Tuesday, June 15, 2010
Star Gazer Books Lesson Plan (B. Restrepo)
These books can be done by students of all ages, depending on how much prepping you do. Young elementary students will need a lot of help with the construction, but they will be able to do the various parts themselves.
Aim(s): To make an interesting and unusual book
To explore materials of your choice on the inside pages
To integrate curriculum, depending on what theme you give your students
Materials:
cardboard squares (precut) just a little bit larger than the quarter-folded inside sheets (ours were 4 1/4");four sheets of nice white or medium to light watercolor paper; white glue in bottles; heavy-duty aluminum foil; pencils; black india ink; watercolors/acrylics/watercolor pencils/colored pencils/sharpie markers/markers/collage materials such as magazines or calendars/rubber stamps, etc.; ribbon or something to make a tie with; Optional: word processed narrative or report to collage in book
Motivation: Pictures and posters of whatever your theme might be
Procedure:
Cover:
Draw a bold image or letter that can be made into a raised glue image (we used initials) on one side of each cardboard square. Draw over the image with glue, letting it bead up. Put aside to dry overnight.
Cover with foil and over edges, "burnishing" it to create a bas-relief.
Brush india ink over the foil and wipe off, giving it a metallic, antique, look.
Insides:
Draw your images on the four pages. (Add the optional copy later, when you know placement.) Color in the materials of your choice. Sponge paint or color the backs, as well. Sometimes patterns look nice on the back, although there's nothing stopping you from having your imagery on both sides, of you can figure out where you are gluing them together ahead of time. (Read on...)
Fold in quarters when dry. Use the handles of scissors for crisp folds if you don't have a boning tool.
Glue one side of the folded page to the next, forming a star. Before gluing the star into your book, lay a ribbon or cord across book and glue or tape it in. The glue the two ends to each cover to form the book.
Reflection: As always, share your work.
Variations: Maureen has made ornaments using smaller pieces of paper and not doing the cover parts of this. You could probably make some interesting thematic mobiles with the stars as well, I would think.
Aim(s): To make an interesting and unusual book
To explore materials of your choice on the inside pages
To integrate curriculum, depending on what theme you give your students
Materials:
cardboard squares (precut) just a little bit larger than the quarter-folded inside sheets (ours were 4 1/4");four sheets of nice white or medium to light watercolor paper; white glue in bottles; heavy-duty aluminum foil; pencils; black india ink; watercolors/acrylics/watercolor pencils/colored pencils/sharpie markers/markers/collage materials such as magazines or calendars/rubber stamps, etc.; ribbon or something to make a tie with; Optional: word processed narrative or report to collage in book
Motivation: Pictures and posters of whatever your theme might be
Procedure:
Cover:
Draw a bold image or letter that can be made into a raised glue image (we used initials) on one side of each cardboard square. Draw over the image with glue, letting it bead up. Put aside to dry overnight.
Cover with foil and over edges, "burnishing" it to create a bas-relief.
Brush india ink over the foil and wipe off, giving it a metallic, antique, look.
Insides:
Draw your images on the four pages. (Add the optional copy later, when you know placement.) Color in the materials of your choice. Sponge paint or color the backs, as well. Sometimes patterns look nice on the back, although there's nothing stopping you from having your imagery on both sides, of you can figure out where you are gluing them together ahead of time. (Read on...)
Fold in quarters when dry. Use the handles of scissors for crisp folds if you don't have a boning tool.
Glue one side of the folded page to the next, forming a star. Before gluing the star into your book, lay a ribbon or cord across book and glue or tape it in. The glue the two ends to each cover to form the book.
Reflection: As always, share your work.
Variations: Maureen has made ornaments using smaller pieces of paper and not doing the cover parts of this. You could probably make some interesting thematic mobiles with the stars as well, I would think.
Plaster Craft FInger Puppets Lesson Plan
I’ve made these at birthday parties with children, making them at beginning, playing games while they dry and then painting them before the cake. They’re ready to take home by the end of the party. If you set up the lesson correctly, it’s really not messy.
Aims:
To explore the use of plaster craft
To create original puppet characters
To use puppets in student-produced puppet show
Materials: First Session: plaster craft cut into strips (do this over a garbage can, if possible to avoid dust); coffee cans filled with water 1” from top; vaseline; thick styrofoam from packaging with old pencils pushed in for easy drying; optional: aluminum foil/pipe cleaners or other easily bendable wire
Second Session: paint (tempera or acrylic); brushes; water cans; optional: feathers, googley eyes
Motivation: There are many ways to approach this lesson with children. If you have a few puppets already made, you could start the lesson with a puppet show about making puppets. Kids adore it when you make different voices for the characters. Or you could talk a bit about how plays are written and have your students write playlets (either in groups or individually) of their own. The important thing is to have at least two characters that can interact.
Teach your students how to make a beginning, middle and end to their plays and have them keep it short. (Kids’ plays can go on forever. A little editing here will be a good thing.)
In any case, the students should know ahead of time what character or characters they are making.
Vocabulary: character, dialogue, villain, hero/heroine, three-dimensional
Procedure: Gather your students around a large table, making sure that everyone can see. I have everyone take a step backwards to make the oval big enough so no one is blocked. If kids lean forward, people behind him are blocked.
I put a bit of vaseline on the finger I’m going to make the puppet on--usually the non-dominant index finger. Dip a plaster strip in the can and stroke it to remove the holes. Wrap LIGHTLY around finger and repeat two more times. Don’t make it too long on your finger and don’t make it too tight. It will harden quickly and you don’t want it to get struck! Explain this to your students. (So far, I’ve never had a student get one stuck.)
Scrunch a dampened piece or two or three into a ball to make a head and press it down. You have to be very patient doing this, since until it dries, it will tend to fall off. Add a snout, ears, paws, hind legs, a tail, etc. Work quickly so that wet sticks to wet better.
If you want to make something more complicated such as a butterfly, you need to use pipe cleaners to wrap around your form. Fold a piece of aluminum foil over the shapes to make it more solid and then cover with the plaster pieces. Make sure that you “activate” the pieces as you work.
When ready to paint, encourage the students to make a base coat on the sections and then to add details. You don't want little flecks of white showing through. When dry, students may use sharpie markers to draw fine details, if you like. Gluing on feathers, glitter, eyeballs, etc. is also an option. I use a hot glue gun for this, monitoring the students well, depending on their age.
Reflection: Follow-up: Make a puppet theater out of a large appliance box for students to use in the classroom. Add a real curtain.
