful, surreal, or fantastic.

Notes: 

Texture and methods of construction are important to the over all appearance.

Objects must be structurally sound, must not fall apart.

Just about anything can be used as long as you don't pay for it.  Look around the house, junk yards, and nature.

Artist to look at:

Jackie Winsor, Lucas Samaras, Arman, Meret Oppenheim, Eva Hesse, Rauschenberg, Tom Friedman

Student Skills:

Students will explore aesthetic relationship between form and space.
Students will interpret form, space, mass, and shape.
Students will develop creative problem solving skills and artistic expression,
Students will develop conceptual and process-based problem solving skills, interpretive skills, and oral communication skills
 

 

 

 

Three Dimensional Overview Information:

 

 

Basic Vocabulary 

 

Postive Shape: a shape that has detail insides it, such as an outline of a human, with body features.

Negative shape: a shape with out any details, it just an outline.

Volume; the amount of space that a substance or object occupies, or that is enclosed within a container, especially when great.

Line: marks that span a distance between two points (or the path of a moving point). As an art element, line pertains to the use of various marks, outlines and implied lines in artwork and design. A line has a width, direction, and length. A line's width is sometimes called its "thickness". Lines are sometimes called "strokes", especially when referring to lines in digital artwork.

Contrast: the state of being strikingly different from something else, typically something in juxtaposition or close association.

Direction: a course along which someone or something moves.