SchoolArts Magazine

NOV 2018

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 14 of 54

Abstract Wood Sculpture High School Obliterated Object Early Childhood The Essential Question How can students explore bal- epetition using simple supplies to create 2D and 3D art? Objective sizes and colors of dot stickers. engthen fine motor skills while peeling, holding, and placing stickers. Working together in gr eate collaborative compositions and color schemes. Materials found objects (posters, frames, wooden furniture, etc.), circle stick- Mod Podge or other sealant Procedures 1. View time-lapse videos of museum guests placing colorful stickers in Y s Oblitera- tion Room installations. 2. Introduce a found object of , prepare the found with students. 3. Demonstrate fine motor skills involved in sticker placement, pinching fingers to peel and hold the stickers and pressing with strong, careful palms to smooth stickers flat once placed. 4. Allow students to collaborate decide which color stickers to use piece is finished. 5. Protect and seal the finished object with Mod Podge. Assessment Did students work together and share ideas and supplies to cre- ate an "obliterated object"? Did individual students demonstrate age-appropriate fine motor skills (pinching, holding, pushing)? Can By Sue Liedke, arts teacher at Settlement Music School in Philadelphia, Pennsylvania. Portrait of Nature Middle School The Essential Question How can r become art? Objective Students will use discarded wood to create a freestanding nonobjec- tive sculpture. Materials wood scraps, wood glue, tempera paint, paintbrushes, paper towels, cups, sandpaper Procedures 1. Each student grabs ten pieces of wood scraps (various sizes) and a bottle of wood glue. 2. Students organize and assemble their wood pieces in an in intuitive freestanding sculpture. 3. Once their sculptures are assembled and glued, students determine a color scheme to paint their sculpture with. 4. Students title, date, and sign the bottom of the finished sculptures. Assessment Students discuss the difference between working in a structured , as well as traditional and nontraditional eating art. By Frank Juarez, art teacher at Sheboygan North High School in Sheboygan, Wisconsin. The Essential Question How can a student incorporate the use of natural materials in a self-portrait? Objective Students will use natural materials along with other media to create a portrait. Materials natural objects (e.g., twigs, acorns, leaves, shells), burlap, foam board or cardboar adhesive, hot glue, E6000 adhe- sive, Mod Podge or school glue, , magazine and newspaper clippings Procedures 1. Introduce the work of Romare Bearden and Giuseppe Arcimboldo. Discuss their themes and use of objects to compose portraits. 2. Demonstrate for students how to draw a head and the features of a face in correct proportion. 3. Ask students how objects in nature could be used to replace features and textures of the head and face. 4. Ask students to bring in objects from nature such as those listed above to share with the class and to use in their own portraits. 5. After drawing the face and using magazine or newspaper clippings for texture, students can glue on the natural objects of their choice using a strong glue, such as E6000 or hot glue, to compose their portraits of nature. Assessment Students ar e- objects of nature with clippings and other mixed media to make their paragraph comparing and con- trasting their work to the work of either Romare Bearden or Giuseppe Arcimboldo. By Melody Weintraub, art teacher at Briarcrest Christian School in Eads, Tennessee. The Essential Question How do illustrators communicate emotions in their work? Objective Students will learn how small changes in features can commu- nicate different emotions, such as happiness, excitement, confusion, and anger. Materials drawing paper, black permanent markers, oil pastels, watercolor paint, paintbrushes Procedures 1. Introduce students to illustrator Tim Bowers, whose animal illustra- tions exhibit dramatic expressions. Explain what an illustrator does newspapers, and more. Show stu- om Bowers and ask them to describe , sad, excited, etc.). Compare and con- trast the facial features of two ani- mals exhibiting different emotions. 2. d or scrap paper, have students draw an animal and experiment with draw- ing differ ows and mouth shapes. Once complete, have stu- dents experiment with scale. What larger or the mouth smaller? How did it change the emotion their drawing is communicating? 3. Have each student select an illustration to communicate. Using shapes, guide students through a . Show how shapes can become images. Cr other animal of choice, students alter features to best communicate their selected emotion. Students outline the drawing in black per- manent marker. 4. Using oil pastels, students color add clothing (inspir - trations of Tim Bowers). 5. Students complete the work ound with watercolor. Assessment Compare the expressions of two differ students to describe their draw- the expr fer By Kristina Latraverse, art teacher at Columbia Elementary in Palm Bay, Florida. Elementary

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