Aims:
To explore the use of plaster craft
To create original puppet characters
To use puppets in student-produced puppet show
Materials: First Session: plaster craft cut into strips (do this over a garbage can, if possible to avoid dust); coffee cans filled with water 1” from top; vaseline; thick styrofoam from packaging with old pencils pushed in for easy drying; optional: aluminum foil/pipe cleaners or other easily bendable wire
Second Session: paint (tempera or acrylic); brushes; water cans; optional: feathers, googley eyes
Motivation: There are many ways to approach this lesson with children. If you have a few puppets already made, you could start the lesson with a puppet show about making puppets. Kids adore it when you make different voices for the characters. Or you could talk a bit about how plays are written and have your students write playlets (either in groups or individually) of their own. The important thing is to have at least two characters that can interact.
Teach your students how to make a beginning, middle and end to their plays and have them keep it short. (Kids’ plays can go on forever. A little editing here will be a good thing.)
In any case, the students should know ahead of time what character or characters they are making.
Vocabulary: character, dialogue, villain, hero/heroine, three-dimensional
Procedure: Gather your students around a large table, making sure that everyone can see. I have everyone take a step backwards to make the oval big enough so no one is blocked. If kids lean forward, people behind him are blocked.
I put a bit of vaseline on the finger I’m going to make the puppet on--usually the non-dominant index finger. Dip a plaster strip in the can and stroke it to remove the holes. Wrap LIGHTLY around finger and repeat two more times. Don’t make it too long on your finger and don’t make it too tight. It will harden quickly and you don’t want it to get struck! Explain this to your students. (So far, I’ve never had a student get one stuck.)
Scrunch a dampened piece or two or three into a ball to make a head and press it down. You have to be very patient doing this, since until it dries, it will tend to fall off. Add a snout, ears, paws, hind legs, a tail, etc. Work quickly so that wet sticks to wet better.
If you want to make something more complicated such as a butterfly, you need to use pipe cleaners to wrap around your form. Fold a piece of aluminum foil over the shapes to make it more solid and then cover with the plaster pieces. Make sure that you “activate” the pieces as you work.
When ready to paint, encourage the students to make a base coat on the sections and then to add details. You don't want little flecks of white showing through. When dry, students may use sharpie markers to draw fine details, if you like. Gluing on feathers, glitter, eyeballs, etc. is also an option. I use a hot glue gun for this, monitoring the students well, depending on their age.
Reflection: Follow-up: Make a puppet theater out of a large appliance box for students to use in the classroom. Add a real curtain.
Paper Mache Masks Lesson Plan
Paper Mache Masks--Grades K (with help) and Up
This is a wonderful technique that can be used in so many ways. I use art paste (methyl cellulose) which doesn’t get moldy or stinky like flour and water does.
Aims: To make an original, wearable mask
To explore the use of paper mache
Materials & Tools
newspaper (lots of it)
masking tape
scissors
odds and ends to use for the underbody (styrofoam cups, cardboard pieces, egg cartons, foil, etc. etc.
art paste
bowl or bucket for “slime”
For painting: tempera paint (or acrylic)
brushes
Optional: pipe cleaners, feathers, raffia, yarn, tissue paper, fabrics and other decorative items
Procedure: Motivate your students with pictures of masks from the culture you are studying. There are numerous examples from all over Africa, New Guinea and Oceania, Eskimo, Asian Indian, American Indian, etc.
To construct the mask, form a loose bunch of newspapers into the size you want the mask and tape it together. Tape on objects to make the form three dimensional--eyes might be egg carton pieces or coffee cup bottoms. Make sure it is very three-dimensional. Add ears, horns, a beard, etc. with cardboard or styrofoam. Use scrunched-up foil to form shapes, too. It doesn’t have to look good at this stage; it just has to hold together for the covering process. Look at the mask in profile and make sure you have enough things sticking out to make it sculptural.
To paper mache, cover your work area. Mix several tablespoons of art paste into water. A little will go along way. Use you hand to mix and get rid of any small lumps. It will thicken in a few minutes and you may then have to add more water.
Rip lots of newspaper into strips, along the grain. Make them mostly medium-sized--about 1-1/2” by 4 or 5 inches. You’ll need tons of them.
When you are ready to paper mache, dip each piece in the art paste mixture, scissor off with your fingers so it doesn’t drip too much and smack down, going over the piece a few times to make sure it conforms to the outline of your shapes. You’ll need about 3 or 4 layers for a strong mask. Go every which way, not just in one direction. Patting down is key for the surface to look good.
When dry, take out the “guts”. Sometimes you’ll need to cut around the back edges with scissors to pull out the form. You can use an exacto knife to cut out eye slits or nostrils, which you only need if you are going to wear it.
If you are painting you mask a light color, putting on a coat of white first will help block out the newspaper print. References of painted masks will help your students paint their masks more beautifully. Details are important to add at this point.
You may use hot glue to add decorative items like yarn, tissue paper or feathers.
This is a wonderful technique that can be used in so many ways. I use art paste (methyl cellulose) which doesn’t get moldy or stinky like flour and water does.
Aims: To make an original, wearable mask
To explore the use of paper mache
Materials & Tools
newspaper (lots of it)
masking tape
scissors
odds and ends to use for the underbody (styrofoam cups, cardboard pieces, egg cartons, foil, etc. etc.
art paste
bowl or bucket for “slime”
For painting: tempera paint (or acrylic)
brushes
Optional: pipe cleaners, feathers, raffia, yarn, tissue paper, fabrics and other decorative items
Procedure: Motivate your students with pictures of masks from the culture you are studying. There are numerous examples from all over Africa, New Guinea and Oceania, Eskimo, Asian Indian, American Indian, etc.
To construct the mask, form a loose bunch of newspapers into the size you want the mask and tape it together. Tape on objects to make the form three dimensional--eyes might be egg carton pieces or coffee cup bottoms. Make sure it is very three-dimensional. Add ears, horns, a beard, etc. with cardboard or styrofoam. Use scrunched-up foil to form shapes, too. It doesn’t have to look good at this stage; it just has to hold together for the covering process. Look at the mask in profile and make sure you have enough things sticking out to make it sculptural.
To paper mache, cover your work area. Mix several tablespoons of art paste into water. A little will go along way. Use you hand to mix and get rid of any small lumps. It will thicken in a few minutes and you may then have to add more water.
Rip lots of newspaper into strips, along the grain. Make them mostly medium-sized--about 1-1/2” by 4 or 5 inches. You’ll need tons of them.
When you are ready to paper mache, dip each piece in the art paste mixture, scissor off with your fingers so it doesn’t drip too much and smack down, going over the piece a few times to make sure it conforms to the outline of your shapes. You’ll need about 3 or 4 layers for a strong mask. Go every which way, not just in one direction. Patting down is key for the surface to look good.
When dry, take out the “guts”. Sometimes you’ll need to cut around the back edges with scissors to pull out the form. You can use an exacto knife to cut out eye slits or nostrils, which you only need if you are going to wear it.
If you are painting you mask a light color, putting on a coat of white first will help block out the newspaper print. References of painted masks will help your students paint their masks more beautifully. Details are important to add at this point.
