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We help people make great things!
...like smiles!
or more inormation on Skutt Kilns or to fnd a distributor, visit us at www.skutt.com or call us directly at 503.774.6000
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3w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
Creativityleadschange
Online M.A. in Art Education
As an art teacher, you enrich your students’ lives. You teach them to see and value diverse perspectives.You encourage and celebrate creativity. Your proessional expertise changes the world one student at a time.
Western Michigan University ofers an online M.A. in Art Education so you can enhance your teaching skillswherever you are. Improve your students’ learning, both in and out o the art room. Make your classroommore engaging. Make your art program what you want it to be.
Find out more today. www.wmich.edu/online/arteducation
Online
Education
Enter your classroom into the Wyland National “Water Is Life” Art Challenge and receive a free canvas mural kit for your class, along with art tipsfrom renowned muralist and conservationist Wyland, and a teacher lesson booklet based on national art standards. Contest categories include
grades K-4, 5-8, 9-12. Over $2,500 in classroom prizes to give away.
To regis ter for your fr ee mural canvas k it, sign up at www.wylandfoundation.org/artchallenge or call 1 800 WYLAND-0.
Hurry, canvases available while supplies last.
The fou ndation is a 501(c )(3 ) non-p rofit org anizat ion
Ocean Mural Contest, Top finisher, Miami Shores Community Center & Home Schoolers of Miami Enrichment, Miami FL
PRESENTED BY WITH SUPPORT FROM:
CELEBRATE OUR OCEAN, LAKES, RIVERS, STREAMS, AND WETLANDS.
C O M I N G F A L L 2 0 1 3
E N T E R Y O U R C L A S S T O D A Y !
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4 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
PrOTeCT THe PLaNeT THrOUGH arT14 WYLAND: ARTIST AND CONSERVATIONIST Steve Creech
16 RECYCLING RENAISSANCE: RECYCLED GARDENS Lynn Gof f
18 RECYCLING RENAISSANCE: JUNK JEWELRY NECKLACES Viki Reed
46 TRIED & TRUE TIPS FOR ART TEACHERS: A CREATIVE FINISH Glenda Lubiner
eND-OF-THe-year IDeas20 MULTIPLE-PURPOSE REVIEW MURALS Rebecca Martin-Meissner
22 CARICATURE SELF-PORTRAITS Tracy Fortune
29 GRAFFITI-STYLE TEXT WARP Stephanie Syrakis
sPeCIaL FeaTUres aND COLUMNs12 iPONDER THE iPAD: TABLET TEST DRIVE Cris Guenter
13 STEPPING STONES: WAYS TO PREVENT BURNOUT Heidi O’Hanley
42 CLAY TIPS FROM DAVID AND TRACY GAMBLE: CHOOSING GLAZE COLORS
David L. Gamble
reaDy-TO-Use CLassrOOM resOUrCes23 CLIP & SAVE ART PRINT FEATURE, MYTHOLOGY IN ART:
BARONG Colleen Carroll
27 ARTISTS PAINT ... IMPRESSIONISM Barbara Herberholz
45 ARTIST OF THE MONTH: PAUL GAUGUIN
a&a aT yOUr serVICe30 2013 SUMMER BUYER’S GUIDE
38 CLAY CORNER
41 AD INDEX
42 VOLUME INDEX
DeParTMeNTs 6 EDITOR’S NOTE
9 MEDIA REVIEWS
10 SHOP TALK
ON THe COVer BELOW THE SURF © 2013, Wyland (American; b. 1956).
Oil on canvas; 36" x 24". Artwork appears courtesy of Wyland.
See “Wyland: Artist and Conservationist,” page 14.
CONTENTSVOLUME 153, No. 5 JUNE 2013
SUBSCRIPTIONS: (858) 605-0251; [email protected]. AD SALES: (800) 826-2216; [email protected]. AD PRODUCTION: [email protected]. EDITORIAL: (858) 605-0242; [email protected]. FAX: (858)605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.
Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign
subscriptions, add $20 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery tohis or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodicalpostage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark.
POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.
18
20
23
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Glaze Class Packs (glāz klas paks) n.1. Collections of the highest quality glazes in pint jars.
2. Easy to order.
3. Easy on the budget.
America’s Most Trusted Glazes™Lead Free
Tracey Suchy, West Newton Elementary School, Indpls., IN
GlazeClassPacks.com
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What a wonderul thing, protecting the planet through art. How? One way is creative, conscientious art teachers presenting
challenges to students that embrace reusing and recycling. Then there is the ar tist
Wyland, whose raison d'être, one could say, is raising our awareness about how
art can help us to appreciate and care more or the natural world around us (see
“Wyland: Artist and Conservationist” on page 14.)
Over the past 20 years, Wyland has painted with more than a million
youngsters, sharing his techniques and spreading his message. This all, the
Wyland Foundation will be holding its ar t challenge, “Water is Lie.” This art-
education program is dedicated to exploring the beauty o our oceans, lakes,
rivers, streams and wetlands through a collaborative art experience. Learn
more at www.wylandoundation.org/artchallenge, and be sure to sign up soon!
“Recycling Renaissance: Recycled Gardens” shareshow Lynn Go gave new lie to the discarded green paper in her scrap bins. She
turned it into a sculpting medium with which students built miniature Japa-
nese tea gardens. From the experience, the children learned that, with a bit o
imagination and industry, art materials can be ashioned rom what appear to
be throwaways. Take a look on page 16.
Viki Reed’s students came to understand the valueo discarded objects in “Recycling Renaissance: Junk Jewelry Necklaces” (page
18). Writes Viki, “When local recycling artist Shari Keith walked into the art
room wearing a skirt made o men’s old ties—with a salvaged pair o ladies
gloves sewn on the back or pockets—our students took notice!”
As part o their school’s “Go Green” campaign, students became involved in
a recycling art activity that also integrated math, writing and reading. When
asked how their thoughts about junk changed ater the activity, one boy summed
it up: “Junk is a misunderstood treasure!”
Don’t miss two perect projects or this time o year,when things are winding down in the art room: Tracy Fortune’s “Caricature
Sel-Portraits” (page 22) and “Grati-Style Text Warp” (page 29) by Stephanie
Syrakis. These activities will enthrall and engage your students during the
dwindling school days, challenge their minds and exercise their ar t skills.
As we close our 80th Anniversary year, we thank you or being such good riends o the magazine. We look orward to many more
years o sharing with each other the good things
happening in our nation’s art rooms. Enjoy the
summer, and we will see you soon.
e d i t o r ’ s n o t e
Maryellen Bridge, Editor and Publisher
Follow us on
p r e s i d e n t Thom von ron
e d i t o r a n d p u b l i s h e r Mlln Bidg
a r t d i r e c t o r Niki ackmnn
e d i t o r i a l a s s i s t a n t anntt Bdg
e D I T O r I a L a D V I s O r y B O a r D
eugn Gigb, J. Professor Emeritus, ArizonaState University, Tempe
Ci e. Gunt Professor of Arts Education/
Curriculum & InstructionCalifornia State University, Chico
Jom J. Humn Visiting Professor, Art Dept,
University of Wisconsin, Milwaukee
Bb Hbholz Art Edu cat ion Con sul tan t,Sacramento, California
Mk M. Johnon Director, Montgomery Museumof Fine Arts, Montgomery, Alabama
Gog székl Senior Professor of Art Education,
University of Kentucky, Lexington
C O N T r I B U T I N G e D I T O r s
Chl ann Bw Adju nct , Art Ins tit ute of Was hingto n Arli ngt on, Vir gin ia
Colln Coll Curriculum Writer and Author of Children’s Art-AppreciationBooks, Sleepy Hollow, New York
Gi Gnmn Art Dep t. Hea d ( Ret ire d), Wil lowb roo k Hig h S cho ol, Vil la Par k, Illi noi s
Pul Guhin Art Teac her (Re tir ed) , Cen tra l H ighSchool, Aberdeen, South Dakota
Pt Hill Art Teac her (gr ade s 1 –8), All Sai nts’ Epi sco pal Day School ,Carmel, California
Dbi Wt Lead Visual Art Teacher,
North Gwinnett High School,Suwanee, Georgia
a D V e r T I s I N G D e P a r T M e N T
a d v e r t i s i n g m a n a g e r Tc Bdicko tracy @artsandactivities.com
800.826.2216 or 888.651.7567
p r o d u c t i o n d i r e c t o r Lind Pton
p r o d u c t i o n m a n a g e r Kvin Lwi [email protected]
H O W T O r e a C H a r T s & a C T I V I T I e s
subciption svic To subscribe, renew, change an address or buy singlecopies, contact [email protected] (866) 278-7678.
Ltt to th edito Letters pertaining to magazine content and art educationin general are welcomed. Arts & Activities reserves the right to edit all letters for space and clarity. Send to [email protected]
Mnucipt Subjects dealing with art-education practice at the elementary andsecondary levels, teacher education and uses of community resources, are invited.Materials are handled with care; however, the publisher assumes no responsibility for loss or damage. Unsolicited material must be accompanied by a self-addressed,stamped envelope. For Writer’s Guidelines, visit www.artsandactivities.com/ WritersGuides. Address all materials to the attention of the Editor. Simultaneoussubmissions will not be considered or accepted.
Indx/Micoflm Article s are indexed i n Janu ary and June is sues. Issuesof Arts & Activities are available on microfilm and photocopies from: ProQuest Information and Learning, P.O. Box 1346, 300 N. Zeeb Rd., Ann Arbor, MI48106. (Issues beginning with January 1977 are available in microfiche.) Thefull text of Arts & Activities is also available in the electronic versions of theEducation Index.
Copight Pmiion Reproduction of any portion of this magazine without written permission is prohibited. Contact the Editor at the address shownbelow or the email address to the left or contact Copyright Clearance Center, 222Rosewood Dr., Danvers, MA 01923, (978) 750-8400, copyright.com.
www.tndctiviti.com
12345 World Trade Dr., San Diego, CA 92128 (866) 278-7678. Fax: (858) 605-0247.
Copyright © 2013 by Publishers’ Development Corp. All rights reserved.
PRINTED IN THE U.S.A.
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9w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
m e d i a r e v i e w s aUDIOVIsUaL BOOK/PrINT Jerome J. Hausman • Paula Guhin • Peter Hiller
CLICK CLICK CLICK! Photogph fo Childn (2011; $14.95), by George
Sullivan. Prestel Publishing.
Don’t let the pedestrian cover o thisbook ool you. Inside is an ediying,
inormative resource printed on heavy-
weight paper. Although there’s noth-
ing new about the suggested projects,
the numerous tips are helpul and the
images are sublime.
The prolic author (he has written
more than 100 books or young read-
ers) includes inormation about master
photographers Ansel Adams, Walker
Evans, Lewis Hine and other principal
gures. He shares quotes as well asinsights into their lives and their work.
Middle-and high-school teachers
will most appreciate this hardcover
book. It is 96 pages long, includes an
instructive section on the pinhole cam-
era and a chapter covering the history
o photography and the men credited
with inventing it. Among the 130 illus-
trations are those photos documenting
key events in time, e. g. rst fight, rst
atomic explosion and so on.
One o the more enjoyable projectsa photography teacher can schedule
is to book a computer lab and ask the
class to work at a photo-editing site
online. Sullivan makes brie mention o
the many ree, un sites available.–P. G.
www.prestel.com
LeT’s MaKe sOMe GreaT arT(2011; $19.95), by Marion Deuchars. Lau-
rence King Publishing Ltd. Written and illustrated by an artist
(and mother), Let’s Make Some Great
Art is sizeable and teeming with ideas
that ll 224 pages. Many o us will
discover nothing new in the activities,
but many o the pages oer excellent
prompts that encourage imaginative,
inventive art-making.
Some copying is suggested and the
publication is a coloring book on many
pages. While the author includes hand-
print turkeys, she also adds such tried-and-true techniques as upside-down
drawing, hatching and cross-hatching
and experiments with color. The art/
science connection is addressed (e.g.,
making a rainbow or a Möbius strip).
Deuchars inserts tidbits o worthy inor-mation that will interest older children.
The book is meant or 8-year-old
children and older. It’s a workbook
or, more accurately, a un book. Kids
can create their own versions o the
works o 12 well-known artists. A terse
paragraph about each artist introduces
these activities.
The author believes her book is or
anyone, no matter how old. She shared
her thoughts by e-mail: “For an artist to
develop, we always have to go back and ‘play’ [with] a child-like attitude ... being
spontaneous, all the things that kids do
naturally and adults have to work at! I
believe anyone can learn to draw, or at
the very least, learn to enjoy the process
of making art and that was the incentive
behind this book.”
Buy it or the drawing games and
or those exercises that stimulate sel-
expression and individuality.–P.G.
www.laurenceking.com
THe FaNTasTIC JUNGLes OF HeNrIrOUsseaU (2012; $17), Michelle
Markel (Author) Amanda Hall (Illustra-
tor). Eerdmans Books for Young Readers.
Did you know that eminent painter
Henri Rousseau was sel-taught rom
the age o 40? He studied photographs,
illustrations and paintings in the Lou-
vre. His antasies o other lands were
inspired by the Exposition Universellein Paris in 1889 (the World’s Fair). His
devotion to nature led him to sketch
rom lie at the Jardin des Plantes.
We endorse this picture book biog-
raphy or primary schools and the par-
ents o kids ages 5–9. Anyone, includ-
ing adults, could get lost in admiration
or the exceptional paintings o Amanda
Hall, while Michelle Markel’s writing is
expressive and moving.
