SchoolArts Magazine

JAN 2019

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

Issue link:

Contents of this Issue


Page 34 of 50

H I G H S C H O O L S top-motion animation is a dynamic way to go from theory to practice in STEAM education. It is studio-focused and easily connects to other disciplines, and it's also an excellent way to introduce students to Design Thinking. Components and Connections Stop-motion can be done with a smartphone, tablet, or laptop. There are scores of free or inexpensive apps that take minutes to learn but teach technology literacy transferable to more complex programs. Like all animation, stop-motion has mathematical components, including the use of timelines and frame speeds to determine the flow and smoothness of movement. Stop-motion also con - nects to geometric principles involving BUILDING A STEAM Y STOP-MOTION Andrew D. Watson WITH DESIGN THINKING symmetry and transformation through rotation, reflection, and translation. Connections to science are not as obvious, but you can strengthen them through science-themed Big Ideas such as entropy, weather cycles, or cause and effect. There are several ways stop-motion can connect to engineering, but the most powerful is through Design Thinking. Design Thinking Design Thinking is a problem-solving strategy often used by designers in both the arts and engineering fields. It is closely linked to metacogni - tive processes in other fields, such as the scientific method, experimental design, and the writing process. There are many versions of this process, but I prefer the STEM Fab Studio process created by Nick DiGiorgio for FabLab and the Cleveland City Public Schools. The steps are Ask, Imagine, Design, Build, Evaluate, Refine, and Share. This process is an excellent way for students to create their stop-motion animations. It gives them a way to be intentional in what they are creating and helps them when they hit a creative block. Let's look at stop-motion ani- mation through these steps: 1. Ask Ask is where we conceptualize the problem facing the artist. This can be done through a teacher-generated Essential Question or a Big Idea where students develop their own question. It's also where we set any creative constraints, such as the animation's length, material considerations, or inclusion of the parts of a narrative. This is also where students research their medium. To come up with a good idea for a stop-motion animation, you must understand what you can do with it. You can see one idea for stop-motion using sticky notes at the Web Link below. 2. Imagine Imagine is where the artist comes up with possible solutions and includes as much divergent thinking as pos - sible. My students were required to provide at least four ideas, but your students can come up with as many as they'd like. Just don't let them get too attached to any one idea at this stage. 3. Design Design is where you take those ideas, decide on an approach, and envision your solution. My students would pres - ent their ideas to a small group to get feedback before settling on one. Then they would write out a short script and The seven-step STEM Fab Studio process. 30 JANUARY 2019 SchoolArts

Articles in this issue

Archives of this issue

view archives of SchoolArts Magazine - JAN 2019