SchoolArts Magazine

APR 2014

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: http://www.schoolartsdigital.com/i/271882

Contents of this Issue

Navigation

Page 14 of 62

The Essential Question How can students best learn about how colors relate to one another? Objective Students will create a unique piece , proper relationship to one another, mixing paints to cr . Materials paper or canvas boar watercolor, and/or oil paint; paint- brushes; color wheels Procedures 1. Students should design a pre- clear areas with which to make the "color wheel." 2. Using the color wheel for refer- ence, students should mark where each color will go. 3. Have students transfer the design to the final canvas or paper. 4. Ask students to select the paints compositions, then mix the colors colors. 5. Students should paint their com- positions, then title and sign their work. Assessment Did student incorporated the twelve colors in proper relationship to one another? Can student explain how e created? By Laurie Bellet, art specialist at Oakland Hebrew Day School in Oakland, California, and creative consultant for Tora Aura Produc- tions. The Essential Question n basic ceramic handbuilding techniques? Objective Students will create a "mini-crea- tur . Materials low-fir paint Procedure 1. Give each student a small piece , appr 2. into an interesting shape. This will eature. 3. eate 4. Attach the features with slip. 5. e. 6. Assessment Were mini-creatures constructed pr e and ere students able to create interesting creatur ferent features? By Janice Corsino, visual art teacher at Le Jardin Academy, Kailua, Hawaii. Mundane to Metaphorical High School Mini-Creatures Elementary Textur Early Childhood The Essential Question e texture in a short, engaging ceram- ics lesson? Objective Students will create a textured ceramic pendant using stamps, shoe treads, and found objects. Materials , ceramic kiln (or use air bamboo skewers, found objects that have varied surfaces, students' shoes, watered-down tempera paint and metallic rubs, ceramic glazes, assorted beads, leather cording Procedures 1. Introduce students to texture in textured surfaces, allowing students to feel them. Have students brain- es found in the artroom and outdoors. 2. Give each table a pre-rolled slab , ΒΌ"(0.6 cm) thick. 3. Instruct students to use the end of a paper towel roll to cut out a cir 4. to create texture on their pendants, such as cork or sea sponge, the back end of a paintbrush, a tooth- brush, textured rubber stamps, and even their shoe tread. Ask student back. 5. Demonstrate how to create a using a bamboo skewer to push all . 6. , then fire to Cone 04. If . 7. During the next class period, students can paint their pendants. ough green sponge to scratch off some of the paint once it' . A nice finish- ing touch is to a small amount of metallic rub to create definition. students glaze their pieces. 8. string their pendants and some beads on a piece of leather cord or fishing line. By Angela Alexander, art teacher at the Academy, a charter school in Westminster, Colorado. Image credit: Keaton, Maggie, and Diego Personal Color Wheel Middle School The Essential Question How can the same mundane students to create exciting still-life compositions with a wide range of metaphorical content? Objective W , students will arrange into a still-life composi- tion a brown paper bag, length of twine or rope, a clothespin, and an optional paper clip to create a metaphor for the concept of their choice. Materials brown paper lunch bags, one per student; twine or narrow rope, appr - dent; clothespins and paper clips, one each per student; white draw- ing paper or a mid-tone charcoal paper; graphite pencils; vine, com- pressed, and white charcoal; blend- ing stumps or cotton swabs; erasers Procedures 1. Explain the challenge and hand out materials. 2. Coach students in the creation of a successful still-life in which the concept is not too obscure nor too obvious. 3. Direct students in the creation of thumbnail sketches to work out compositional issues, helping them choose their most successful thumbnail. 4. Guide students in transferring their thumbnail sketches to larger paper, creating realistic drawings with expressive mark-making. 5. Encourage students to create strong value contrast for maximum impact. Assessment , weighing techni- cal skill, composition, and content opriate. Look for concepts that are communicated viewer to understand the gist, while not being too obvious or illustrative. By Betsy DiJulio, art teacher at Princess Anne High School in Virginia Beach, Virginia. Image credit: Body image metaphor by Lydia Jabs. Apr_14_clipcards.indd 11 1/23/14 11:56 AM

Articles in this issue

Archives of this issue

view archives of SchoolArts Magazine - APR 2014