The Fantastic Jungles of Henri Rous-
seau is a story o persistence andresolve and its signicance will not be
lost on children. Repeatedly panned
by severe critics, orced to give music
lessons to help support himsel, Rous-
seau did not give up. He was somewhat
vindicated in his lietime but never a nancial success, although he came
to be appreciated by some o the well-
known gures o his day.
Illustrator Hall altered prints o
Rousseau’s work in some cases. She
used watercolors and acrylics to create
densely colored paintings, two o which
eature actual historical gures such as
Georges Braque and Marie Laurencin.
Two keys in the back o the book iden-
tiy them. Back matter also includes a
denition o naïve art.Markel, who lives in the United
States, is an experienced children’s
book author and considers it an honor.
Artist Amanda Hall lives in England.
She states that she “likes cats, curious
aardvarks and big cups o tea.”–P.G.
www.eerdmans.com/youngreaders
raLPH MasIeLLO’s rOBOT DraW-
ING BOOK (2011; $16.95), by Ralph Masiello. Charlesbridge Publishing.
First- through ourth-graders who
love all things mechanical will eat
this one up. Step-by-step diagrams
show young artists how to draw
splendid robotic creatures. Kids and
teachers alike can ollow the clear,
easy-to-ollow illustrations o draw-
ings in progress.
To increase the odds o insert-
ing some originality, additional steps
encourage customization o the draw-ings. Drawing armor, more-challenging
claws, pulleys and gears are a way or
the more advanced student to add char-
acter and detail to his or her creation.
Masiello believes that simple steps
make anyone an artist. Each new action
is drawn in red, and more advanced
additions are drawn in blue. Finished
‘bots are shown ull-page and in ull
color. Most o them employ shading
and highlighting, although neither tech-
nique is described or explained.–P.G.
www.charlesbridge.com
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10 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
s h o p t a l k
sUsaN sTrIKer M is or Mola is an alphabet book by
author Susan Striker that introduces
children to the world’s wildlie through
recently discovered mola masterpiecesby Panama’s Kuna Indians. Colorul
reverse appliqué and detailed embroi-
dery teach visual discrimination and
will ascinate both children and adults.
www.k.cm
sHaIN sOLUTIONsShain’s Clay Wedging Table eatures a
solid maple rame, and includes a wire
clay cutter and tabletop pole. Its can-
vas cover attaches under the laminate
tabletop’s edges with hook-and-looptape. Apron supports and steel corner
braces add strength to the rame. Non-
skid adjustable glides on the legs keep
the table stable on uneven suraces.
www..cm
CHrONICLe BOOKs Dream Carver, by Diana Cohn and Amy
Cordova, is inspired by renowned Oax-
acan wood-carver Manuel Jimenez. It
tells the story o Mateo, a young wood-carver who breaks with entrenched
artistic tradition. The main message
o the book is that imagination can
become a compelling orce or change.
www.cck.cm
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11w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
earTH GUILDColorul, hand-painted, 30-inch-long
paper strips rom Earth Guild are just
the thing to help students weave beau-
tiul baskets. Choose rom 0.25-inch-or 3.5 mm–wide strips. Made rom 140-
lb. cotton rag, cold-press paper. Each
package has enough to make two or
three baskets, small to medium in size.
Ten colors to choose rom, such as
Gold, Rust & Black (bottom row, let),
Turquoise & Copper (center) and Tur-
quoise & Silver (right), shown above.
Basic instructions or a cat-head bas-
ket are included.
www.g.cm
DUCK BraNDDuck® Brand duct tape sheets can be
used on brick, concrete, abric, metal,
paper, plastic, wood and more, and
come in an assortment o colors, as
well as zebra and leopard patterns.
The repositionable sheets work best
on clean, dry suraces. The 8.25" x 10"
sheets are easy to use—simply cut,
peel o the backer paper and adhere
where you wish.
www.ck.cm
4 Enron StreetBeverly, MA 01915
1-800-462-2420Fax 1-978-922-1495
Crayola® quality markers have vibrant col-
ors, durable nibs and generous ink supply.
Waterbased, they are CP approved non-
toxic for school use. Cone tip markers can
be used for both fine and broad strokes.
“Visit us at www.allartsupplies.com”
256 Washable Markers
Each set contains eight regular colors and grey,
pink, lt. green, tiger orange, raspberry,
turquoise, royal blue and tan.
no. 8201 - $85.63
Free Catalog
Crayola®Classpack™
Markers
CANVAS • MUSLIN • SCRIM • THEATRE FABRIC
CURTAIN TRACK • DYES
PH.: (773) 478-5700 • FAX: (773) 588-3139
WWW.CHICAGOCANVAS.COM
Send them to
“Tried & True Tips for Art Teachers”
email:[email protected]
Do you haveart-teaching tips
to share?
Do you haveart-teaching tips
to share?
PhelPs PublishingGreat Art Instruction Books for Schools
and Libraries. Learn how to draw People,Supercharacters, Animals and more.
Box 22401-AC Cleveland, OH 44122www.ppp.com
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12 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
>> M610Xa DraWING TaBLeT Genius, KYE Corp. While I typically report on apps and accessories or the
iPad in this column, I have long been a user o drawing
tablets. So, when I recently was asked i I would try out the
Genius EasyPen M610XA Drawing Tablet, I was curious,
and willing to give it a tr y and share my thoughts with you.
The M610XA is a mid-range priced drawing tablet that is
USB-based and runs on both Mac and Windows. This tablet
comes with the driver that makes it work (and must be
installed rom the CD rst), Adobe® Photoshop® Elements
9, Corel Painter Essentials 4, a cordless drawing pen that
requires one AAA battery (included), two extra pen tips and
pen-tip tweezers. There is a
multi-language booklet or
setting up the tablet.
There are more recent
versions o Photoshop Ele-ments and Painter Essen-
tials 4 now available on the
market, but just having two
art applications included
that can take ull advantage
o the capabilities o this
tablet makes or a very rea-
sonable, practical bundle.
The drawing/handwrit-
ing surace area or the
EasyPen Drawing Tablet
is 6" x 10" inches and theactual tablet measures
10" x 12". The design o
the tablet is sleek and thin. The our main unction buttons
at the top o the tablet are clearly labeled—Undo, Erase,Zoom in and Zoom out.
The tablet includes a transparent overlay sheet or use
in tracing or outlining drawings or diagrams. There are
“sot keys” available or establishing some pre-set tasks, i
you desire. The pressure sensitivity between pen and tablet
surace is impressive.
With the battery inside the pen, there is a bit o het to it
that many may appreciate. It took a bit o practice or me to
gure out how the pen actually unctioned. The experience
was similar to when one purchases a new car and things
are unamiliar or a bit.
I think this was because there is right-click button built into the pen handle. I am a Mac user, and am not used
to the right-click unction and kept accidentally clicking
it as I grasped the pen. Ater guring that out, the pen
responded easily to the tablet surace—even just above
the tablet surace.
Compared to a well-known tablet, I simply needed to
make a ew extra clicks with this one to get the same tasks
accomplished. While users o this tablet will nd no rills,
there is a ocus on digital drawing or painting. To me, this
tablet seems suitable or those seeking a basic drawing tab-
let to supplement their digital art e orts on the computer.
The Genius M610XA EasyPen Drawing Tablet iscompatible with Windows 7/Vista/XP and Mac OS 10.4
or above. To use it, you need an available USB port and a
CD/DVD-ROM drive. n
Dr. Cris Guenter is a graduate coordinator in the School o
Education o Caliornia State University, Chico, and serves on
the Editorial Advisory Board o Arts & Activities.
by Cris Guenter
TABLET TEST DRIVE
Wit te many art apps available or te iPad, ow do you know wic onesto coose? In eac column, Cris Guenter will review an app appropriate orart education or an iPad accessory. Cris will be igligting key eatures andsaring useul tips, all to elp you as make your art app coices.
In compltl pt viw, 6--old Izbll gv th Gniu eyPn M610XaDwing Tblt whil. sh thought it w lot o un nd hop to u it gin oon to ct
mo t. Uing pu-nitiv gphic tblt to dw nd pint i modn w tongg tudnt whil tching t kill nd colo tho.
Th nti tblt mu10" x 12" nd h 6" x 10"dwing uc .
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13w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
asking or an entire stage, think about your priorities. Ask
your co-worker what it is they need, when they need it, and
i the students are capable o doing it. I am a huge an o
student involvement.
GeT THe sTUDeNTs INVOLVeD. Students have a lot o
pride in their own work and are more than willing to
help out. When school props are needed, I try to see what
the students can do. When students have ownership over
their own work and collaborate with others, they gain morepride in themselves and in their school. I encourage students
to do more because I want them to see that they can make
a dierence. It’s not that I don’t want to do the work...I’m
still there guiding them. I help them start the ideas and plan
the ramework o their designs. Once the main shapes are
started, the students take o with their own creativity.
COLLaBOraTe! Sometimes it’s good to break rom
your routine and plan a lesson with a colleague. As
an example, I collaborated with the school social worker
or the character theme “Integrity.” We worked together todesign a project around Earth Day, which gave many ideas
or themes related to integrity (caring or the environment,
taking responsibility, and working together to keep the
community clean).
My coworker and I collaborated to plan the day, classes
participating, and where to work. At the end o the day, 22
classes created 8-oot wide paper murals that were hung
around our school gym, and we ended with a gallery walk!
There were so many bonuses rom this event: the stu-
dents got to collaborate on a theme and their design, teach-
ers worked together to plan meeting times and materials,
it was a nice break rom normal routines, and everyoneinvolved had so much pride in their work, not to mention an
opportunity or a school-wide press release!
At the end o the school year, we’re tired and burnt. We all
get that way even when we’re super motivated. The key is to
never give up, and always try new things. You need to nd
ways to prevent the burn out, and spicing up the curriculum
is a key motivator. Don’t get tired o your job, even with trav-
eling. It’s a rewarding experience and I wouldn’t give it up
or the world. n
Heidi O’Hanley is an art teacher or Wilkins and Lyle Elementary Schools. Visit her blog at www.talesromthe
travellingartteacher.blogspot.com.
M y busiest time o the school year is rom January to April.
Since I travel, the bulk o my displays, contests, shows,
props and kiln loading take up most o the time, and by the
beginning o May, I am tired. Many teachers who take on too
much eel burned out beore the end o the school year. I would
like to share with you some suggestions or making it through.
FOLLOW yOUr CaLeNDar. In the beginning o the
school year, I write everything down in my calendar.
I collect dates or displays, musicals, contests, and anything
else that would be extra on top o my teaching. Having it on
your caldendar, and preparing in advance, prevents you rom
being overwhelmed with projects. I can’t deny that items
pop up without me knowing, and as much as we dislike when
it happens, i it’s in your job description, it must get done!
IF THe WOrKLOaD GeTs HeaVy, FIND a LessON
THaT LIGHTeNs THe LOaD. With all sculpture proj-
ects, paint set up, and storage concerns, sometimes you
need that project to help give you a break. Drawing proj-
ects are the best to use in these situations because materi-
als are the ewest and there are still plenty o concepts to
introduce to the students. You can also try dierent proj-
ects that are quick and un or the students.
As an example, Dale Chihuly’s glass sculptures make
great inspiration or a kindergarten project. All you need
is coee lters, markers, spray starch, and silo cups.
Have the students write their names on the cups withmarkers, then have them decorate the lters with dier-
ent colors. Spray the starch over the lters on top o the
cups and leave them in the classroom to dry. Your result
is a “Chihuly” paper sculpture or the students to have at
home! It’s perect to leave behind in the classroom when
pushing the cart rom room to room.
LearN HOW TO say NO. You may be the go-to
person or visuals in the school, but you also have
your own curriculum to worr y about. I another colleague
asks you or a display, or a prop, or visuals or their ownprogram, think about what you have to do rst. I they ask
or a quick sketch, by all means, help out, but i they’re
Stepping Stones is a montly column tat breaks down seemingly daunting
tasks into simple, manageable “steps” tat any art educator can take and apply
directly to teir classroom. Stepping Stones will explore a variety o topics and
sare advice or art-on-a-cart teacers and tose wit art rooms.
SteppingStones
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by heidi o'hanley
WAYS TO PREVENT BURNOUT
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Ov 500,000 tudnt hv viitd
th Wlnd Cln Wt Mobil
Lning Cnt. Th xhibit includ
40-pon onbod intctiv movi
tht, unning iv, comput-
modl imultion, nd citcp
with ctul lling in, wh tudnt
cn th impct humn hv on
ubn wt tm.
Famed marine-lie artist and con-
servationist Wyland has painted
some o the largest murals on earth.
I have seen him perilously lean over
the edge o a ully extended 80-oot
boom lit to complete the eye on a
lie-size breaching whale. I have elt
the scaolding shake on the side o a 10-story building as he rushes to
nish a pod o dolphins to beat the
ading light.
Wyland has painted 100 o these
murals in over 17 countries, including
many o our nation’s cities. I have mar-
veled and oohed and aahed with the
thousands o spectators each o these
murals draws.
But one o Wyland’s most aston-
ishing achievements is his near total
devotion to sharing the mural cre-
ation experience with students. In
the last 20 years, he has personally
painted with more than a million stu-
dents, sharing his mural techniques
and spreading a powerul message
about the way the arts can teach usto more ully appreciate the natural
world around us. Wyland brings a
resh approach to working collabora-
tively that oers an array o lie les-
sons that transcend the art itsel.
I have seen Wyland marvel over
an enormous blank wall in a blighted
urban area. While some may see only
an eyesore, Wyland sees something
o almost indescribable beauty. In
Th Wlnd Foundtion’ t nd cinc tvling tou hv lndd in ll 50 U.s. tt. H, Wlnd nd goup o oung tit in
st. Loui, Mo., nd thi own dpiction o th Miiippi riv wthd.
by Steve Creech
: Artist and
Conservationist
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his mind’s eye, he is busy complet-
ing an entire ecosystem o massive
marine mammals.
He uses no grids, only a steady hand,
and has an innate ability to imagine his
composition rom the perspective o 500
eet away, even though he is standing
within inches o a wall. He approachesthese works o art with a earlessness
that the best artists must have, not only
by committing to his subject, but doing
so in ull view o the public, who see the
art come to lie at every step.
Through this experience, the view-
ers come to understand that art is not
only about taking mental and oten
emotional risks. It also requires hard,
physical work. In the case o Wyland’s
murals, it may require a boom lit, a sky
climber or a scissor lit, hoses, air com-pressors, generators, paint guns and
more. At the end o the day, the artist
himsel is oten coated in blue acrylic
paint rom head to toe.
Art requires a deep interest and
study in the artist’s subject. Wyland
himsel has logged thousands o hours
as a SCUBA diver and underwater
photographer. He studies light rerac-
tion deep within the sea, and how
the particulates, seasons and time o
day can change that light. He knowsmarine animals by color, shape and
texture. He understands the preda-
tor/prey relationship in the ocean, the
tides, the currents, and the physical
laws beneath the sea that are so di er-
Wlnd touch up dtil on on o hi min-li mul.Cting uch lg mul tk tmin nd pciion tm- wok btwn lit opto nd pint.
ent rom the ones that hold sway over
our terrestrial lives.
Twenty years ago, Wyland started
a nonprot oundation to help children
rediscover the wonder o the ocean
through art. His talented and passion-
ate sta (including mysel) have been
ortunate to play a small role in this
mission. The Wyland Foundation con-
tinues to build on the legacy o wonder Wyland has let in many communities
around the world—with art contests,
exhibitions about resource conserva-
tion, and thousands o live events—
rom Puerto Rico to Washington, D.C.
The Wyland Foundation gives chil-
dren the tools they need to become
more creative, positive and solution-
oriented. In short, all the qualities a
person needs to turn a bleak urban
wall into a refection o the natural
beauty that surrounds us i we only
choose to see it. n
Steve Creech is Executive Director o the nonproit Wyland Foundation and
co-author with Wyland o “Hold Your
Water: 68 Things You Need to Know
to Keep Our Planet Blue” (Andrews
McMeel Publishing; 2006).
a pt o th opning tiviti o th
smithonin Ntionl Muum o Ntul
Hito’ snt Ocn Hll, Wlnd wokd
with locl oungt who ctd thi
own ocn-thmd mul.
GET INVOLVED IN WYLAND’S NATIONAL“WATER IS LIfE” CHALLENGE
Te Wyland Foundation as announced its national art callenge, “Water is Lie.”Te contest encourages students to collaborate on mural-canvas artworks.
Be sure to act now, as a limited number
o ree mural canvas kits, along wit arttips rom Wyland and Standards–basedlessons, are available to U.S. scools ona rst-come, rst-served basis. Register
your class at www.wylandfoundation.org/artchallenge or by calling toll-ree:(800) WYLAND-0 (995-2630).
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RECYCLING renaissance
by Lynn Go
Recycled GardensRecycled GardensThe push to recycle and the reality o
shrinking budgets are both motiva-
tions or developing art lessons that
use materials that might otherwise be
thrown away.
I wanted to teach my third-graders
how to design and create a three-dimen-
sional Japanese tea garden. For the
medium, I turned to my scrap bins lled
with bits o discarded green paper. We would make our own sculpting material
out o those green scraps and, at the
same time, eliminate the step o painting
the topography o our gardens.
Ater a little bit o experimenting, I
came up with a material that worked
quite well and allowed every student
to nd success. To begin the process, I
invested in an inexpensive paper shred-
der to chop all o the green paper
scraps into small pieces.
These were set aside to soak in a bucket o water. I then used a blender to
reduce the soaked paper to pulp, which
was then dumped into a large colander
and drained. Many enthusiastic students
took delight in squeezing the water out o
the pulp until it was just damp.
The pulp was then placed in plastic
coee containers, and layered with a
sprinkling (about a teaspoon) o papier-
mâché paste powder. The paste was
mixed into the pulp by hand so it would
be evenly distributed. When the pulpstarted to eel a little slippery, I knew
that we had a product that could be
handled easily and would stick well to
almost anything! The pulp was sealed
and stored or up to a week with no ill
eects on quality or smell.
To start the unit, we viewed a Power-
Point presentation about the elements and
purpose o Japanese Tea Gardens as they
are ound here in the United States. We
discussed the dierent styles o lanterns
that are ound in the gardens, as well asthe presence o pathways, benches, lakes
and beautiul oliage. My third-graders
Kt
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3
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LEARNING OBJECTIVES
Upp-lmnt tudnt will ...• sculpt te topograpy o a Japanese
Tea Garden using recycled materials.• create elements o a Japanese Tea
Garden using clay.• understand te purpose and connection
o a Japanese Tea Garden as it is oundin te United States.
MATERIALS
• 8" x 10" mat board• Large paintbruses• Gray tempera paint• Combs• Paper scraps• Papier-mâcé paste• Wite eartenware clay• Black watercolor• Beads• Stones• Wooden crat sticks
• Articial oliage
see GARDENS on page 44
study riendship in their curriculum, and
we discussed how the gardens are a place
or two cultures to meet and develop a
mutual understanding.
Ater viewing the presentation, the
students were asked to design a garden
plan while keeping in mind that it must
be drawn rom a bird’s-eye view. They
were to include where they planned to
place lanterns and benches, as well as where they might place a pond with a
bridge and oliage.
During that same class period, the
students painted and combed pieces
o mat board using gray tempera paint
sTeP 1. shd pp.sTeP 2. sok hdddpp in wt.sTeP 3: U blndto mk pulp out ookd pp.sTeP 4. Din ndquz wt out opulp, hown b Kib (lt) nd Chitn.
NATIONAL ART STANDARDS
• Understand and apply media, tecniquesand processes.
• Understand te visual arts in relation to
istory and cultures.
som tudnt md tin cl niml, uch Conno’ duck (lt) nd Cmon’ bbit.
Mgt Mikl
MAKINGTHE PULP
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be used in the next class to create their
own necklaces.
FLUrry OF eXCITeMeNT Day two
brought a furry o excitement as chil-
dren showed their plastic bags o junk
to Mrs. Keith. They chose a bigger
object on which to build their designs,
arranging and rearranging smaller
objects on top o it until they were
satised with their choices. Paper clips
were added that would later serve asholders or the colorul ribbon neck-
lace “chains.” Out came the glue to
hold everything together.
Next, Mrs. Keith showed students
how to pour thick, nontoxic sealer over
metal pour spout rom a box o dish-
washing detergent and her son’s old
orthodontic appliance!
PLayING WITH JUNK She then brought
out large boxes o clean discarded
objects, including toy parts, plastic
shapes, old hardware and unidenti-
able items, and laying one box at each
table, said, “Let’s play with junk and see
what designs we can make!”
Students eagerly sorted throughpiles o old objects, laying out their
pieces on paper, arranging and rear-
ranging symmetrical and asymmetrical
designs. This step was critical in allow-
ing students to think about how small
objects make up the whole. It was a bit
like putting together a puzzle, but noth-
ing had to t perectly. Their designs
were amazing!
At the end o the rst class, Shari
instructed the children to bring in
a plastic sandwich bag o their ownclean, small ound objects (excluding
sharp things or paper). These would
W hen local recycling artist Shari
Keith walked into the art room
wearing a skirt made o men’s old
ties—with a salvaged pair o ladies
gloves sewn on the back or pockets—
our students took notice! Our school
PTO had just launched a “Go Green”
school-wide recycling campaign, and
Shari was the perect t or an art unit
or Kindergarten through th grade.
Shari began by reading the poem
“Hector the Collector” rom Shel Silver-stein’s book, Where the Sidewalk Ends
(HarperCollins; 1974), and explained
how some people discard items others
may nd useul. Students understood
the concept, and recalled garage sales
they had visited or had participated in
at home.
Shari illustrated by showing exam-
ples o her own jewelry creations, beau-
tiul necklaces made entirely o small
ound objects and bits o junk. The
children were amazed! Her creationslooked like high-end accessories. One
o her necklaces even had a fattened
by Viki Reed
RECYCLING renaissance
Childnngd
mll objcton top o
bigg objctuntil tifd
with thichoic.
Jnk Jy
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19
the whole creation, and told them the
necklaces would need several days to
dry. When students arrived or the third
art class, the sealer had dried hard and
clear, and everything was securely in
place. Ribbons were attached and the
necklaces were ready to wear!
Delighted with the outcome, stu-
dents wrote about their necklaces and
the process. They were told that just
as an author titles a book, they were to
title their creation.Mrs. Keith steered them away rom
obvious titles like “Junk Jewelry,”
encouraging them to instead look
at the objects they had chosen and
choose something more imaginative.
Soon, wonderul titles emerged, includ-
ing “Walk on the Beach” rom one
student who had used a seashell, and
“A King’s Throne” rom another who
had included a aux jewel and a shiny
piece o metal.
NeW aTTITUDe Students were asked
how their thoughts about junk had
MATERIALS
• Large and small discarded ound objects• Paper clips
• Glue• Ribbon• Nontoxic sealer
NATIONAL ART STANDARDS
• Understand and apply media, tecniquesand processes.
• Coose and evaluate a range o subjectmatter, symbols and ideas.
• Make connections between visual art andoter disciplines.
• Refect on and assess te caracteristicsand merits o teir work and te worko oters.
LEARNING OBJECTIVES
elmnt tudnt will ...
• understand te value o discarded oundobjects.
• create a design using balance andsymmetry or asymmetry.
• construct a necklace using ound objects.• meet and learn rom a guest local artist.
changed now that they had used it to
make a piece o jewelry. Many com-
mented that they look at junk with a
whole new attitude.
Mrs. Keith also invited our teach-
ing sta to make a necklace in a spe-
cial ater-school workshop. We thenexhibited all 700-plus necklaces in our
school’s main hallway, and invited par-
ents to view the recycled masterpieces!
Not only were our students engaged
in a hands-on recycling art activity, but
this unit also integrated math (design,
symmetry and balance), writing (writ-
ten critique) and reading (the poem
rom Shel Silverstein). Extensions
o these and other disciplines could
include graphing what was collected
(math), and grouping or creating neck-laces according to cultural designs
(social studies).
Although we are a school that
recycles, this unit brought added
awareness o the global drive to “Go
Green,” and has heightened and
extended our eorts both school-
wide and in our community. As one
student wrote, “Junk is a misunder-
stood treasure!” n
Viki Reed is an art teacher at Kyrenede los Cerritos Elementary School in
Phoenix, Arizona.
w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
ckcFom lt: “Thom th Tin,”b aidn; “X Mk th spot,” b
Mddox; “Kitlin’ Ht” b Kitlin;“Bottl Cp Dign” b Johu.
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20
always blank at rst. I noticed the pictures became very
busy with little variety o details, or the scrap paper I had was
not big enough to add objects in the desired size.
The second time, I started by adding the basic details o the
picture, such as oreground, middle ground and background
shapes or a landscape, or cutting various sizes and colors o rect-
angles or a cityscape. I also opened the activity up to all levels.I created the rule that each artist could only add one
thing to the mural per day. These choices pushed students
at the end o the school year, I oten search or inspiring
ways to review, activities or students who are nishedearly and new ways to display my students’ creativity.
My students can always use more practice with both
vocabular y and expanding their ideas and visual details;
however, the end o the year also nds my students tired
rom tests, reviews and assignments. Ideas oten have to
be out o the box and eel more like play than work. One
answer came in the orm o a collaged mural o dierent
types o subject matter.
Each week, I put up a new piece o bulletin-board paper
with the name o the subject matter written above it, includ-
ing cityscape, landscape, still lie and seascape. Students
were invited to add details to the picture using scrap paper. This allowed or dierent levels and classes to make an ever-
developing artwork.
The changing nature o the pictures created a constant
interest among the students in seeing the progress o the
picture. New details would oten prompt students to ask the
identity and level o the artist.
Students were oten amazed by what dierent levels o
students could do—especially i it was revealed that the
artist in question was younger than the questioner. This
resulted in students pushing themselves even urther to add
things that had not been previously thought o, or use a new
technique in creating with paper.I’ve done this activity two dierent years. In the rst year,
only the upper grades worked on the mural. The paper was
Multiple PurposeMultiple-Purposeby Rebecca Martin-Meissner
scp, 1 (bov)nd 2.
Lndcp, 1 (bov)nd 2.
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to come up with more details that were more original to each
individual artist, instead o trying to put the most details
on the picture in a day. It also opened up more discussion
opportunities or brainstorming among students.
The ever-changing nature o the works and the time it
took to make them resulted in students becoming interested
in both what type o picture would be coming next, and what would happen with each nished work. Students still
enjoyed picking out what they created personally, or added
new details to, ater the completion o the work. An idea that
was once intended or a bulletin board came to be displayed
in the hall and around the classroom.
In the end, the activity gave students a meaningul and
enjoyable way or each o them to review at his or her own
level and pace. n
Rebecca Martin-Meissner teaches art at A.W.E. Bassette
Elementary School in Hampton, Virginia.
21
eview Muralseview Murals
LEARNING OBJECTIVES
elmnt tudnt will ...
• work collaboratively to create a single artwork.• review te types o subject matter in art by creating an
original artwork.• add a variety o details to make an artwork more interesting.
NATIONAL ART STANDARDS
• Understand and apply media, tecniques, and processes.• Coose and evaluate a range o subject matter, symbols and ideas.• Refect upon and assess te caracteristics and merits o teir
work and te work o oters.
MATERIALS• Scissors• Scrap paper
• Glue or tape• Crayons or markers
Citcp, 1 (bov)nd 2.
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Next, students should add a neck and body using the
bubble drawing strategy, capturing the basic position o their
body doing the activity o their choice. They can then add
clothes and other details.
Most students have used colored pencils, but have littleexperience using a range o techniques. To help build
their colored-pencil drawing skills, I demonstrate a variety
o techniques, such as burnishing, two-tone, ading and
cross-hatching. Students nish their caricatures using two
or more techniques. For a proessional result, I suggest stu-
dents outline their drawing with a ne-tipped marker.
Students nish their artworks by cutting out their drawing,
mounting it on 12" x 18" colored construction paper and adding
an identication label. I photos were used, these images can
be attached to the nished artwork. Students, sta and visitors
love looking at the caricatures in the hallway. n
Tracy Fortune is a middle-school art teacher in Lakewood,
Wash., and is the author o “Exploring Careers In Ar t.”
Many students have seen artists sketching portraits
or caricatures at a air, carnival, mall or park. Some
wonder what it would be like to draw people or a living, and
many aspire to draw the human ace well. Some nd the idea
daunting, as they lack the skills and experience needed.
To build students’ skills in drawing people, I teach a
caricature unit that combines drawing large, realistic aces
with small, humorous, cartoonish bodies. This caricature
emphasis helps students eel more successul, as it lessensthe pressure to draw photo-realistically.
I begin the unit by showing students a PowerPoint on
caricatures to clariy what they are, and to inspire students.
I want them to learn the skills needed to draw a caricature
sel-portrait o themselves engaged in a avorite activity. Many
students benet rom a demonstration on drawing individual
acial eatures, with tips on drawing eyes, noses, mouths and
ears. For example, I show them how they can use curved lines
to create the oundation or an eye or a mouth. Students then
practice drawing acial eatures in their sketchbook.
Next, we discuss the proportions o the ace, ocusing on
the approximate placement o each eature. For example, Iexplain our eyes are about halway down on our head, and
our ears attach to our heads at the same height as the corner
o our eye. To reinorce this understanding and the drawing
o individual acial eatures, students do an exercise where
they add eatures to a partially drawn ace.
To help students draw themselves in action, I demon-
strate what I call the “bubble drawing” strategy. This tech-
nique makes it relatively easy to draw people doing various
activities, and is a skill used to draw wooden manikin gures
and in cartooning. Students develop their bubble drawing
skills by rst replicating my exemplars, and then use the
strategy to draw gures in action positions o their choice.Students can use a photograph o themselves or a mirror
to assist them in capturing key elements o their ace.
NATIONAL STANDARDS
• understand and apply media, tecniques and processes.• refect upon and assess te caracteristics and merits o teir
work and te work o oters.
LEARNING OBJECTIVES
Middl-chool tudnt will ...
• study te art o caricature.• realistically render te eatures o te uman ace.• draw te uman body in a cartoonis manner.• gain condence and eel successul in creating a sel-portrait.
MATERIALS
• 12" x 18" construction paper• 12" x 18" drawing paper• Colored pencils
• Fine-tipped markers• Mirrors or student potos• Caricature examples
by Tracy Fortune
JnnKiZch
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23w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
PrIMary Share the Clip & Save Art Print with students and explain
that this is a mask rom Bali, an island o Indonesia. (Point
out Bali on a world map and its distance in relationship to
the United States).
Next, explain that this mask represents a sacred, or
holy, creature called “Barong,” and is used in a ceremonial
dance that dramatizes good vs. evil. Share the video o the
Barong dance ound at: www.britannica.com/EBchecked/
topic/1557300/Barong
Spend a ew minutes discussing the Art Print. Point out
that the mask probably represents a lion. Ask students to
describe the details (ornate decoration around the ace, jew-
els, real hair, resh fowers), prominent eyes and angs, etc.
Next, give students pre-cut mask templates and a
selection o materials, such as yarn, eathers, old pieces
o costume jewelry, torn paper, pasta, abric fowers, etc,
and let them experiment with the materials to design an
original mask.
Ater students have settled on a design, give them
paste or glue to asten their materials onto the paper
template. Once all students have completed their masks,
have a parade around the classroom as a celebration o
their hard work.
eLeMeNTary Display all the Clip & Save Art Prints on the board, and
briefy share this month’s Art Print. Review with students
the names o each, and ask them what they can remember
about each creature.
Do a survey o the class to determine which creatures are
“goodies,” and which are “baddies.” Arrange each category
into two groups. Discuss some o the visual characteristics
that contribute to a creature being deemed good or bad (the
primary colors in the rainbow serpent or good; the angs,
claws and ugly ace o the dragon or bad).
Next, give students time to draw an original creature,
either a “Goodie” or “Baddie.” Encourage them to incorpo-
rate some o the visual elements ound in the Clip & Save
Art Print series o mythological creatures. Ater students
have completed their work, create a Hall o Fame and a Hall
o Shame area on a bulletin board where students can post
their original Goodie or Baddie creature.
MIDDLe sCHOOLShare the Art Print with students. Explain the signicance o
the Barong to Balinese culture. Share the video o the Bar-
ong dance mentioned in the Primary instructions, to the let.
Ask students to name animals that might be represented in
this work o art (lion, bear, boar, snake/dragon). Make a list
o these as students oer ideas and leave this list on display
during the activity.
Next, place students into pairs or small cooperative
groups. Explain that they will be designing an oversizedmask o a creature inspired by the Barong mask. I you have
access to computers in your classroom, give students time
to do an image search o additional Barong masks as part o
their preparation.
Pass out a piece o poster board to each group. Help
students decide on the basic acial shape o their creature
and, i necessary, with making the initial outline. Have
students careully cut out the ace, and the holes or eyes,
nose and mouth.
Give students an assortment o collage materials rom
which to decorate their creature’s ace. When masks arecomplete, allow each group time to present their work.
Finally, display all nished works alongside this month’s
Art Print.
HIGH sCHOOL
Share the Clip & Save Art Print with students. Explain to
them the signicance o the Barong to Balinese culture.
Share the video o the Barong dance mentioned in the Pri-
mary instructions, above. As in the primary activity, post
all o the Art Prints around the classroom. Give students
time to revisit the images and record eatures that each
have in common.
Next, place students into pairs or small teams and chal-
lenge each o them to create a wearable mask that syn-
thesizes elements rom all o the mythological creatures
in this years Clip & Save Art Print series. Ater work is
completed, give each team time to present their work and
to share how the creatures rom the series inspired their
original concept.
Barong, Bali, Indonesia
CLASSROOM USE OF ThE ART PRINT Clip & Save Instructions: The monthly Art Print is meant to be removed rom the center o
the magazine, laminated or matted, and used as a resource in your art room.–Editor
Go to artsandactivities.com and click on tis button or links to websitesrelated to tis article.
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J U N E 2 0 1 3
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Th Bong Dnc, Bli, Indoni. © 2012 Jodi / Dmtim.com
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26 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
“Animism,” or the attribution o a living soul to plants,
inanimate objects and natural phenomena, predates Hin-
duism in Bali; the Barong as a protector o a village or
region is a natural outgrowth o this belie.
“The origin o the Barongs is obscure, but the generally
accepted theory is that they are derived rom animal spirits,
chosen by societies who seek their protection. The people o these
societies may believe that their ancestors were certain animals,
or may believe that an animal was aided by their ancestors,
and in order to repay the debt, the animal has agreed to protect
succeeding generations.” ( www.windsong2.com )
The Barong mask shown in this month’s Art Print
is ornately decorated and replete with a beard made
rom human hair and
three rangipani fowers.
The stylized ace o the
Barong is most probably
meant to be a lion, with
the golden ornamenta-
tion raming the ace—perhaps its mane.
“The masks o Barong
and Rangda are consid-
ered sacred items, and
beore they are brought out, a priest must be present to
oer blessings by sprinkling them with holy water taken
rom Mount Agung, and oerings must be presented.”
( www.indo.com )
The Barong dance is a sacred ceremonial dance that
ollows a basic series o stages. In the rst stage, the Bar-ong enters with a pair o rolicking monkeys; the scene
is playul and light.
In the next stage, Rangda enters, along with a troupe
o male dancers. She casts an evil spell upon them,
thereby inducing them to all on their keris, or daggers.
Barong and a priest cast their own spell o protection,
and most o the men are saved.
In the nal stage, Barong and Rangda conront one
another, ater which Rangda is chased o and Barong
restores peace and harmony in the universe.
To see a video clip o the Barong dance, visit: www.
britannica.com/EBchecked/topic/1557300/Barongdance.htm
by Colleen Carroll
In this year’s Clip & Save Art Print series, students
have met 10 o the most extraordinary mythological
creatures ever imagined. Some were o the air (the
grin, and the raven); some slithered over the earth
(the rainbow serpent o Aboriginal Australia); and some
swam the seven seas (the Norse Midgard Serpent).
Some o these creatures use their powers to destroy
(the dragon o Christian mythology, and the gorgon
Medusa o ancient Greece), while others use their pow-
ers or creation, good ortune and happiness (Ganesha,
Rangi and Papa, and Quetzalcoatl).
To conclude the series, good will, once again, over-
comes evil as students travel to the Indonesian island
o Bali to meet a mytho-
logical creature known
as “Barong.”
“Barong is the sym-
bol o health and good
or tune, in opposition
to the witch, Rangda(also known as Calona-
rang). During a dance-
drama in which deeply
entranced perormers turn
swords on themselves but emerge unharmed, Barong
conronts Rangda in magical combat. Barong is brought
to lie by two dancers encased in an ornately decorated
harness. From the gure’s mask hangs a beard o human
hair decorated with rangipani fowers, in which the
magic power o Barong is thought to reside.” ( www.britannica.com )
The Barong dance is a classic example o one o the
most common themes in mythology: the battle o good
vs. evil. The Barong creature represents an animal spirit,
and diers rom region to region across the island o
Bali. The most common is the Barong lion, rom the
Gianyar region. Other orms are the boar, the tiger,
and the dragon/serpent. Still another orm represents
a giant called Barong Landung . Some barong creatures
are hybrid orms, such as a lion-tiger combination, while
the kek is an mythological creature not associated with a
particular animal.
“Barong dances, among the most
sacred in Bali, symbolize the intertwining
o good and evil and the complex
relationship between man and
the supernatural.” —baliaround.com
CLIP & SAVE ART NOTES
Mythology in Ar t
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On the right side o this painting, see the woman in the
doorway, watching the little girl playing with a hoop
outside. Perhaps she is calling the child to come in or lunch.Claude Monet loved fowers and had beautiul gardens in
the places he lived in France. See the dabs o paint in the trees
and on the fowers. A vine is climbing up the
house. I we look at a small section close up,
we can see that it is quite dierent rom what
we see at a distance or when we squint our eyes at it.
This Impressionist artist endeavored to capture the
eect o a scene as it would be perceived in a feeting
glance—a quick impression. He was one o the plein-air
artists believing that it was important to paint in the open
air. Monet sometimes stopped mixing paint on his palette
and applied it directly to the canvas in small dabs. At 16 years o age, Monet drew caricatures and sold them,
saving his money to go to Paris. He arrived there to study
art when he was 18. He also served with the Arican Light
Inantry in Algeria, where the desert landscape and bright sunshine excited him and infuenced his uture work.
Later in lie, his works were highly regarded and he
was able to purchase a home and garden in
Giverny, north o Paris. His goal was to paint
light and nature as he saw them in a brie
moment. His painting, Impression: Sunrise, gave the title that
was given to Monet and his associates: Impressionists. n
This excerpt is adapted rom Barbara Herberholz’s digital
Art Docent Program. For elementary classrooms, each
lesson presents six amous artworks to show to the class on
whiteboards, with theme-related studio art activities. Learnmore at : artdocentprogram.com.
27
Artists Paint ... ImpressionismArtists Paint ... Impressionism
Clud Mont (Fnch; 1840–1926). The Artist's House at Argenteuil, 1873. Oil on cnv; 23.687" x 28.875".
Th at Intitut o Chicgo, M. nd M. Mtin a. ron Collction.Artwork is in te Public Domain.©/
w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
by Barbara Herberholz
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MotivationSquint your eyes and look at an outdoor landscape. Do you
see dark and light areas? Do you see where the sun is shin-ing and making things seem to sparkle?
Impressionist artists insisted on painting outdoors,
directly rom nature. They put colors on their canvas in
tiny dabs, wanting your eyes to mix the colors and give you
the impression o light on the surace o things. They used
no black or outlines around shapes.
We can look outdoors or we can use a color photo
and two L-rames. These will help us select a portion
o the photo or your composition. L-rames are like
little cameras.
In the Studio1. Ater you have selected your composition, either rom
nature or a photo using L-rames, make a light pencilsketch o the main shapes and parts. Plan the entire com-
position, letting things touch the sides o the paper. Don’t
include little details at this point.
2. Pour small amounts o tempera paint in your palette
and use a cotton swab or small brush to apply the colors
in tiny dabs. Remember how the Impressionists placed
tiny dabs o several colors next to each other so your eyes
would mix the colors. For example, to make a light blue,
put dabs o white along with dabs o blue.
3. Complete your picture by covering the surace o
the paper with tiny dabs o paint. Check your work now
and then by squinting your eyes to see the eect you areachieving.
Materials• Tempera paint: white, turquoise, magenta and yellow
• Cotton swabs or small bristle brushes
• 6" x 9" white paper
• Paper plates or palettes
• Water containers
•Paper towels
• Two L-rames (Large L’s made rom two 2-inch-wide
strips o construction paper and glued or stapled at
one end to orm an L)
Artists Paint ... Impressionismgrade 5–6
National Art StandardsUnderstand and apply media, techniques and processes
Students refect upon and assess the characteristics and
merits o their work and the work o others
28
VocabularyDabsImpressionism
L-ramesPlein-air
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29w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • j u n e 2 0 1 3
W hen I was a rst-year art
teacher, I moved ve states
away rom home or the opportunity
to teach art. I arrived with eager
ambitions and expected all my mid-
dle-school students to want to be in
that classroom as much as I did. The
administration asked me i I could “get
the kids hooked on art.” That’s exactly
what I planned on doing.Upon meeting each class, and
introducing them to the art room, I
asked what they would like to learn
in art class. They bombarded me with
great ideas: ashion design, painting,
clay ... Then, one child raised his
hand and said he wanted to learn how
to create grati. I added it to my list,
but was thinking to mysel that it was
ar too controversial or me to actu-
ally teach.
Later, as I worked on nal lessonpreparations or the semester, I looked
again at the word “grati” on my list. I
began researching it and started to look
at it with a child’s eye: It’s colorul, it’s un
and it can be used to get important mes-
sages across. I then prepared a lesson, to
which I have made many improvements
over the years and has served me well.
THe IMPOrTaNT DIsTINCTION to get
across was that we were looking at
grati as an art vs. grati as vandal-
ism. I showed them a PowerPoint Icreated with several examples. We dis-
cussed that it is art when created on a
surace that we have permission to use.
I discussed how some o the rst paint-
ings were done on cave walls, and that
even Leonardo Da Vinci’s The Last Sup-
per was painted on a wall. This opened
a discussion on murals and rescos.
I told them that we were studying
our grati as art, not as vandalism, so
it did not need to be put on a wall. As a
class, we looked at the technique that
went into creating the letters. We stud-ied examples o grati, with an artist’s
eye. We discussed color, shading and
creative letter manipulation. Students
were ascinated. To this day, I’ve never
presented a lesson that gets kids as
excited to create as this one did (and
LEARNING OBJECTIVES
Middl-nd high-chool tudnt will ...
• understand te dierence between gratias art and grati as vandalism.
• warp text to create a grati-style ont.• practice making teir letters look 3-D.
NATIONAL STANDARDS
• Understand and apply media, tecniques,and processes.
• Understand te visual arts in relation toistory and cultures.
MATERIALS
• Grapite and colored pencils• 8" x 12" paper
“Inpi,” b Tlo.
“Blnc,” b Pig. “Dm,” b Kl.
see GRAffITI on page 44
by Stephanie Syrakis
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Summer Buyer’s Guide 2013ARTS & ACTIVITIES’ comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services ... a ready reference
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CODES
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Haystack Mountain Schoolo Crats207-348-2306www.haystack-mtn.orgSH
Hemlocks Studio828-885-2831www.hemlocks.comSH
iLoveToCreate, Duncan Ent. Co.800-438-6226www.ilovetocreate.comAD BR CE DY HC JM PC PT SH
Incredible Art Departmentwww.incredibleart.orgPB
Inovart Inc.800-292-7622www.inovart.netCA CT DG EP FR HC LO PR RS
Interlochen Ctr or Arts800-681-5912www.interlochen.orgSH
Jack Richeson & Co, Inc.800-233-2404www.richesonart.comAV BR DG DS EP FN HC PC PR PS PTSH SP
Jacquard/Rupert, Gibbon &Spider800-442-0455www.jacquardproducts.comAB BR DY FI HC PT
Jiy Mixer800-560-2903www.jiymixer.comCE PT
J&J Display 800-347-2008www.jjdisplay.comAD DE
Jones Publishing, Inc.
800-331-0038www.jonespublishing.comCE HC PB
JourneyEd800-874-9001www.journeyed.comCO DR GR
Kids Can Press800-265-0885www.kidscanpress.comDG PB PR PT SP
KidsKards888-543-7527www.kidskards.comFD
Makit Products Inc.972-709-1579www.makit.comFD HC PC PH
Martin/F. Weber215-677-5600www.weberart.comAV BR DG EP PB PC PS PT SH
Maryland Inst. College o Art410-225-2300www.mica.eduSH
Marywood University 570-348-6207www.marywood.eduSH
Masters Int’l Color Wheel Co.303-320-9330www.mastersinternational.orgAD BR CA CE CT DG DR DY EP GRHC PC PR PS PT SP
Mat Basics Inc.800-543-4251www.matbasics.comFR
MatBasics Inc.678-513-1324www.matcutter.comFR
Mayco Colors614-876-1171www.maycocolors.comBR CE HC PT SH
McClain’s800-832-4264www.imcclains.comBR PC PR PT
Midlantic Clay 856-933-0022www.midlanticclay.comCE
Midwest Productswww.midwestproducts.comAD HC SH
Mile Hi Ceramics, Inc.800-456-0163www.milehiceramics.comAB AV BR CE DS HC JM RS SA SP
Minn. Coll. Art/Des. Rm M105612-874-3765www.mcad.eduSH
Minnesota Clay USA952-884-9101www.mm.com/mnclayus/
AB BR CE SA SPMKM Pottery Tools920-830-6860www.mkmpotterytools.comCY FN HC SP
Modern Art Museum oFt. Worth817-738-9215www.themodern.orgSH
Molly Hawkins’ House888-446-6559www.mollyhawkins.comAD BR CA CE CT CY DG DR DS EP FRGR HC JM PC PR PS PT SP
Mountain Color715-312-0603www.mountaincolor.comFD
J
L
M
I
K
AB Airbrush*
AD Adhesives/Fixatives AV Audio Visual/DVDs/VideosBR BrushesCA Calligraphy*CE Ceramics*CO Computers*/SotwareCT Cutting InstrumentsCY CrayonsDE Display/Exhibit FixturesDG Drawing*DR Drating*DS Dispensers/ContainersDY Dye/Batik*EP Easels/PalettesFD Fundraising*FI Fabrics/Fibers
FN Furniture/EquipmentFR Frames/Mats*GR Graphic*HC Hobby/Crat* JM Jewelry/Metal*LO Looms/Weaving*LT Leathercrat*PB Publishers/Art ReproductionsPC Paper/CanvasPH Photography*PR Printmaking*PS PastelsPT Paints/PigmentsRS Rubber Stamps*SA Saety Equipment*SG Stained Glass*
SH Schools/WorkshopsSP Sculpture** Equipment and supplies
CODES
H
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Muddy Elbows316-281-9132www.soldnerequipments.comCE SP
Nantucket Island School508-228-9248www.nisda.orgSH
Nasco Arts & Crats800-558-9595www.enasco.comAB AD CE DE DG DS EP FN PC PH PRPT SA SP
National Artcrat Co.888-937-2723www.nationalartcrat.comAB AD CE DE DG EP FN HC PS
National Art Education Assoc.703-860-8000www.naea-reston.orgPB
National Art Supply 800-821-6616www.nationalart.comAB AD BR CA CE CT CY DG DR EPHC PC
New Century Arts206-284-7805www.paperclayart.comCE SP
New Mexico Clay 800-781-2529www.nmclay.comBR CE JM SP
New York University 800-771-4698www.education.nyu.eduSH
North Star Equipment800-231-7896www.northstarequipment.comCE FN SP
Ohio Ceramic Supply, Inc.800-899-4627www.ohioceramic.com
Ohio State University, Art Dept.614-292-7183www.art.osu.eduSH
Olsen Kiln Kits760-349-3291www.olsenkilns.comCE SP
Olympic Kilns800-241-4400www.greatkilns.comCE HC JM SP
Oregon College o Art & Crat503-297-5544www.ocac.eduPR SH
Original Works800-421-0020www.originalworks.comFD
Orton Ceramic Foundation614-895-2663www.ortonceramic.comCE FN PB SA SH
Quarry Bookswww.quarrybooks.comPB
Quinlan Visual Arts Center770-536-2575www.quinlanartscenter.orgDE SH
Rembrandt Graphic Arts800-622-1887www.rembrandtgraphicarts.comPR
Renaissance Graphic Arts, Inc.888-833-3398www.printmaking-materials.comPR
Rhode Island School o Design401-454-6201www.risd.edu
SH
Ringling College/Art & Design941-955-8866www.ringling.eduSH
Rockland Colloid503-655-4152www.rockaloid.comGR HC PH PR
Rock Paint Distr./Handy Art800-236-6873www.handyart.comAD BR DS PR PT
Rocky Mtn. College o Art &
Design303-753-6046www.rmcad.eduSH
Royal & Langnickel Brush Mg.219-660-4170www.royalbrush.comBR CE EP HC PS PT
Royalwood Ltd.800-526-1630www.royalwoodltd.comFI HC LO
Roylco800-362-8656www.roylco.com
HC
Runyan Pottery Supply, Inc.810-687-4500www.runyanpotterysupply.comAB BR CE CT FN HC JM SA SH SP
Sakura o America800-776-6257www.gellyroll.comDG DR GR PS SH
Sanord Corp.
800-323-0749www.sanordcorp.comBR CA CY DG DR PS PT
Otis Coll. Art/Des. Cont. Ed/Summer310-665-6850www.otis.eduSH
Pacon Corporation800-333-2545www.pacon.comDG FR PC
Paragon Industries, L.P.972-288-7557www.paragonweb.comCE SG
PCF Studios, Inc.585-229-2976www.pcstudios.comAV CE SH SP
PCS Bookswww.pcsbooks.com.auPB
Peninsula Art School920-868-3455www.peninsulaartschool.comSH
The Pennsylvania State University 814-865-6570www.worldcampus.psu.eduSH
Pentel o America800-262-1127www.pentel.comDG DR
Perectone Mold Co.800-828-2634www.taubdental.comHC SP
Peter Pugger Mg.707-463-1333www.peterpugger.com
CE FNPeters Valley Crat Center973-948-5200www.pvcrats.orgSH
Phelps Publishing216-752-4938www.phelpspublishing.comDG HC PB
Picasso People716-684-0244www.picassopeople.comSH
PMC Connection866-762-2529
www.pmcconnection.comBR HC JM
Polyorm Products847-427-0020www.sculpey.comCE HC SP
Popular Ceramics715-445-5000www.jonespublishing.comCE
Pottery Making Illustrated614-794-5890www.pottertmaking.orgCE PB
Printmakers Machine Co.800-992-5970www.printmakersmachine.comPR
Saral Paper Corp.212-247-0460www.saralpaper.comCA CE DG DR GR HC PC SG
Sargent Art Inc.800-424-3596www.sargentart.comAB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP
Savannah College o Art & Design912-525-5000www.scad.edu
SH
School o the Art Inst. o Chicago312-899-5100www.artic.eduSH
Sax/School Specialty 888-388-3224www.saxarts.comAB AD AV BR CA CE CT CY DE DGDR DS DY EP FD FI FN FR HC JM LOLT PC PH PR PS PT RS SG SH SP
Scottsdale Artists’ School800-333-5707www.scottsdaleartschool.orgSH
Scratch-Art Co., Inc.203-762-4500www.melissaanddoug.comCY DG HC PC PR
Segmation858-206-3289www.segmation.comDG HC SH
Shefeld Pottery 888-774-2529www.sheeld-pottery.comBR CE SA
Shimpo Ceramics800-237-7079
www.shimpoceramics.comCE HC SH
Sierra Nevada College775-831-7799www.sierranevada.edu/workshopsSH
Silvergraphics Studio866-366-5700www.silvergraphics.comFD GR
Skidmore College Summer 6518-580-5052www.skidmore.eduSH
Skutt Ceramic Products503-774-6000www.skutt.comCE FN JM SA SG SP
Smith-Sharpe Fire Brick Supply 612-331-1345www.kilnshel.comCE
Smooth-On, Inc.800-762-0744www.smooth-on.comCE HC SP
Socwell LLCwww.4clay.comCE
Spectrum Glazes, Inc.800-970-1970www.spectrumglazes.comCE PT
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Speedball Art Products800-898-7224www.speedballart.comCA DG PC PR PT RS
Split Rock Arts Program612-625-8100www.cce.umn.edu/splitrockarts/SH
Square 1 Art888-332-3294www.square1art.comFD
SRA/McGraw-Hill972-224-1111PB
S&S Worldwide800-243-9232www.ssww.comCE CY EP HC PC PT
Staedtler-Mars, Limited800-776-5544www.staedtler.caDG DR GR HC PS
Standard Ceramic Supply 412-276-6333www.standardceramic.comCE
Strathmore Artist Papers800-353-0375www.strathmoreartist.comPC
Studio Sales Pottery 585-226-3030www.studiosalespottery.comCE HC
Tandy Leather Factory 817-872-3200www.tandyleatheractory.comHC LT
Taos Art School575-758-0350www.taosartschool.orgSH
Tara Materials800-241-8129www.taramaterials.comBR FR PC PH PT
Teachers College Columbia Univ.212-278-3270www.tc.columbia.eduSH
Teachers, Art Center College626-396-2319www.artcenter.edu/teachersSH
Texas Pottery 800-639-5456www.texaspottery.comBR CE HC SH SP
Triarco Arts & Crats, Inc.800-328-3360www.etriarco.comAB AD AV BR CA CE CT CY DE DGDS DY EP FN FR GR HC JM LO LT PCPH PR PS PT SG SP
Trinity Ceramic Supply 214-631-0540CE
Truro Center or the Arts508-349-7511www.castlehill.orgSH
TTU Appalachian Center or Crat931-372-3051www.tntech.edu/cratcenterSH
Tucker’s Pottery Supplies800-304-6185www.tuckerspottery.comBR CE CT FN SP
Tulsa Stained Glass918-664-8604www.tulsastainedglass.comSG SH
Union Rubber Co.800-334-8219www.best-testproducts.comAD
United Art and Education800-322-3247www.unitednow.comAB AD BR CA CE CT CY DG DR DS EPFI FN HC JM LO PC PR PS PT SG SP
University o the Arts215-717-6000www.uarts.eduSH
U.S. Artquest, Inc.517-522-6225www.usartquest.comAD BR HC RS
U
ProductCategories
(AB) AIRBRUSHAardvark Clay & SuppliesAmerican Ceramic Supply Co.A.R.T. Studio Clay Co.Axner Pottery SupplyBailey Ceramic SupplyBigCeramicStore.comBlick Art MaterialsContinental Clay Co.Createx Colors
Florida Clay Art Co.Great Lakes Clay Jacquard/Rupert, Gibbon & SpiderKopyKake Ent.Laguna Clay Co.Liquitex Artist MaterialsMadison Art ShopMile Hi Ceramics, Inc.Minnesota Clay USANasco Arts & CratsNational Artcrat Co.National Art SupplyRunyan Pottery Supply, Inc.Sargent Art Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.United Art and Education
(AD) ADHESIVE/FIXATIVESActiva Products, Inc.American Ceramic Supply Co.Blick Art MaterialsColArt Americas, Inc.The Compleat Sculptor, Inc.Continental Clay Co.DelphiDiscount School SupplyEarth GuildEd Hoy’s InternationalElmer’s Products, Inc.Evans Ceramic SupplyGlue Dots Int’l (GDI)GraxGreat Lakes ClayHandy Art/Rock Paint Dist.iLoveToCreate, Duncan Ent. Co. J&J DisplayKrueger Pottery, Inc.Laguna Clay Co.Liquitex Artist MaterialsMasters Int’l Color Wheel Co.Molly Hawkins’ HouseNasco Arts & CratsNational Artcrat Co.National Art SupplyRock Paint Distr./Handy ArtSargent Art Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.Union Rubber Co.United Art and EducationU.S. Artquest, Inc.Utrecht Mg. Corp.Vanguard Crats
(AV) AUDIO/VISUALArtograph, Inc.Arts AttackArtsoniaAxner Pottery SupplyBags UnlimitedBailey Ceramic SupplyBlick Art MaterialsThe Color Wheel Co.Coyote Creek ProductionsCrystal ProductionsEmbrace ArtGetting To Know, Inc.Great Lakes Clay Jack Richeson & Co, Inc.Laguna Clay Co.Leaning Post ProductionsLightoot Ltd, IncMartin/F. WeberMile Hi Ceramics, Inc.PCF Studios, Inc.
AB Airbrush*
AD Adhesives/Fixatives AV Audio Visual/DVDs/VideosBR BrushesCA Calligraphy*CE Ceramics*CO Computers*/SotwareCT Cutting InstrumentsCY CrayonsDE Display/Exhibit FixturesDG Drawing*DR Drating*DS Dispensers/ContainersDY Dye/Batik*EP Easels/PalettesFD Fundraising*FI Fabrics/Fibers
FN Furniture/EquipmentFR Frames/Mats*GR Graphic*HC Hobby/Crat* JM Jewelry/Metal*LO Looms/Weaving*LT Leathercrat*PB Publishers/Art ReproductionsPC Paper/CanvasPH Photography*PR Printmaking*PS PastelsPT Paints/PigmentsRS Rubber Stamps*SA Saety Equipment*SG Stained Glass*
SH Schools/WorkshopsSP Sculpture** Equipment and supplies
CODES
TUtrecht Mg. Corp.800-223-9132www.utrecht.comAD BR CT DG DR DY EP FN FR GR PCPR PS PT SP
Vanguard Crats800-662-7238www.vanguardcrats.comAD BR CE CY DY HC LT PC PS PT
Vent-A-Kiln Corp.716-876-2023www.ventakiln.comCE SA
Video Learning Library 541-479-7140www.art-video.comAV
Visual Manna573-729-2100www.visualmanna.comDG GR PB PT
Wacom Technology Corp.360-896-9833www.wacom.comCO DG HC PH PT
The Wallace Foundationwww.wallaceoundation.orgSH
Watson Guptill Publications800-278-8477www.watsonguptill.comPB
Welsh Products, Inc.800-745-3255www.welshproducts.comCO FD GR PR
Western Michigan University 268-387-2436www.wmich.edu/artSH
Whittemore-Durgin Glass800-262-1790www.whittemoredurgin.comHC SG
Wikkistix 800-869-4554www.wikkistix.com
HC SP Winsor & Newton800-445-4278www.winsornewton.comBR CA CY EP HC PC PS PT
Witzend Workshop, LLC203-393-2397www.twisteezwire.comCY DY FI HC JM SP
Women’s Studio Workshop845-658-9133www.wsworkshop.orgFI SH
Woodstock School o Art
845-679-2388www.woodstockschooloart.orgSH
V
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Sax/School SpecialtyTriarco Arts & Crats, Inc.Video Learning Library
(BR) BRUSHESAardvark Clay & SuppliesAMACO/BrentAmerican Ceramic Supply Co.Armada Art, Inc.ArtisanArt Supplies WholesaleBailey Ceramic SupplyBamboo ToolsBigCeramicStore.comBlick Art MaterialsCapital CeramicsCascade School Supplies, Inc.Ceramic Supply ChicagoColArt Americas, Inc.Continental Clay Co.Daler-Rowney, USADiscount School SupplyEarth GuildEd Hoy’s InternationalEvans Ceramic SupplyFM Brush Co.Funke Fired ArtsGreat Lakes ClayHandy Art/Rock Paint Dist.iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard/Rupert, Gibbon & SpiderKrueger Pottery, Inc.Laguna Clay Co.Loew-Cornell, Inc.Martin/F. WeberMasters Int’l Color Wheel Co.Mayco ColorsMcClain’sMile Hi Ceramics, Inc.Minnesota Clay USAMolly Hawkins’ HouseNational Art SupplyNew Mexico ClayPMC ConnectionRock Paint Distr./Handy ArtRoyal & Langnickel Brush Mg.Runyan Pottery Supply, Inc.Sanord Corp.Sargent Art Inc.Sax/School SpecialtySheeld PotteryTara MaterialsTexas PotteryTriarco Arts & Crats, Inc.Tucker’s Pottery SuppliesUnited Art and EducationU.S. Artquest, Inc.Utrecht Mg. Corp.Vanguard CratsWinsor & Newton
(CA) CALLIGRAPHY Blick Art MaterialsColArt Americas, Inc.Earth GuildInovart Inc.Masters Int’l Color Wheel Co.
Molly Hawkins’ HouseNational Art SupplySanord Corp.Saral Paper Corp.Sax/School SpecialtySpeedball Art ProductsTriarco Arts & Crats, Inc.United Art and EducationWinsor & Newton
(CE) CERAMICSAardvark Clay & SuppliesActiva Products, Inc.AtosaAMACO/BrentAmerican Ceramic Supply Co.Ampersand Art SupplyArmory Art CenterArteakesA.R.T. Studio Clay Co.Aves StudioAxner Pottery SupplyBailey Ceramic Supply
Hash Inc. JourneyEdLeaning Post ProductionsLightoot Ltd, IncLightoot Ltd.Wacom Technology Corp.Welsh Products, Inc.
(CT) CUTTING INSTRUMENTSAmerican Ceramic Supply Co.Armada Art, Inc.Bamboo ToolsBlick Art MaterialsCascade School Supplies, Inc.Earth GuildEd Hoy’s InternationalFiskarsGroovy Tools LLCInovart Inc.Masters Int’l Color Wheel Co.Molly Hawkins’ HouseNational Art SupplyRunyan Pottery Supply, Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.Tucker’s Pottery SuppliesUnited Art and EducationUtrecht Mg. Corp.
(CY) CRAYONSArt Supplies WholesaleBlick Art MaterialsColArt Americas, Inc.CrayolaDiscount School SupplyDixon Ticonderoga Co.Faber-Castell USAFinetec USAGeneral Pencil Co.Golden Artist ColorsLyraMKM Pottery ToolsMolly Hawkins’ HouseNational Art SupplySanord Corp.Sargent Art Inc.Sax/School SpecialtyScratch-Art Co., Inc.S&S WorldwideTriarco Arts & Crats, Inc.United Art and EducationVanguard CratsWinsor & NewtonWitzend Workshop, LLC
(DE) DISPLAYSAtosaAmon Carter MuseumArtsoniaArt Teacher on the NetBlick Art MaterialsEd Hoy’s InternationalFlourish CompanyGraphic Display SystemsGreenwich House Pottery J&J DisplayNasco Arts & CratsNational Artcrat Co.
Quinlan Visual Arts CenterSax/School SpecialtyTriarco Arts & Crats, Inc.
(DG) DRAWINGAmpersand Art SupplyArmory Art CenterArtograph, Inc.Art StampsArt Supplies WholesaleArt Teacher on the NetBlick Art MaterialsCascade School Supplies, Inc.ColArt Americas, Inc.CrayolaDaler-Rowney, USADiscount School SupplyDixon Ticonderoga Co.
Embrace ArtFaber-Castell USAFinetec USAGeneral Pencil Co.Grax
Baltimore ClayworksBamboo ToolsBigCeramicStore.comBisque ImportsBlick Art MaterialsBluebird Mg. Inc.Bracker’s Good Earth Clays, Inc.Brent Pottery EquipmentCapital CeramicsCarbondale Clay CenterCarolina Clay ConnectionCeramic Supply ChicagoChesapeake Ceramics LLCClay MatClay PlanetClay Stamps rom Socwell LLCThe Compleat Sculptor, Inc.Continental Clay Co.Cornell StudioCreative Paperclay Co., Inc.Cress Mg. Co.Debcor, Inc.Dry Creek PotteryEd Hoy’s InternationalEuclid’s ElementsEvans Ceramic SupplyEvenheat KilnFlorida Clay Art Co.Free Form Clay And SupplyFunke Fired ArtsGeil KilnsGreat Lakes ClayGreenwich House PotteryGroovy Tools LLCiLoveToCreate, Duncan Ent. Co. Jiy Mixer Jones Publishing, Inc.Krueger Pottery, Inc.Laguna Clay Co.Leslie Ceramics Supply CoL & L Kiln Mg., Inc.Loew-Cornell, Inc.LyraMasters Int’l Color Wheel Co.Mayco ColorsMidlantic ClayMile Hi Ceramics, Inc.Minnesota Clay USAMolly Hawkins’ HouseMuddy Elbows
Nasco Arts & CratsNational Artcrat Co.National Art SupplyNew Century ArtsNew Mexico ClayNorth Star EquipmentOlsen Kiln KitsOlympic KilnsOrton Ceramic FoundationParagon Industries, L.P.PCF Studios, Inc.Peter Pugger Mg.Polyorm ProductsPopular CeramicsPottery Making IllustratedRoyal & Langnickel Brush Mg.Runyan Pottery Supply, Inc.Saral Paper Corp.
Sargent Art Inc.Sax/School SpecialtySheeld PotteryShimpo CeramicsSkutt Ceramic ProductsSmith-Sharpe Fire Brick SupplySmooth-On, Inc.Socwell LLCSpectrum Glazes, Inc.S&S WorldwideStandard Ceramic SupplyStudio Sales PotteryTexas PotteryTriarco Arts & Crats, Inc.Trinity Ceramic SupplyTucker’s Pottery SuppliesUnited Art and EducationVanguard Crats
Vent-A-Kiln Corp.(CO) COMPUTERSBlick Art MaterialsCore Learning Inc.
Hash Inc.Inovart Inc. Jack Richeson & Co, Inc.Kids Can PressLightoot Ltd, IncLightoot Ltd.Liqui-Mark Corp.LyraMadison Art ShopMartin/F. WeberMasters Int’l Color Wheel Co.Molly Hawkins’ HouseNasco Arts & CratsNational Artcrat Co.National Art SupplyPacon CorporationPentel o AmericaPhelps PublishingSakura o AmericaSanord Corp.Saral Paper Corp.Sargent Art Inc.Sax/School SpecialtyScratch-Art Co., Inc.SegmationSpeedball Art ProductsStaedtler-Mars, LimitedTriarco Arts & Crats, Inc.United Art and EducationUtrecht Mg. Corp.Visual MannaWacom Technology Corp.
(DR) DRAFTINGArtograph, Inc.Art StampsBlick Art MaterialsGeneral Pencil Co.Grax JourneyEdLyraMadison Art ShopMasters Int’l Color Wheel Co.Molly Hawkins’ HouseNational Art SupplyPentel o AmericaSakura o AmericaSanord Corp.Saral Paper Corp.Sax/School Specialty
Staedtler-Mars, LimitedUnited Art and EducationUtrecht Mg. Corp.
(DS) DISPENSERS/CONTAINERSBlick Art MaterialsBracker’s Good Earth Clays, Inc.Clear BagsContinental Clay Co.Evans Ceramic SupplyHandy Art/Rock Paint Dist. Jack Richeson & Co, Inc.Mile Hi Ceramics, Inc.Molly Hawkins’ HouseNasco Arts & CratsRock Paint Distr./Handy ArtSargent Art Inc.Sax/School Specialty
Triarco Arts & Crats, Inc.United Art and Education
(DY) DYE/BATIKSBlick Art MaterialsChicago Canvas & SupplyThe Compleat Sculptor, Inc.Earth GuildiLoveToCreate, Duncan Ent. Co. Jacquard/Rupert, Gibbon & SpiderMasters Int’l Color Wheel Co.Sargent Art Inc.Sax/School SpecialtyTriarco Arts & Crats, Inc.Utrecht Mg. Corp.Vanguard CratsWitzend Workshop, LLCWorld Class Learning Materials
(EP) EASELS/PALETTESArt BoardsArtisanArt Supplies Wholesale
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Blick Art MaterialsCascade School Supplies, Inc.ColArt Americas, Inc.Daler-Rowney, USADiscount School SupplyInovart Inc. Jack Richeson & Co, Inc.Lightoot Ltd, IncLightoot Ltd.Madison Art ShopMartin/F. WeberMasters Int’l Color Wheel Co.Molly Hawkins’ HouseNasco Arts & CratsNational Artcrat Co.
National Art SupplyRoyal & Langnickel Brush Mg.Sargent Art Inc.Sax/School SpecialtyS&S WorldwideTriarco Arts & Crats, Inc.United Art and EducationUtrecht Mg. Corp.Winsor & Newton
(FD) FUNDRAISINGArteakesArtograph, Inc.Art StampsArt to RememberArtWare By YouAxner Pottery SupplyBlick Art Materials
Embrace ArtKidsKardsMakit Products Inc.Mountain ColorOriginal WorksSax/School SpecialtySilvergraphics StudioSquare 1 ArtWelsh Products, Inc.
(FI) FABRIC/FIBERSAmpersand Art SupplyBlick Art MaterialsChicago Canvas & SupplyCrizmac Art & Cultural Ed. Matls.Earth GuildFlourish CompanyHarrisville Designs/Friendly Loom
Jacquard/Rupert, Gibbon & SpiderRoyalwood Ltd.Sax/School SpecialtyUnited Art and EducationWitzend Workshop, LLCWomen’s Studio Workshop
(FN) FURNITURE/EQUIPMENTAMACO/BrentAmpersand Art SupplyArt BoardsArtisanArtograph, Inc.A.W.T. World Trade, Inc.Axner Pottery SupplyBailey Ceramic SupplyBlick Art MaterialsBluebird Mg. Inc.
Brent Pottery EquipmentCascade School Supplies, Inc.Clay PlanetConrad Machine Co.Continental Clay Co.Daler-Rowney, USADebcor, Inc.Discount School SupplyEuclid’s ElementsExcel, Div. o AMACOFunke Fired ArtsGreat Lakes Clay Jack Richeson & Co, Inc.Klopenstein Art EquipmentKrueger Pottery, Inc.Laguna Clay Co.Lightoot Ltd, IncMKM Pottery Tools
Nasco Arts & CratsNational Artcrat Co.North Star EquipmentOrton Ceramic FoundationPeter Pugger Mg.
Gelli ArtsGeneral Pencil Co.Glue Dots Int’l (GDI)GraxGreat Lakes ClayGreenwich House PotteryGroovy Tools LLCHarrisville Designs/Friendly LoomiLoveToCreate, Duncan Ent. Co.Inovart Inc. Jack Richeson & Co, Inc. Jacquard/Rupert, Gibbon & Spider Jones Publishing, Inc.Krylon Products GroupLaguna Clay Co.
Liqui-Mark Corp.Liquitex Artist MaterialsL & L Kiln Mg., Inc.Madison Art ShopMakit Products Inc.Masters Int’l Color Wheel Co.Mayco ColorsMidwest ProductsMile Hi Ceramics, Inc.MKM Pottery ToolsMolly Hawkins’ HouseNational Artcrat Co.National Art SupplyOlympic KilnsPerectone Mold Co.Phelps PublishingPMC ConnectionPolyorm Products
Rockland ColloidRoyal & Langnickel Brush Mg.Royalwood Ltd.RoylcoRunyan Pottery Supply, Inc.Saral Paper Corp.Sargent Art Inc.Sax/School SpecialtyScratch-Art Co., Inc.SegmationShimpo CeramicsSmooth-On, Inc.S&S WorldwideStaedtler-Mars, LimitedStudio Sales PotteryTandy Leather FactoryTexas PotteryTriarco Arts & Crats, Inc.
United Art and EducationU.S. Artquest, Inc.Vanguard CratsWacom Technology Corp.Whittemore-Durgin GlassWikkistixWinsor & NewtonWitzend Workshop, LLC
(JM) JEWELRY/METALActiva Products, Inc.American Ceramic Supply Co.Ampersand Art SupplyArmory Art CenterArtograph, Inc.Axner Pottery SupplyBigCeramicStore.comBlick Art Materials
Clay Stamps rom Socwell LLCThe Compleat Sculptor, Inc.Continental Clay Co.DelphiEd Hoy’s InternationaliLoveToCreate, Duncan Ent. Co.L & L Kiln Mg., Inc.Mile Hi Ceramics, Inc.Molly Hawkins’ HouseNew Mexico ClayOlympic KilnsPMC ConnectionRunyan Pottery Supply, Inc.Sargent Art Inc.Sax/School SpecialtySkutt Ceramic ProductsTriarco Arts & Crats, Inc.United Art and Education
Witzend Workshop, LLC
(LO) LOOMS/WEAVINGAmpersand Art SupplyBlick Art Materials
Runyan Pottery Supply, Inc.Sax/School SpecialtySkutt Ceramic ProductsTriarco Arts & Crats, Inc.Tucker’s Pottery SuppliesUnited Art and EducationUtrecht Mg. Corp.
(FR) FRAMES/MATSArtisanArt StampsArt Supplies WholesaleBags UnlimitedBlick Art MaterialsCascade School Supplies, Inc.
Frame Fit Co.Graphik Dimensions Ltd.Inovart Inc.Madison Art ShopMat Basics Inc.MatBasics Inc.Molly Hawkins’ HousePacon CorporationSax/School SpecialtyTara MaterialsTriarco Arts & Crats, Inc.Utrecht Mg. Corp.
(GR) GRAPHICArt StampsBlick Art MaterialsConrad Machine Co.Core Learning Inc.
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ARTS & ACTIVITIES’ comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services is a ready reference for teachers,
administrators and purchasing agents. Telephone numbers and websites shown with listings provide prompt access for inquiries, orders and special requests. Be sure to
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38 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
ored pencils or crayons, the student colors the potsthree dierent ways. Then, ask the student to pick hisor her avorite. They always seem to have a preer-ence with one o the three pots they have colored.
Many clay artists begin by sketching their pots tocreate a defnite plan/design or their piece. It startswith dividing up the space and then using colored pen-cils, crayons or pens to test out ideas. Try it with yourolder students. It will make them plan and problem-solve beore they touch the clay or choose glazes.
How many times have you been asked by a stu-
dent, “What color glaze should I use?” I get thisquestion all too oten. I believe it comes rom wantingto have a successul-looking pot, but also rom a lacko confdence and direction in their glazing abilities. Ifnd the question more prevalent in older children andadults. I think the younger ones don’t question theirabilities quite as much and just go or it.
Forming the pot is just part o the total experiencein making clay objects. Most pots are made withouta plan or how they are going tobe glazed. Starting with a quicksketch could help plan out the total
experience—creating a blueprinto one’s design.Today, with the availability o
so many commercial underglazesand glazes, the color choices canbe a bit overwhelming. I solve thisdilemma by asking the student tomake three quick drawings o hisor her pot. I do mean quick—nomore than fve minutes should bespent on them. Then, using col-
CLAY TIPS rom David and Tracy Gamble
Choosing Glaze Colors by David L. Gamble
sktching nd thn coloing ou id, mk it i to choo glz colo.
David and Tracy Gamble will be teaching a clay
session at Penland School o Crats, July 7–19. For inormation, call: (828) 765-2359.
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In every January and June•Summer issue, Arts& Activities magazine publishes a Volume Index.
The Index lists, by category and author, the articles that ran during a particular five-issue volume. Werecommend that you keep the Volume Indexes in a binder or file for reference when looking for articles and information dealing with a particular topic, medium, artist, art technique, and so on.
VOLUME 153, FEBRUARY–JUNE 2013
v o l u m e i n d e x
ART APPRECIATION/ART HISTORY Artists Paint ... Celebrations, May., p. 23Artists Paint ... Children, Apr., p. 23Artists Paint ... Impressionism, June, p. 27Artists Paint ... Self-Portraits, Feb., p. 23Artists Paint ... Women, Mar., p. 27Clip & Save Art Print: Barong, June, p. 23Clip & Save Art Print: Perseus with the
Head of Medusa, May, p. 19Clip & Save Art Print: Quetzalcoatl,
Feb., p. 19Clip & Save Art Print: Raven
Transformation Mask, Mar., p. 23Clip & Save Art Print: Saint George and
the Dragon, Apr, p. 19Wyland: Artist and Conservationist,
June, p. 14
CERAMICS/CLAY Clay Tips from David and Tracy Gamble:
Exploring Color theory with Glazes,Feb., p. 28
Clay Tips from David and Tracy Gamble: TheImportance of the Bisque, Apr., p. 30
Clay Tips from David and Tracy Gamble:Choosing Glaze Colors, June, p. 38
Clay, Wonderful Clay, Feb., p. 18
Professions in Clay, Feb., p. 26Sculptures of Artists in Clay, Feb., p. 14Tile Inspirations, Feb., p. 16
CHILDREN’S ART DIARY Color Artists, Apr., p. 12Messy Artists, Feb., p. 12
CHOICE-BASED ARTArt History from the Inside Out, Mar., p. 16This is Not Art, It’s Engineering!, May, p. 11
CLIP & SAVE ART PRINTSBarong, June, p. 23Perseus with the Head of Medusa, May, p. 19Quetzalcoatl, Feb., p. 19Raven Transformation Mask, Mar., p. 23Sainta George and the Dragon, Apr, p. 19
COLLABORATIVE PROJECTSArt Rescue in a Troubled World, Mar., p. 36Mask Making: An Exercise in Imagination
and Skill, May, p. 31Multiple-Purpose Review Murals, June, p. 20Supersize It, May, p. 26
COMMUNITY CONNECTIONSArt Rescue in a Troubled World, Mar., p. 36Wyland: Artist and Conservationist,
June, p. 14Tile Inspirations, Feb., p.16
DRAWING AND PAINTINGArt Rescue in a Troubled World,
Mar., p. 36Caricature Self-Portraits, June, p. 22Graffiti-Style Text Warp, June, p. 29Images of Me, Mar., p. 18Inspired by Sarah Morris, Mar., p. 30Loosen Up with Watercolor-Marker Figure
Drawings, Mar., p. 20Marc’d Up Animals, Apr., p. 14Messy Artists, Feb., p. 12Multiple-Purpose Review Murals, June, p. 20Paint Streams & Color Schemes, Apr, p. 18Watercolor Tales, Apr., p. 16Winter Collages, Feb., p. 11
ELEMENTARY (grades K-5)Art Rescue in a Troubled World,
Mar., p. 36Beautiful Butterflies in Simplified
Symmetry, Mar., p. 34Cézanne and Beyond, Apr., p. 28Classroom Collaboration: Supersize It,
May, p. 26Clay, Wonderful Clay, Feb., p. 18Mask Making: An Exercise in Imagination
and Skill, May, p. 31Multiple-Purpose Review Murals, June, p. 20Professions in Clay, Feb., p. 26Recycling Renaissance: Is My Shoe Art?,
May, p. 28Recycling Renaissance: Recycled Gardens,
June, p. 16
END-OF-THE-YEAR IDEASCaricature Self-Portraits, June, p. 22Multiple-Purpose Review Murals,
June, p. 20.
iPONDER THE iPADPaper is Powerful, Mar., p. 12Tablet Test Drive, June, p. 12
METAL TOOLINGBeautiful Butterflies in Simplified
Symmetry, Mar., p. 34
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Clay is Cool, Feb., p. 38Color and Drawing, Mar., p. 46Composition and painting, Apr., p. 38A Creative Finish, June, p. 46
YOUNG ARTISTSAngela Kim, Young Eun, Mar., p. 22Brew, Caitlyn, Apr., p. 25Cerjan, Kole, May, p. 25
Jamshidi, Neeka, Feb., p. 25
AUTHORS Belefski, Erin, May, p. 28Carroll, Colleen, Feb., p. 19; Mar., p. 23;
Apr. p.19; May p. 19; June, p. 23Conley, Julia M., Mar., p. 20Creech, Steve, June, p.14Deaver, Anne, Feb., p. 11Egenes, Barbara L., Mar., p. 30Fortune, Tracy, June, p. 22Fowler, Judith, Mar., p. 36Gamble, David L., Feb., p. 28; Apr.,
p. 30; June, p. 38Gazda, Molly B., Feb., p.14Gianis, Robin., Feb., p.16Goff, Lynn, June, p.16
Greenman, Geri, Mar., p. 18, Apr., p. 16Greenwood, Nate, Apr., p. 14Guenter, Cris, Mar., p. 12; June, p. 12Guhin, Paula, Apr., p. 18Hathaway, Nan E., Mar., p. 16Herberholz, Barbara, Feb., p. 23; Mar.,
p. 27; Apr. p. 23; May p. 23; June, p. 27Hinshaw, Craig, May, p. 31
Jaquith, Diane, May, p. 11Lawrence, Sarah, May p.26Lee, Kim J., Mar., p. 22Lubiner, Glenda, Feb., p. 38; Mar., p. 46;
Apr. p. 38; May p. 38; June, p. 46
Martin-Meissner, Rebecca, June, p. 20O’Hanley, Heidi, Feb., p. 10; Mar.,
p. 14; Apr., p. 10; May, p. 10; June, p. 13
Osterer, Irv, Feb., p.13Peace, Suze, Feb., p.25Reed, Viki, June, p. 18Skophammer, Karen, Feb., pp.18, 26;
Apr., p.26Sterling, Joan, Apr., p. 28Syrakis, Stephanie, June, p. 29Székely, George, Feb., p.12; Apr., p. 12Thompson, Terri, Apr., p. 25
West, Debi, Mar, p. 32Wolfe, Linda, Mar, p. 34Yonker, Kim, May p. 25
MIDDLE AND SECONDARY (grades 6-12)
1 Lesson + 3 Objectives = Huge Success,Mar., p. 32
Action Collages, Apr., p. 26Caricature Self-Portraits, June, p. 22Graffiti-Style Text Warp, June, p. 29Images of Me, Mar., p. 18Recycling Renaissance: Is My Shoe Art?,
May, p.28Loosen Up wirh Watercolor-Marker Figure
Drawings, Mar., p. 20Marc’d Up Animals, Apr., p. 14Mask Making: An Exercise in Imagination
and Skill, May, p. 31Paint Streams & Color Schemes, Apr, p. 18A Project with Heart, Feb., p. 13Tile Inspirations, Feb., p.16Sculptures of Artisits in Clay, Feb., p. 14Watercolor Tales, Apr., p. 16Winter Collages, Feb., p. 11
MIXED MEDIAAction Collages, Apr., p. 26Beautiful Butterflies in Simplified Symmetry,
Mar., p. 34Recycling Rernaissance: Is My Shoe Art?,
May, p. 28Recycling Renaissance: Recycled Gardens,
June, p. 16Mask Making: An Exercise in Imagination
and Skill, May, p. 31Supersize It, May, p. 26Winter Collages, Feb., p. 11
PAPER/PAPIER-MACHE/COLLAGEAction Collages, Apr., p. 26Mask Making: An Exercise in Imagination
and Skill, May, p. 31
Supersize It, May, p. 26Recycling Renaissance: Recycled Gardens,
June, p. 16Winter Collages, Feb., p. 11
PRESCHOOLInspired by Sarah Morris, Mar., p. 30
READY-TO-USE RESOURCESArtist of the Month: Henri Rousseau,
May, p. 37
Artist of the Month: Honoré Daumier,Feb., p. 37
Artist of the Month: Jean-Honoré
Fragonard, Apr., p. 36Artist of the Month: Paul Gauguin,
June, p. 45Artist of the Month: Vincent van Gogh,
Mar., p. 29Artists Paint ... Celebrations, May., p. 23Artists Paint ... Children, Apr., p. 23Artists Paint ... Impressionism, June, p. 27Artists Paint ... Self-Portraits, Feb., p. 23Artists Paint ... Women, Mar., p. 27Clip & Save Art Print: Barong, June, p. 23Clip & Save Art Print: Perseus with the
Head of Medusa, May, p. 19Clip & Save Art Print: Quetzalcoatl,
Feb., p. 19
Clip & Save Art Print: RavenTransformation Mask, Mar., p. 23
Clip & Save Art Print: Saint George andthe Dragon, Apr, p. 19
RECYCLING/USING FOUND OBJECTS
Is My Shoe Art?, May, p.28Recycling Renaisance: Junk Jewelry
Necklaces, June, p. 18Recycling Renaissance: Recycled
Gardens, June, p. 16
Supersize It, May, p. 26
STEPPING STONESBalancing Curriculum and Materials,
Feb., p. 10Challenges and Joys of Sharing Spaces,
May., p. 10Including Technology is Not That Tricky,
Apr., p. 10Project Preparation, Mar., p. 14Ways to Prevent Burnout, June, p. 13
THREE-DIMENSIONAL DESIGN Clay, Wonderful Clay, Feb., p. 18Recycling Rernaissance: Is My Shoe Art?,
May, p. 28Mask Making: An Exercise in Imagination
and Skill, May, p. 31Professions in Clay, Feb., p. 26Sculptures of Artisits in Clay, Feb., p. 14Supersize It, May, p. 26Tile Inspirations, Feb., p. 16
TRIED & TRUETIPS FOR ART TEACHERS
Art with Dimension,May, p. 38
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44 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
still does).
Ater viewing
examples, I made
sure each student could make a bold
letter. I told them to print a capital
letter on their page and outline it (or
those who cannot visualize how to
make bold letters). Then, together we
worked on how to create shadows
or those letters. Once the studentsgured out how to add a shadow to
a standard bold letter, we discussed
how to manipulate that letter into a
grati ont.
I told them they “have to change
each aspect o the letter.” They could
not take anything away rom the
shape o the letter—they need to add
to it. We started with the top, and
changed the shape, then the bottom
piece(s) o the letter. I the letter
had a center piece, it also had to bechanged. Once they mastered chang-
ing their letters, they worked on add-ing a shadow to it.
FOr THe assIGNMeNT, students chose
a word (not a name) with ve letters
or more. A shorter word would be
too easy. They had to make sure that
some part o their design touches
each edge o the paper. They also
needed to draw one letter backwards.
Finally, when it was time or them to
color each letter, each needed to have
ve colors in it. The students worked on their proj-
ects or about a week and the outcome
was amazing. When I displayed them
on the bulletin boards outside the art
room, they captivated the entire stu-
dent body. Passers-by stopped in awe
o what the art students created. And, I
heard many o them say, “I want to take
art!” That’s when I knew I had accom-
plished the goal I rst set out or—to
get students to love art. n
Stephanie Syrakis teaches art at Lake
Gibson Middle School in Lakeland, Fla.
GRAffITIcontinued rom page 29
I’ve never presented a
lesson that gets kids as
excited to create as this
one did (and still does).
that would serve
as the back-
ground or the
garden. (Other types o cardboard
curled too much because o the mois-
ture rom the paper pulp.)
In the next class, we reviewed hand-
building techniques or clay, such as
rolling coils and how to score and slip
two pieces o clay together. The stu-dents were given examples o dier-
ent types o lanterns, and were asked
to create at least one miniature lan-
tern and a garden bench. During the
class, students who nished early were
encouraged to sculpt tiny animals one
might nd in a garden. Once the pieces
were bisque-red, they were stained
with black watercolor and wiped until
they resembled stone.
To introduce the process o orm-
ing the garden, I demonstrated how the paper pulp was made. Showing the
students the process helped to relieve
the anxiety some experienced about
GARDENScontinued rom page 17
handling sticky green stu.
Next, I demonstrated how to roll
the pulp between one’s hands to cre-
ate a coil, and then press it onto the
background to create the topography
o the garden. The paper pulp was the
perect medium or embedding step-
ping stones, beads or fowers, articial
oliage and the bisque-red pieces that
we had created. (Some o the beadsand stones needed a little extra glue
because o the smooth suraces.)
The students glued tissue paper
onto areas that were designated to be
water. I emphasized that the topogra-
phy should be built up around the gar-
den pathways, and that Japanese Tea
Gardens are always kept neat and tidy.
The students worked quickly with
much excitement and conversation
about the creative eatures o their gar-
dens. Small stairways led to gardenbenches, turtles and ducks foated in
ponds, and one tiny ox crept across the
topography. The many creative land-
scapes looked like wonderul places to
rest and visit with riends. n
Lynn Go is an art teacher at Belvedere
Elementary in Arnold, Md.
VOCABULARY
Bird’s-Eye View Japanese Tea GardenLandscape
Landscape ArcitectPaper Pulp
Topograpy
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45w w w . t n d c t i v i t i . c o m x 8 0 y e a r s • m o n t 2 0 1 3
a r T I s
T O F T H e M O N T H
P u l G u g u i n , b o n J u n 7 , 1 8 4 8
P u l G u g u i n ( F n c h ; 1 8 4 8 – 1 9 0 3 ) . T a h i t i a n W o m e n O n t h e B e a c h , 1 8 9 1 . O i l o n c n v ; 2 7 . 2 " x 3 5 . 8 " . M u é d ’ O y , P i , F n c .
A r t w o r k i s i n t h e P u b l i c D o m a i n .
©
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46 j u n e 2 0 1 3 • 8 0 y e a r s x w w w . t n d c t i v i t i . c o m
the school hallways lined with bulletin
boards lled with a changing display
o student art. Every project, every
child—that is her goal.
In June, though, she has learnedto start taking down those projects to
send them home with her student art-
ists beore the nal week o school.
Doing this a week early ensures that
the projects actually make it home to
the “amily gallery.”
But oh, what to do with those blank
walls! This year, she looked through
some o her avorite prints o water
and mountain landscapes—Albert Bier-
stadt, In the Mountains; Edward Hop-
per, Lighthouse at Two Lights; Winslow Homer, The Blue Boat and Breezing Up.
She put one print in the middle o each
bulletin board, lling the school with
inspiration or the change o pace that
summer brings, or summer activities
and a chance to highlight some more
art in our hallways.
HaPPy BIrTHDay to Maurice Sen-
dak (June 10, 1928), Christo (June
13, 1935), and M.C. Escher (June 17,
1898). To celebrate, have your studentscreate some “wild things,” wrap objects
or make tessellations or an end-o-the-
year project.
Thank you Ellen, Chrissy and Bar-
bara or the wonderul and helpul end-
o-the-year tips.
Wishing you all a restul and cre-
ative summer ... but don’t orget to keep
sending those tips! n
Glenda Lubiner teaches elementary art
at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an
adjunct proessor at Broward College.
Only a ew weeks let o school and
then we are ree ... well, we will
not have to get up early, but I know our
brains will still be working and we will
be uriously writing down ideas and
new art lessons or September. I try
to revisit old art lessons and put a new and improved spin on them.
I also aim to regenerate during the
summer. Try to nd some workshops
in your area; you might nd some
through your local high school, parks
and recreation center, colleges, or
through your local or state art associa-
tion. It is always nice to work on your
own art once in a while since so many
o us rarely have the time to do that.
As we clean up our rooms or
another year, we are always lookingor some great end-o-the-year projects
that are quick, meaningul and un.
GaMING LIKe yOU’Ve NeVer seeN IT
BeFOre! Forget the video games, the
iPhones, the PS3s and Xbox 360s! Ellen
McMillan rom Monarch High School
in Coconut Creek, Fla., has her students
make art-related games. They bring in
old games and paint, design, or change
them and then they play them at the end
o the year. That way, she says, you can
clean up your supplies and at the same
time the students have things to do that
are art related and un. Students havemade card games, matching games, and
monopoly-type games.
ONe MaN’s TrasH Is aNOTHer MaN’s
TreasUre Rather than throwing away
dried-up markers, Chrissy Chiddo Leis-
hear rom St. John the Baptist Catholic
School in Silver Spring, Md., has the
students dip them in a cup o water
and they can then “paint” with them.She keeps a basket in the corner o her
room dedicated to dead markers. This
makes or a un end-o-the-year activ-
ity and the students love to watch the
water change colors!
Chrissy also saves the marker caps
to turn into cool art projects, like a
mosaic mirror! She rinses all the caps,
lets them dry, and glues each pieceonto a ramed mirror. It adds a splash
o color to her classroom and reminds
the students you can be creative with
your “junk!” Have the students dec-
orate something with recycled or
ound objects.
LeaVING yOUr MarK For the last
art class beore the eighth-graders
graduate, Chrissy pulls out the paints,sponges, brushes, straws, marbles,
LEGOs, toy cars—and anything else
the students can use to paint. She has
them create several abstract paintings
on small 4" x 4" white paper. They
choose two o their avorites and when
they are dry, Chrissy makes a display
or her closet door that stays up or the
ollowing school year.
A Jackson Pollock quote hangs in
the middle, reading, “It doesn’t make
much dierence how the paint is put
on, as long as something has been said.”
This is a great ollow-up activity to an
abstract art lesson and a way or the
students to leave a “mark” beore they
leave the school.
INsPIraTION FrOM THe arT rOOM
During the school year, Barbara Owen,
rom Tenacre Country Day School,
Wellesley, Mass., loves to walk through
tip #2
A Creative Finish
G l e nd a L u b i ne r
aTTeNTION reaDers
I you would like to sare some o your
teacing tips, email tem to Glenda at:[email protected]
tip #4
tip #3
tip #1
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YOU are a creative leader.Expand your horizons! Access opportunities, connect
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