SchoolArts Magazine

November 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: http://www.schoolartsdigital.com/i/735630

Contents of this Issue

Navigation

Page 37 of 54

SCHOOLARTSMAGAZINE.COM 33 Envisioning Objects Have each student choose an organic object, such as a pinecone, seedpod, or seashell, to be the subject of close observation. Tell students: Imagine that you are a seed—a special seed that is then planted. Ask them what kinds of colors, shapes, and textures their seed would have and to imagine the kind of stem-and-flower structure that is growing from the seed. Would the textures be smooth, prickly, or have thorns? What colors or shapes would this unique plant structure possess? H ave students draw this image in their sketchbooks. Then distribute large 24 x 36" (61 x 91 cm) paper and tempera paint sticks. Ask students to enlarge their sketches to fill the paper. As they work, ask them if they are having any changes in their thinking as their images become larger. Have they needed to include or develop other details? Is there a strong use of line, texture, and color? Changes can be made or practiced in students' sketchbooks before they draw their final images. What's in a Word? Once the drawings are finished, ask students to select a page from a used or donated dictionary that includes a word offering further insight for the viewer into the person who created the image. This paper becomes the background of the student's artwork. Three-Line Poetry Ask students to write a three-line poem that shows a connection and insight between the text, image, and the student's thinking. Encourage The plant structure represents a metaphor as to the person, their journe , and what the ope to become in the future. students to write their poems in clas- sic haiku form (seventeen syllables divided into three lines of five, then seven, then five syllables). Creative Responses Each final artwork should include the poem and the painted image of the seed, plant, and flower on the diction- ary page. For display, the work can be mounted onto black foam board. T his project allows for thought- ful insight and reflection as well as creative response. As art teachers, we should continue to be open to reusing, recycling, and repurposing materials that are free and readily available. In this case, one can include old encyclo- pedias, phone books, and dictionaries. Assessment Do the seed, plant, and flower show a uniqueness and personal expression? Is the image developed with skill and thought? Descriptive visual details found in texture and color hold great potential for symbolism. Angela Mikula is a K– 8 art teacher at Delaware Township School in Seargents- ville, New Jersey. amikula@ dtsk8.org Ken Vieth is an art education consultant, a contributing author of The Visual Expe- rience, and author of From Ordinary to Extraordinary and Engaging the Adoles- cent Mind (Davis Publications). kcvieth@ gmail.com N A T I O N A L S T A N D A R D Connecting: Relating artistic ideas and work with personal meaning and external context. W E B L I N K theseedsite.co.uk/seedpods.html

Articles in this issue

Links on this page

Archives of this issue

view archives of SchoolArts Magazine - November 2016