SchoolArts Magazine

October 2016

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 60 of 66

CONTINUED FROM PAGE 37. CONTINUED FROM PAGE 42. 56 OCTOBER 2016 SchoolArts niques, and surfaces, but I prefer to talk with students individually about their choice of media and the support they are planning to use before they begin. In doing this, the pros and cons are presented to each student before a decision is made about the direction in which they want go. This helps students avoid potential disasters. Attention to Success After students complete layout drawings, I conduct a final check of their artwork before giving them my "thumbs up." Next, students work towards completion. I follow a similar pattern during this stage; consulting, questioning, and doing small tech- nique demonstrations right up until the very end. In doing all this, I've been able to give all my students the individual attention they deserve and confidence they need to experience some level of success. Class Critique Critique is a powerful part of the over- all development of the artist. It pro- vides students opportunities to give and receive constructive criticism, engage in dialogue with their peers, and explain what their work is about. Students were placed in groups of three or four. Each group was given a critique form, responsibilities, and a list of specific art vocabulary words that were to be used in their discus - sions. Evaluators were responsible for leading their group in a discussion about their assigned artwork, while group leaders took detailed notes on the group's findings and presented them to the class. This gave artists an opportunity to see how their peers reacted to their artwork. In addition, I provided students with extra com - mentary and the chance to take their work back to make any revisions they felt necessary before turning it in for display. John Zilewicz, Jr. is a visual arts teacher at Niles West High School in Skokie, Illi- nois, and northeast council vice-president for the Illinois Art Education Association. johzil@ N A T I O N A L S T A N D A R D Creating: Conceiving and developing new artistic ideas and work. W E B L I N K DIY Natural Paint Recipes Natural Milk Paint 1. Mix 1 part pigment (purchased online or harvested from nature and ground to a fine powder) with 1 part milk powder (with whisk or slotted spoon). Mix slowly to avoid creating dust in the air. 2. Add water to desired thickness. For watercolor effects, add more water. Mix what you'll use in each ses- sion. 3. If there is leftover mixed paint, store it in the refrigerator. Natural Egg Tempera Paint Egg tempera produces a crisp, lumi- nous, water-soluble, and fast-drying paint. 1. Break open an egg and separate the yolk from the white. Keeping the yolk whole, dry it by passing it back and forth in the palms of your hands with a paper towel. 2. Remove the egg yolk from the sac: Hold the yolk over a dish or jar with your thumb and forefinger, and pierce the sac to allow the contents to flow out. Discard the empty sac. 3. Mix the yolk with earth pigments in a bowl, using water to thin the paint. A drop or two of clove oil can be added to slow spoilage if the paint will be stored. Tempera paint does not store well once mixed, so paint away. Leah Fanning Mebane is a professional artist who enjoys harvesting earth pig- ments in the wild and making natural paint. fanningart@ W E B L I N K

Articles in this issue

Links on this page

Archives of this issue

view archives of SchoolArts Magazine - October 2016