SchoolArts - October 2008

When the first bunch of new “designers” was ready to move to the next step, we set up a small office space in a corner of the classroom. Here they participated in a formal interview, complete with a manager, a review of their documents, and a defense of their designs. Initially, I was the manager, but I was quickly replaced with students who obtained a position within the company. These students were responsible for being the interviewers and the camera operators (we tried to videotape each interview). In the meantime, the students who needed more time were able to devote their attention to their blueprints.

low, or blue. On the board there are corresponding colors with a job listed next to each color.

During set-up or clean-up, students
were responsible for doing their part.
This system allowed them to see that
if they do their small part, the big
job gets done. The colors that they
were assigned
stay the same
throughout the
unit and the
instructor can
rotate the colors
on the board.
This way, stu-

dents don’t feel that they are “stuck” doing the same job over and over again.

Studio time is spent utilizing blueprints and early sketches to aid in the construction of the clay prototype. Students invested more in the creative process when they saw how their ideas have changed and evolved since the initial challenge was set before them. They realized that moving from an abstract concept, to a two-dimensional design, to a three-dimensional sculpture requires planning, perseverance, and understanding of formal concepts. Each shoe sculpture must be a unique design that solves a problem, has some remarkable special features, pays homage to a favorite person, or has other superlatives in its description (i.e., most comfortable slipper, best hiking shoe, etc.).

Students were challenged to
apply for a job by submitting
an application, a large blueprint
of their proposed design, and a
signed company contract.

Real-World Connections

When students have had their new sculpture fired, and they have painted and added all their details to the surface, they were asked to reflect on the entire process. The class, as a group, had a formal critique that focused on the diversity and complexity of the design solutions. Each “designer” was asked to write a letter to a real shoe company to articulately persuade the company why their new prototype would be a wonderful addition to their latest shoe line.

This real-world job concept can be implemented with any number of “products.” I have had seventh graders making mini clay guitars, sixth graders making prototype clay watches, and I’ve even tried designing skateboards with my eighth graders. I invite you to try it.

The Construction of a Prototype

Once students completed their two-dimensional designs and a large percentage conclude their interviews, it is time to move on to the three-dimensional construction of the prototype shoes.

We worked at a scale half-size of an authentic shoe (this saves materials and avoids some storage issues). Formal hand-building demonstrations were given and studio time was maximized by the inclusion of another job structure. Each student was assigned one of four job colors: red, green, yel-

Andrew Katz is visual arts coordinator and middle school visual thinking instructor at the Key School in Annapolis, Maryland. akatz@keyschool.org

Students use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks.