SchoolArts Magazine

OCT 2010

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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Transparent Hearts Early Childhood Objective Students will choose warm or cool colored tissue paper to create a translucent design on transparency film. 5. Have students glue the tissue paper to the film until it is completely covered with color. 6. After the tissue has dried, students should sandwich the film with two pieces of black paper that have a die-cut shape cut out of them. Staple or glue all three layers together. Materials bleeding tissue paper cut up into 1" (2.5 cm) squares, 5 x 5" (12.5 x 12.5 cm) transparency film, glue, die cut shape out of black paper Assessment Did students stick to their chosen color schemes? Did students overlap the tissue paper to create additional color combinations? Procedures 1. Discuss warm and cool colors by talking about the heat of the sun and the cool water of a pool. 2. Have students talk about things that are transparent such as windows, water, and glass. 3. Give each student a piece of transparency film taped to card stock. 4. Put out trays of tissue paper and have students choose warm or cool colors with which to create their designs. Extension Finished designs could be used to create greeting cards or ornaments for different occasions. This lesson could also be used as an introduction to stained glass. The Art Problem Help young children understand transparency and introduce them to warm and cool colors. By Tisha Burke, art teacher at Greenville Elementary in Warrenton, Fauquier County, Virginia. Artwork by Reid Soliday, preschool. Magnificent Magazine Miss The Art Problem How can students better understand shape, color, composition, and collage by assembling magazine pages and newspaper scraps? Objectives Students will create different parts of a "Magazine Miss" (or Mister, if they choose) and learn different techniques to fold, bend, curl, and assemble a collage using magazine pages and magazine scraps. Students will learn how to use a variety of shapes and colors to create a character. Materials old magazines and newspaper, utility knives, scissors, heavy-duty serrated-edge shears, hot glue guns, glue sticks, foam board, pencils Procedures 1. Show students examples of recycled art that uses newspaper and magazines. 2. Provide each student with one sheet of foam board and ask them to outline different body parts in pencil. 3. Have students cut out (with supervision) the parts from the Middle School foam board using a utility knife or heavy-duty serrated-edge shears. 4. Have students cut out pages of magazines and newspapers. Demonstrate how to roll and curl magazine pages tightly to create strips for hair, then demonstrate how to cut out strips to create clothes and skin. 5. Have students place their strips on each individual body part. Demonstrate how to use a glue gun safely, then glue the strips onto the foam board. 6. When all the paper is glued down, have students trim the excess paper off the edges of the boards. 7. Once all the parts are collaged, use the glue gun to join the different parts of the body and create their Magazine Miss or Mister. Assessment To what extent did student's artwork express an understanding of collage, mixed media, composition, and color to create the shape of a person? By Cindy Hasio, teaching fellow and Ph.D. student in art education at the University of North Texas. Modeling Science with Art The Art Problem How can students successfully demonstrate the things they learn in science class through art? Objective After a unit in which we extracted pigments from fruits and vegetables and used those pigments to paint pictures, we took our learning one step further: We modeled what we had learned using modeling clay! Procedures 1. Each student explained a fact that he or she had learned during the unit and modeled a character or scene that could explain the learning. For instance, one student explained the four types of plant pigments and the colors that can be made from them by creating a model of a person explaining the four types. Another student modeled a scientist holding a bottle and talking about extracting pigments. Modeled cheerleaders cheered about the extracted colors from fruits and vegetables. Elementary 2. Each student was given access to several colors of modeling clay. The clay was then manipulated and sculpted to explain/portray the fact by using a stylus and simple clay tools. 3. Modeled clay figures were attached to a colored piece of mat board that each student colorized with paint, clay, etc. 4. Captions were typed on the computer and glued to the display board. I photographed each scene and we put together a PowerPoint presentation to explain our learning. By Karen Skophammer, art instructor for Manson Northwest Webster Schools in Barnum and Manson, Iowa. Compositional Connections The Art Problem How can students explore effective ways to create unity within a composition? Objectives Students will use a variety of design strategies to link two dissimilarly shaped images. For my class, I chose an anatomical heart and a human torso. Materials drawings of two dissimilar images (from students' previous work in their sketchbooks or examples from a book or the Internet), sketchbook, pencils and erasers, ball-point pens and permanent markers (black), other media suitable for working in sketchbooks Procedures 1. Prior to class, show and discuss examples of a variety of compositional strategies including cropping, under- and over-lapping, "echo" lines, etc. Encourage students to add to your list if desired. 2. Challenge students to build visually unified compositions around two dissimilar images by incorporating a variety of the design strategies discussed. High School 3. Gently push students to experiment with strategies that are outside of their comfort zone to produce a more unified, but also more complex, visually interesting and engaging composition. Assessment Ask students to trade sketchbooks with a classmate and, on a card that can be glued into the owner's sketchbook, each student identifies and analyzes his or her partner's use of the compositional strategies. They should answer the question, "How did the student's use of the compositional strategies affect principles of design such as emphasis, variety, and movement?" If appropriate, each student may also interpret the meaning of their partner's resulting compositions. Extension Translate sketchbook compositions into larger, finished works of art. By Betsy DiJulio, an NBC art teacher at Princess Anne High School in Virginia Beach, Virginia. Artwork by Anthony Martin, grade twelve.

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