You may use hot glue to add decorative items like yarn, tissue paper or feathers.
Plaster Craft Masks Lesson Plan
For ages 10 and Up
Aim: To make self-portrait masks
To learn how to use plastercraft to make sculpture
Materials: plastercraft, also called Pariscraft
vaseline
pencil
watercan
scissors
plastic garbage bags to cover laps
smocks, aprons
newspaper balled up loosely and tape to make face form
heavy cardboard or picture frame without glass
hot glue gun
yarn the color of hair
sharpie marker
acrylic or tempera paint, brushes, palettes
optional: showercaps or headbands to pull hair back
accessories (hats, jewelry, eyeglasses)
Vocabulary: plaster
"death" mask
Procedure: This project was the culminating art experience that students at my former elementary school got to make. They all looked forward to it. It takes several art periods, but is truly worth it.
On the first day, I would discuss self-portraits in general and what a death mask was in particular. I then get a volunteer "Victim." Have the victim put vaseline on their face over eyebrows, lips and around the edges. While he is doing this, I show how to cut the plastercraft into pieces with scissors. Be mindful to explain to kids not to blow the dust around when they do this step. You need about 30 pieces 5" x 1 1/4" or so; 8-10 pieces 1/2" x 3" for the nose and 10-15 pieces inbetween the other two sizes.
Put water in the can or container and place it NEAR THE EDGE OF THE TABLE WITH THE PLASTER STRIPS IN THE CENTER OF THE TABLE. NOT THE OTHER WAY AROUND!! When plaster gets wet it starts to harden and becomes unusable, so you don't want put droplets of water on the strips by mistake.
Dip a larger piece into the water and stroke it. Sometimes you have to stroke it several times to get it to soften; other times, it gets soggy right away. The point is to get rid of the tiny holes in the material. As you pat down on the skin, there should be no holes visible at all. Start on the forehead, do the sides of the face and a little on the cheeks. Next take small pieces and make an X" on the top of the nose. Keep patting each piece down. Work deliberately and carefully. Don't rush the process. Here and there you'll need a medium sized piece to smooth things out. Don't work too thickly, but do put about three layers on each area. I find it works best to make the direction of the strips somewhat random than all horizontal, say. The places the masks tend to break are at the side of the head (temples) and the top of the nose (bridge). DO NOT COVER THE NOSTRILS OR THE EYES. Also, if someone has a nose cold, have them wait to do this until they are better. Breathing through your nose is crucial because the mouth will be covered.
Have a loose form of taped newspaper ready. When hardened (20 minutes or so), pull off at sides. Lay on the form and fill in the eyeballs and nose. The victim washes his face while the perpetrator finishes the mask. Poke a finger gently from the back to round out the nose tip, if necessary. Write the person's name in pencil inside the mask.
When the students do this project, they pair up and take turns on different days doing each other as victim and perp. If you have an odd number of kids, two can work on one mask.
When all masks are completed and dry, have students trim side edges straight OVER A GARBAGE CAN TO PREVENT UNNECESSARY DUST. Then the masks can be glued down on the cardboard with a hot glue gun.
The next art period(s)the students will paint the faces and background. I have them paint the entire face and neck skin color first before drawing on the features. You have to remind them that all things are life sized. Some students will make the eyes too big, so this step has to be approached slowly and carefully. After the skin is dry, I have them draw the almond shape of their eyeballs in pencil on the eye socket areas, using a mirror. They then draw in the iris, which is not a ball, but a part of a ball. They also draw in the eyelid line. These parts can be outlined in sharpie, once they are correct, but not until.
The background should be something fun: a place they love, something imaginary, people they care about, pets, etc. Clothing can be whatever.
The last step is gluing on hair and any real accessories.
These portraits were traditionally displayed at our sixth grade graduation and they looked so fabulous in the hallway.
Aim: To make self-portrait masks
To learn how to use plastercraft to make sculpture
Materials: plastercraft, also called Pariscraft
vaseline
pencil
watercan
scissors
plastic garbage bags to cover laps
smocks, aprons
newspaper balled up loosely and tape to make face form
heavy cardboard or picture frame without glass
hot glue gun
yarn the color of hair
sharpie marker
acrylic or tempera paint, brushes, palettes
optional: showercaps or headbands to pull hair back
accessories (hats, jewelry, eyeglasses)
Vocabulary: plaster
"death" mask
Procedure: This project was the culminating art experience that students at my former elementary school got to make. They all looked forward to it. It takes several art periods, but is truly worth it.
On the first day, I would discuss self-portraits in general and what a death mask was in particular. I then get a volunteer "Victim." Have the victim put vaseline on their face over eyebrows, lips and around the edges. While he is doing this, I show how to cut the plastercraft into pieces with scissors. Be mindful to explain to kids not to blow the dust around when they do this step. You need about 30 pieces 5" x 1 1/4" or so; 8-10 pieces 1/2" x 3" for the nose and 10-15 pieces inbetween the other two sizes.
Put water in the can or container and place it NEAR THE EDGE OF THE TABLE WITH THE PLASTER STRIPS IN THE CENTER OF THE TABLE. NOT THE OTHER WAY AROUND!! When plaster gets wet it starts to harden and becomes unusable, so you don't want put droplets of water on the strips by mistake.
Dip a larger piece into the water and stroke it. Sometimes you have to stroke it several times to get it to soften; other times, it gets soggy right away. The point is to get rid of the tiny holes in the material. As you pat down on the skin, there should be no holes visible at all. Start on the forehead, do the sides of the face and a little on the cheeks. Next take small pieces and make an X" on the top of the nose. Keep patting each piece down. Work deliberately and carefully. Don't rush the process. Here and there you'll need a medium sized piece to smooth things out. Don't work too thickly, but do put about three layers on each area. I find it works best to make the direction of the strips somewhat random than all horizontal, say. The places the masks tend to break are at the side of the head (temples) and the top of the nose (bridge). DO NOT COVER THE NOSTRILS OR THE EYES. Also, if someone has a nose cold, have them wait to do this until they are better. Breathing through your nose is crucial because the mouth will be covered.
Have a loose form of taped newspaper ready. When hardened (20 minutes or so), pull off at sides. Lay on the form and fill in the eyeballs and nose. The victim washes his face while the perpetrator finishes the mask. Poke a finger gently from the back to round out the nose tip, if necessary. Write the person's name in pencil inside the mask.
When the students do this project, they pair up and take turns on different days doing each other as victim and perp. If you have an odd number of kids, two can work on one mask.
When all masks are completed and dry, have students trim side edges straight OVER A GARBAGE CAN TO PREVENT UNNECESSARY DUST. Then the masks can be glued down on the cardboard with a hot glue gun.
The next art period(s)the students will paint the faces and background. I have them paint the entire face and neck skin color first before drawing on the features. You have to remind them that all things are life sized. Some students will make the eyes too big, so this step has to be approached slowly and carefully. After the skin is dry, I have them draw the almond shape of their eyeballs in pencil on the eye socket areas, using a mirror. They then draw in the iris, which is not a ball, but a part of a ball. They also draw in the eyelid line. These parts can be outlined in sharpie, once they are correct, but not until.
The background should be something fun: a place they love, something imaginary, people they care about, pets, etc. Clothing can be whatever.
The last step is gluing on hair and any real accessories.
These portraits were traditionally displayed at our sixth grade graduation and they looked so fabulous in the hallway.
Tuesday, June 1, 2010
Moving Eye Ball Portraits Lesson Plan
Moving Eyeball Portraits--Grades 2 (with help) and up
A variation on the well-worn self-portrait lesson. I developed this after I did a haunted house for my elementary school many years ago in which I made a painting of the principal and had her eyes move to scare the children.
Aims:
•To learn about the self-portrait genre
•To learn how to make a self-portrait
•To teach children that a portrait can be interactive
Materials and Tools:
sheet of oak tag or bristol board
length of oak tag 8” longer than the width of the self-portrait
piece of oak tag about 4” high and same length as width of portrait
pencil, eraser
sharpie marker
watercolor
watercolor brush
water can
masking tape
pointed scissors
Optional: colored pencils and small mirrors
Procedure:
You’ll want to explain the difference between portraits and self-portraits. It would be a good idea to have several examples of each to show your students. Next, explain that they are going to be creating self-portraits that will do something funny, but don’t tell them ahead of time. Let it be a surprise!
First, depending on the age of the student, you’ll want to make sure that the portrait is large enough to have the eyeballs cut out. Next explain the difference between what they might think a head looks like and what it actually looks like. If you have mirrors available, distribute them at this point. The head is not round, it is oval or egg-shaped. Your neck is not a lollipop stick; it is thicker. Eyes do not grow out of the top of one’s head; they’re just a tad above the middle. They are almond-shaped and you usually don’t see the whole of the iris; part of it is normally hidden. Be sure to put in eyelids and eyebrows, too. The nose is not a hook or a pig nose; use the steps I showed in class (parentheses, snake, shade in ends of snake, two light lights to create bridge of nose). When doing the lips, it’s easy to teach kids to draw the line where they meet when closed, which is usually wavy followed by a mountain range on top and a boat underneath. Remember to explain that everyone’s mountains, boats, snakes, etc. are different and it is important to observe what theirs looks like.
Have them add ears, hair and other details. The background can also be personalized with a place they love or something they love doing or friends, pets, etc.
Next they should go over their lines with sharpies. Then they can paint the portrait. Skin colors are mixed on the palette part of the paint box, which is the open lid. First, “wake the colors up” by making a puddle in each paint pad. Then take orange and put it on the palette. Add some clean water. Then add a bit or brown, little by little until the color seems right. For darker skin, keep adding brown. The color will dry lighter on your paper, so plan accordingly. Avoid caterpillar lips and the like by not painting over another color until it is absolutely dry. I demonstrate what not to do and kids get the point quite quickly. Watercolor goes into paper like apple juice into a white shag carpet and if you add grape juice it will all mix around together.
When dry, you can go over with more watercolor or add another media like colored pencils.
Next cut out the almond shape of the eyeballs. Place the 4” piece of oak tag on the back of the picture, just above the empty sockets. Tape on top and bottom to form a pocket. Next, slide in the long piece of oak tag and center it with 4” on each side sticking out. Draw the irises in, not as circles, but as parentheses. Add the pupil. Pull out and finish the circles of the eyes and color in. When dry, slide back in and move back and forth and up and down to create funny looks.
Reflection:
Share the work. Guess who the portraits are of, etc.
Follow-up:
Student could do moving eyeball portraits of animals, family members, school personnel, etc.
A variation on the well-worn self-portrait lesson. I developed this after I did a haunted house for my elementary school many years ago in which I made a painting of the principal and had her eyes move to scare the children.
Aims:
•To learn about the self-portrait genre
•To learn how to make a self-portrait
•To teach children that a portrait can be interactive
Materials and Tools:
sheet of oak tag or bristol board
length of oak tag 8” longer than the width of the self-portrait
piece of oak tag about 4” high and same length as width of portrait
pencil, eraser
sharpie marker
watercolor
watercolor brush
water can
masking tape
pointed scissors
Optional: colored pencils and small mirrors
Procedure:
You’ll want to explain the difference between portraits and self-portraits. It would be a good idea to have several examples of each to show your students. Next, explain that they are going to be creating self-portraits that will do something funny, but don’t tell them ahead of time. Let it be a surprise!
First, depending on the age of the student, you’ll want to make sure that the portrait is large enough to have the eyeballs cut out. Next explain the difference between what they might think a head looks like and what it actually looks like. If you have mirrors available, distribute them at this point. The head is not round, it is oval or egg-shaped. Your neck is not a lollipop stick; it is thicker. Eyes do not grow out of the top of one’s head; they’re just a tad above the middle. They are almond-shaped and you usually don’t see the whole of the iris; part of it is normally hidden. Be sure to put in eyelids and eyebrows, too. The nose is not a hook or a pig nose; use the steps I showed in class (parentheses, snake, shade in ends of snake, two light lights to create bridge of nose). When doing the lips, it’s easy to teach kids to draw the line where they meet when closed, which is usually wavy followed by a mountain range on top and a boat underneath. Remember to explain that everyone’s mountains, boats, snakes, etc. are different and it is important to observe what theirs looks like.
Have them add ears, hair and other details. The background can also be personalized with a place they love or something they love doing or friends, pets, etc.
Next they should go over their lines with sharpies. Then they can paint the portrait. Skin colors are mixed on the palette part of the paint box, which is the open lid. First, “wake the colors up” by making a puddle in each paint pad. Then take orange and put it on the palette. Add some clean water. Then add a bit or brown, little by little until the color seems right. For darker skin, keep adding brown. The color will dry lighter on your paper, so plan accordingly. Avoid caterpillar lips and the like by not painting over another color until it is absolutely dry. I demonstrate what not to do and kids get the point quite quickly. Watercolor goes into paper like apple juice into a white shag carpet and if you add grape juice it will all mix around together.
When dry, you can go over with more watercolor or add another media like colored pencils.
Next cut out the almond shape of the eyeballs. Place the 4” piece of oak tag on the back of the picture, just above the empty sockets. Tape on top and bottom to form a pocket. Next, slide in the long piece of oak tag and center it with 4” on each side sticking out. Draw the irises in, not as circles, but as parentheses. Add the pupil. Pull out and finish the circles of the eyes and color in. When dry, slide back in and move back and forth and up and down to create funny looks.
Reflection:
Share the work. Guess who the portraits are of, etc.
Follow-up:
Student could do moving eyeball portraits of animals, family members, school personnel, etc.
Face Books Lesson Plan--Grades 4 and Up
Exquisite Corpse Book--Grades 4 and up
This is a fun book to make, pure and simple! It was inspired by a book my children had many years ago.
Aim:
•To create an interactive, creative book
•To invent unusual characters and details that will “morph” into each other
•To learn how to use a ruler and measure
•To learn about the surrealist game of the Exquisite Corpse
Materials & Tools:
Bristol board or oak tag (several sheets)
pencil, eraser
colored pencils, sharpie markers, crayons, colored markers
scissors
stapler, tape
Procedure:
Establish guidelines for your students or you’ll be driven insane. Have the sizes of the “cuts” established as well as the side margins on each cut.
I’ve always measured the whole page and cut last but after making one, you may choose to cut first.
Plan on dividing the pages into four or five sections. Each section will not be the same size! The top section will probably be bigger than the eye area, etc. One basic 5-section example might be 3” hat/hairline/2” eyes and eyebrows/1 1/2” nose/2 1/2” lips and chin/3” neck to body. Like our exquisite corpse animal, the margins must mesh, so make each piece a set size--say the hat piece 1” on each side and the eye piece 3/4” on each side, etc.
Motivate your students by talking first about Surrealism and then about crazy hairstyles, hats, jewelry, costumes, etc. that they might be able to come up with. You might have some picture library examples which will spark ideas and your discussion.
Next then need to measure out their sheets. This might be boring, but make them learn how to use a ruler!
Have each student do at least four different faces, letting them be a bit silly but not mean. They will then color in their books. Have students cut their pages leaving about 3/4” on left side for strength.
Assemble the books by stapling the left edges together. I like the idea of making a solid cover which could be slightly bigger and glued to the staples “spine.” You may come up with other variations.
Reflection:
Your students will love seeing some of the wacky combinations that will come up.
Variations:
•Have your students make books made up of one page of their own and three from other friends.
•Do the whole figure of various people or creatures.
•My student, Delia, had the great idea of having students do probability
lessons using these books.
This is a fun book to make, pure and simple! It was inspired by a book my children had many years ago.
Aim:
•To create an interactive, creative book
•To invent unusual characters and details that will “morph” into each other
•To learn how to use a ruler and measure
•To learn about the surrealist game of the Exquisite Corpse
Materials & Tools:
Bristol board or oak tag (several sheets)
pencil, eraser
colored pencils, sharpie markers, crayons, colored markers
scissors
stapler, tape
Procedure:
Establish guidelines for your students or you’ll be driven insane. Have the sizes of the “cuts” established as well as the side margins on each cut.
I’ve always measured the whole page and cut last but after making one, you may choose to cut first.
Plan on dividing the pages into four or five sections. Each section will not be the same size! The top section will probably be bigger than the eye area, etc. One basic 5-section example might be 3” hat/hairline/2” eyes and eyebrows/1 1/2” nose/2 1/2” lips and chin/3” neck to body. Like our exquisite corpse animal, the margins must mesh, so make each piece a set size--say the hat piece 1” on each side and the eye piece 3/4” on each side, etc.
Motivate your students by talking first about Surrealism and then about crazy hairstyles, hats, jewelry, costumes, etc. that they might be able to come up with. You might have some picture library examples which will spark ideas and your discussion.
Next then need to measure out their sheets. This might be boring, but make them learn how to use a ruler!
Have each student do at least four different faces, letting them be a bit silly but not mean. They will then color in their books. Have students cut their pages leaving about 3/4” on left side for strength.
Assemble the books by stapling the left edges together. I like the idea of making a solid cover which could be slightly bigger and glued to the staples “spine.” You may come up with other variations.
Reflection:
Your students will love seeing some of the wacky combinations that will come up.
Variations:
•Have your students make books made up of one page of their own and three from other friends.
•Do the whole figure of various people or creatures.
•My student, Delia, had the great idea of having students do probability
lessons using these books.
Monday, May 31, 2010
Oil Pastel Resist Banners on Pellon
Oil Pastels (Craypas) Resist on Pellon (K- adult)
Aims: •To create individual works to glue onto to a background
•To (possibly) integrate other curriculum into your art lesson such as science, math, social studies, etc.
Materials & Tools:
white pellon (not glue kind)
craypas
watercolors
brushes, water can
scissors
newspaper to protect table
Procedure:
Cut pellon into a banner or pennant shape. Have a theme such as heritage, their name, symbols, etc. for the students to respond to. Draw, using pressure,
your design. Use lines, don’t color in. Paint watercolor over the craypas. (Oil repels water.)
Reflection:
These are beautiful hung in windows or in light.
Aims: •To create individual works to glue onto to a background
•To (possibly) integrate other curriculum into your art lesson such as science, math, social studies, etc.
Materials & Tools:
white pellon (not glue kind)
craypas
watercolors
brushes, water can
scissors
newspaper to protect table
Procedure:
Cut pellon into a banner or pennant shape. Have a theme such as heritage, their name, symbols, etc. for the students to respond to. Draw, using pressure,
your design. Use lines, don’t color in. Paint watercolor over the craypas. (Oil repels water.)
Reflection:
These are beautiful hung in windows or in light.
Thursday, May 20, 2010
The Drawing Game Lesson Plan
This is a game I invented many years ago to get my students exited about seeing. It works well with all ages (4th Grade and up) and prizes add to the frenzy. Watch out for cheating, though. Even amongst adults!
Aims: To practice deep looking
To listen to words and put them into visual form
To be about to recall and describe in words what you saw
Motivation: The game itself is all the motivation you will need, although silly prizes
add to the fun.
Vocabulary: parallel, perpendicular, cylinder, sphere, etc.
Procedure: Collect all sorts of odd objects: I use broken kitchen utensils, old parts of hardware, packaging, weirdly-shaped things I find in my travels, perfume bottle caps, old kiln parts, etc.
Divide the class up into teams of four or so. I try to mix students up so there's one star artist per team, but what's interesting is that the star artist may not be good at this game initially. Sometimes the quieter kids are better observers.
Each team sends a member out into the hall. Have them go far enough away so they can't see into the room at all. Bring out an object and have the rest of the students look at it carefully. Make sure no one draws a little sketch of it on the sly. I've had adults use an eraser to draw the outline on the desk!!!
Put the object away, bring the drawers back into the room and give them a set amount of time (5 minutes or so) to work. The drawer will listen to the describers and draw the best he/she can. Describers must use appropriate art words--"not draw a fork," but "draw two parallel lines close to each other, connect the bottom, draw another line at the top, extend it on both sides a bit, now draw four lines perpendicular to the extended line, now make them thicker." Be sure your students don't use had gestures or point on the paper. Some students just have to sit on their hands to resist. Keep the tone light--don't be too mean, but don't allow cheating just the same.
Each turn you decide the winner(s) and then a new person goes out in the hal. Everyone gets a turn. Mention that the objects get harder, so the less-successful kids get to go first.
Follow-up: Your students will beg you to play this game again. They never tire of it and they really do learn a lot about seeing, memory and observation by playing it.
Have the objects get harder as you go. Increase points to keep all teams in the running.
Aims: To practice deep looking
To listen to words and put them into visual form
To be about to recall and describe in words what you saw
Motivation: The game itself is all the motivation you will need, although silly prizes
add to the fun.
Vocabulary: parallel, perpendicular, cylinder, sphere, etc.
Procedure: Collect all sorts of odd objects: I use broken kitchen utensils, old parts of hardware, packaging, weirdly-shaped things I find in my travels, perfume bottle caps, old kiln parts, etc.
Divide the class up into teams of four or so. I try to mix students up so there's one star artist per team, but what's interesting is that the star artist may not be good at this game initially. Sometimes the quieter kids are better observers.
Each team sends a member out into the hall. Have them go far enough away so they can't see into the room at all. Bring out an object and have the rest of the students look at it carefully. Make sure no one draws a little sketch of it on the sly. I've had adults use an eraser to draw the outline on the desk!!!
Put the object away, bring the drawers back into the room and give them a set amount of time (5 minutes or so) to work. The drawer will listen to the describers and draw the best he/she can. Describers must use appropriate art words--"not draw a fork," but "draw two parallel lines close to each other, connect the bottom, draw another line at the top, extend it on both sides a bit, now draw four lines perpendicular to the extended line, now make them thicker." Be sure your students don't use had gestures or point on the paper. Some students just have to sit on their hands to resist. Keep the tone light--don't be too mean, but don't allow cheating just the same.
Each turn you decide the winner(s) and then a new person goes out in the hal. Everyone gets a turn. Mention that the objects get harder, so the less-successful kids get to go first.
Follow-up: Your students will beg you to play this game again. They never tire of it and they really do learn a lot about seeing, memory and observation by playing it.
Have the objects get harder as you go. Increase points to keep all teams in the running.
Wednesday, May 19, 2010
Drawing With Inked Glue
This technique is inspired by an idea in a book called Glorious Glue!. The concept is simple, yet very sophisticated-looking. Children grades 4 and up will have no problem working with this process. Younger students may need some guidance.
Aims: To explore the use of line in a mixed media piece
To use a mixture of glue and india ink to create stained-glass type, raised lines and then color them in
Materials: heavy white paper, elmer's white glue bottle (not school glue), india ink,
pencil, eraser, pastels or watercolors. The india ink is mixed into the glue
50-50. Make sure the nozzles aren't clogged.
Motivation: Depending on whether you are introducing a theme (the city, buildings of
the future, the rainforest, magical flowers, etc.) you may want to begin only
talking about line. What kind of lines are there? (skinny, fat, scalloped,
wiggly,zig-zag, dotted, swirly, etc). If you have a theme or are integrating
another subject you may have photos or posters to stimulate interest and
discussion. Just remember that if you show completed projects or art work, your
students will have trouble being creative. This project works well with words and can be adapted in numerous ways to all subject areas.
Vocabulary: india ink, mixed media, texture
Procedure: After your opening discussion, show your students how to draw lines with a
pencil and then use the bottle to trace over the lines. Start in the center
and work out. Don't encourage small shapes as they will blob. Let the finished
work dry completely.
Next, have students color in with pastels or watercolors. If you use pastels,
instruct your students not to blow away the dust (take it to a deep garbage can
and shake it, instead). If you want to fix the work, you can use hairspray when
students are not around. Fixative can be used outdoors, but never around young
lungs.
Reflections: These will be beautiful and should be talked about and displayed.
Aims: To explore the use of line in a mixed media piece
To use a mixture of glue and india ink to create stained-glass type, raised lines and then color them in
Materials: heavy white paper, elmer's white glue bottle (not school glue), india ink,
pencil, eraser, pastels or watercolors. The india ink is mixed into the glue
50-50. Make sure the nozzles aren't clogged.
Motivation: Depending on whether you are introducing a theme (the city, buildings of
the future, the rainforest, magical flowers, etc.) you may want to begin only
talking about line. What kind of lines are there? (skinny, fat, scalloped,
wiggly,zig-zag, dotted, swirly, etc). If you have a theme or are integrating
another subject you may have photos or posters to stimulate interest and
discussion. Just remember that if you show completed projects or art work, your
students will have trouble being creative. This project works well with words and can be adapted in numerous ways to all subject areas.
Vocabulary: india ink, mixed media, texture
Procedure: After your opening discussion, show your students how to draw lines with a
pencil and then use the bottle to trace over the lines. Start in the center
and work out. Don't encourage small shapes as they will blob. Let the finished
work dry completely.
Next, have students color in with pastels or watercolors. If you use pastels,
instruct your students not to blow away the dust (take it to a deep garbage can
and shake it, instead). If you want to fix the work, you can use hairspray when
students are not around. Fixative can be used outdoors, but never around young
lungs.
Reflections: These will be beautiful and should be talked about and displayed.
Stuffed Sculpture--K--Adult
Stuffed Craypas Resist (K- adult)
Aims: •To create 2D Paper
•To turn that paper into 3D sculptures
Materials & Tools:
white paper--(18 x 24 or 12 x 18 works well)
craypas or crayons
watercolor paint, brushes, water cans
scissors
pencil
stapler, staples
newspaper (for stuffing)
Yarn or string
Procedure:
Have a theme in mind when you begin this project. Some themes I have done in the past have been owls, fish, butterflies, flowers and strange creatures.
The first part is the making of the paper. Show your students how to use craypas-especially the light colors--pressing hard on the paper to make lines. Then the oil resists the watercolor and the lines appear. Have each student make two pieces of paper.
When dry they can begin the project. Have your students draw their shape on the white side of the paper and cut out. I get them to make big shapes by touching both sides of the paper.
Place the next piece under the cut out shape and trace, but be sure to have both painted side together. You have to make opposite shapes or it won’t work. Read the last two sentences again!!!
Staple around the edges, leaving a pocket for stuffing. Crumple up newspaper and stuff. Staple closed and punch a hole for a string or staple over a string and knot.
Optional: Add glitter, googly eyes or feather to jazz up your sculptures.
Note: Skinny shapes won’t stuff well.
Reflection:
Hang up in your room.
Aims: •To create 2D Paper
•To turn that paper into 3D sculptures
Materials & Tools:
white paper--(18 x 24 or 12 x 18 works well)
craypas or crayons
watercolor paint, brushes, water cans
scissors
pencil
stapler, staples
newspaper (for stuffing)
Yarn or string
Procedure:
Have a theme in mind when you begin this project. Some themes I have done in the past have been owls, fish, butterflies, flowers and strange creatures.
The first part is the making of the paper. Show your students how to use craypas-especially the light colors--pressing hard on the paper to make lines. Then the oil resists the watercolor and the lines appear. Have each student make two pieces of paper.
When dry they can begin the project. Have your students draw their shape on the white side of the paper and cut out. I get them to make big shapes by touching both sides of the paper.
Place the next piece under the cut out shape and trace, but be sure to have both painted side together. You have to make opposite shapes or it won’t work. Read the last two sentences again!!!
Staple around the edges, leaving a pocket for stuffing. Crumple up newspaper and stuff. Staple closed and punch a hole for a string or staple over a string and knot.
Optional: Add glitter, googly eyes or feather to jazz up your sculptures.
Note: Skinny shapes won’t stuff well.
Reflection:
Hang up in your room.
Collagraphs
This is a printmaking process in which you make a plate and then rub it or use a brayer to make multiples. While sophisticated artists use this process, it is also adaptable to young children.
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper to make a large group project.
Aims: To explore the process of collagraphy
To make multiples of an artwork
Materials & Tools:
Cardboard (chipboard; not corrugated)
Oak tag or Bristol board
Elmer’s Glue
Brayer
Inking Tray
Water-based Printmaking Ink-one color plus white
Paper to print on—especially neon or bright and black
Papers such as fadeless and bond paper work well. Construction paper is okay but due to its “tooth” won’t be as solid an image.
Optional: twine, string, fabric.
Procedure:
First, choose your theme. It could be fantasy animals, abstract shapes, the zoo, the circus, the rainforest, etc. Remind students that this process needs simple shapes without too many small details.
Make the plate:
This is a backwards process. Cut shapes (I prefer it when students don’t draw their shapes first) and glue on using glue brushes. Remember, you only need to glue around the edges.
Any blob of glue will print, so beware. (You can actually make glue drawings on cardboard, let them dry and print them.)
Teach your students to overlap—so to make an eyeball you’d cut an almond shape, an iris and then a pupil and glue one on top of another.
Let dry completely before printing.
Printing:
There are two basic ways to print collagraphs without a press.
Single Drop Printing is printing once. Spread ink on a tray and roll back and forth. Listen for a “kissing” sound. It should not be too thick (like icing on a cake). You will learn what is the right amount. Cover your printing area with newspapers to protect table. Ink the collagraphic plate being sure to cover all four corners.Don’t try to push ink down into areas that seem “bald”—that’s how the image will show up.
Move plate to a clean area to print. Lay your paper on top of the plate and rub with the flat of your hand. Pull up your print from one corner and put on drying rack or clothesline to dry. Don’t change ink colors until the plate is perfectly dry. Use different colored paper to make it more interesting.
Double Drop Printing: You need two brayers and two inking trays. One will have color (like turquoise) and the other will have white. This works best on black or dark colored paper. Make a print in any color except yellow or white. Set aside. Ink the plate right away in white. Lay the plate almost on top of (but not quite) the wet print. Flip over carefully and rub. Remove print. You will have a 3-dimensional looking print.
Reflection:
As always, be sure to share your work.
Variations:
You can make a group quilt or use this process to make a mural. The collagraphic plates could be shaped (not rectangular) if you wish and you could print on mural paper to make a large group project.
Thursday, April 29, 2010
Part Two Approved!!!!
Dear All,
There will be a 5-week continuation of Nassau Tract's Art for Academic Learning, which will feature all new ideas and projects. (You need not have attended part one to come to this one, so tell your interested colleagues.)
Sessions will include banners, paper sculpture, pillows and fabric painting, stencils, drawing with glue, plaster craft, puppets, sketchbook/journal ideas and more.
Dates and times are: May 19, 26, June 2, 19 and 20, from 4 p.m.--7 p.m. in Room 200 at West Hempstead High School. There will be a $10 materials and refreshment fee.
I hope to see you there!
Julia Healy
There will be a 5-week continuation of Nassau Tract's Art for Academic Learning, which will feature all new ideas and projects. (You need not have attended part one to come to this one, so tell your interested colleagues.)
Sessions will include banners, paper sculpture, pillows and fabric painting, stencils, drawing with glue, plaster craft, puppets, sketchbook/journal ideas and more.
Dates and times are: May 19, 26, June 2, 19 and 20, from 4 p.m.--7 p.m. in Room 200 at West Hempstead High School. There will be a $10 materials and refreshment fee.
I hope to see you there!
Julia Healy
Sunday, March 7, 2010
Pop-Up Books, Grades 3 and Up
This is a wonderful project that bridges art and writing. It could also have an integrative aspect (science, math, social studies, etc.)
Materials:
Several sheets Oak tag or Bristol board to be folded in half & used for figures
2 pieces of heavy chipboard, a little bigger than your book
Drawing paper to make covers with
Pencil, eraser
Practice paper
Scissors
Elmer’s Glue
Sharpie Markers
Watercolors
Watercolor Brush
Water Can
Colored Pencils
Note: Do not use pastels or craypas, as they will smear.
Procedure:
Begin by planning your book. Decide how many pages you want it to have and how many moveable characters you will need. Most likely, your book will be horizontal in format, so plan accordingly.
Your story can be worked out on scratch paper. Students may use word processing and cut out their printed copy and glue it to the bottom of their books after the illustrations are done.
The top half of the book will be background for an outside scene or the wall for an inside one. The bottom half will be for the story and is the ground or floor. Your pop-ups will come out of folded area.
Once you have your story, fold your oak tag in half and draw your scene lightly in pencil. Outline in sharpie and watercolor in. Colored pencils can be used later, if you wish. Mixed media can add a rich look to your art work.
On separate oak tag, make your characters. When dry, cut out.
Book Assembly: Pop-ups are based on the idea that everything will fold flat along scored lines when the page is closed.
First draw an “11” on the outside of the fold. Make sure your pop-up will not extend outside of your book by visually measuring first. The “11” can’t be too thin or too thick, too long or too short. As you do this, you will get the hang of what size to make your “11”. Fold back and forth to score and put back into position. Open the fold and push out your “11” which now becomes a stair step. Your pop-up will get glued onto the front of the stair step—not the top!
For a slider, make the “11” and then cut a long strip twice the length of the slider you want. Slide it through your “11” and then glue it to itself at one end. Then glue the character or thing on the outside of the strip.
You also may use z-strips—small strips folded like zees that pop out things like clouds, birds, etc.
Advanced pop-up techniques include angled folds and pop-ups attached to pop-ups. There are many books to refer to if you want to get more sophisticated.
Glue your pages together, being mindful not to slop glue too near the open holes formed by the “11’s”.
Cover: The cover uses the “envelope” technique I showed you for your accordion books. You need to create a spine for your book which will vary depending on how many pages you have. Lay your cardboards our on your cover paper with a space between them that will become the spine. It may be as close as a quarter of an inch or as far apart as three-quarters of an inch. Trace the cardboard and remove. The cardboards, remember, are a bit bigger than the book pages (Maybe ¼” or so on each side). Draw envelope flaps from the exact corners. Angle in, not out! The spine area is just made straight. The lines are only drawn on an angle from the corners. Put the cardboard back on the tracing and fold the flaps tightly over the cardboard and tape down. Do this all eight times.
Draw your cover, sharpie and watercolor. Put your title on the cover and your name, too. It should have a compelling illustration to make us want to open it.
The last step is gluing the end book pages to the cover. Glue around the edges, and your book is finished.
Reflection:
Share the books as usual. Books may be displayed in the library or classroom.
Follow-up or Variations:
Students can make pop-up cards using this technique. Simple one page pop-up pictures can be done by kindergartners. If you want to display on a bulletin board, tie a piece of yarn or string on the oak tag to hold the fold open.
Materials:
Several sheets Oak tag or Bristol board to be folded in half & used for figures
2 pieces of heavy chipboard, a little bigger than your book
Drawing paper to make covers with
Pencil, eraser
Practice paper
Scissors
Elmer’s Glue
Sharpie Markers
Watercolors
Watercolor Brush
Water Can
Colored Pencils
Note: Do not use pastels or craypas, as they will smear.
Procedure:
Begin by planning your book. Decide how many pages you want it to have and how many moveable characters you will need. Most likely, your book will be horizontal in format, so plan accordingly.
Your story can be worked out on scratch paper. Students may use word processing and cut out their printed copy and glue it to the bottom of their books after the illustrations are done.
The top half of the book will be background for an outside scene or the wall for an inside one. The bottom half will be for the story and is the ground or floor. Your pop-ups will come out of folded area.
Once you have your story, fold your oak tag in half and draw your scene lightly in pencil. Outline in sharpie and watercolor in. Colored pencils can be used later, if you wish. Mixed media can add a rich look to your art work.
On separate oak tag, make your characters. When dry, cut out.
Book Assembly: Pop-ups are based on the idea that everything will fold flat along scored lines when the page is closed.
First draw an “11” on the outside of the fold. Make sure your pop-up will not extend outside of your book by visually measuring first. The “11” can’t be too thin or too thick, too long or too short. As you do this, you will get the hang of what size to make your “11”. Fold back and forth to score and put back into position. Open the fold and push out your “11” which now becomes a stair step. Your pop-up will get glued onto the front of the stair step—not the top!
For a slider, make the “11” and then cut a long strip twice the length of the slider you want. Slide it through your “11” and then glue it to itself at one end. Then glue the character or thing on the outside of the strip.
You also may use z-strips—small strips folded like zees that pop out things like clouds, birds, etc.
Advanced pop-up techniques include angled folds and pop-ups attached to pop-ups. There are many books to refer to if you want to get more sophisticated.
Glue your pages together, being mindful not to slop glue too near the open holes formed by the “11’s”.
Cover: The cover uses the “envelope” technique I showed you for your accordion books. You need to create a spine for your book which will vary depending on how many pages you have. Lay your cardboards our on your cover paper with a space between them that will become the spine. It may be as close as a quarter of an inch or as far apart as three-quarters of an inch. Trace the cardboard and remove. The cardboards, remember, are a bit bigger than the book pages (Maybe ¼” or so on each side). Draw envelope flaps from the exact corners. Angle in, not out! The spine area is just made straight. The lines are only drawn on an angle from the corners. Put the cardboard back on the tracing and fold the flaps tightly over the cardboard and tape down. Do this all eight times.
Draw your cover, sharpie and watercolor. Put your title on the cover and your name, too. It should have a compelling illustration to make us want to open it.
The last step is gluing the end book pages to the cover. Glue around the edges, and your book is finished.
Reflection:
Share the books as usual. Books may be displayed in the library or classroom.
Follow-up or Variations:
Students can make pop-up cards using this technique. Simple one page pop-up pictures can be done by kindergartners. If you want to display on a bulletin board, tie a piece of yarn or string on the oak tag to hold the fold open.
Tuesday, February 9, 2010
Class Cancelled
There will be no class on Wednesday, Feb. 10. We will reschedule a class on March 17 as a makeup!
Saturday, February 6, 2010
Accordion Books
Accordion Books [K (with some help)- adult]
This is a book arts technique from Japan, that works well for all ages of elementary students. It could be a stand-alone art project or be have a cross-curricular aspect to it.
Aims:
•To create an original book
•To learn about cultural connections (Japan)
•To integrate academic curriculum into your art lessons (optional)
Materials & Tools:
Scratch paper for planning
2 pieces of chipboard or heavy cardboard a bit bigger than the folded page size of your book
white paper cut, folded (and glued by overlapping if necessary) to make even numbered folded stack with correct number of pages (see below). Rice paper is another, more expensive possibility.
Paper for covering cardboard covers--4” larger on top and bottom (for an 8 x 10 cover, you’d want 12 x 14” cover paper)
pencil, eraser, scissors, tape, white glue
Sharpie markers, watercolors, watercolor brush, water can
Colored pencils
Ribbon or string for tying
Procedure:
Decide the theme for your lesson. It could be a book without words, a book about one’s family, a creative story, etc. Have your students work out their stories on scratch paper (4-6 folds is a good number). You need to have a long, folded sheet have 2 more sections than your story, so for a 4-panel story you need six sections and for a 6-panel story you need eight. Keep the numbers even so the book glues together well.
Fold the panels to make equal sections, gluing on extra paper if necessary by overlapping slightly (The seam will disappear once the panel is colored, so don’t worry about it). It might be easier if you give your class the same specifications--say 6 panels for everybody, because then the construction will be the same for everyone.
Draw, sharpie and color the insides as desired.
Next, make your covers. The cardboard should be a little bit bigger than our folded pages for the best possible look. Cover the cardboard by cutting your paper 4” each way (2” per side). Draw “envelope” flaps on all four sides, directly from the corners. You are making angled lines going inward on each side--not outward!!!! Cut out the odd-looking corner shapes which will resemble a triangle with a drooping bottom. Fold over each flap and tape down. This side will be the inside of your front and back covers. Tape ribbon on the left side for the cover and the right side for the back. Glue the end “extra” pages over the inside covers, tie your book closed and you have an accordion book.
Reflection
Share your books as always.
Variations:
Use other materials such as collage. Books can open up and down, too.
This is a book arts technique from Japan, that works well for all ages of elementary students. It could be a stand-alone art project or be have a cross-curricular aspect to it.
Aims:
•To create an original book
•To learn about cultural connections (Japan)
•To integrate academic curriculum into your art lessons (optional)
Materials & Tools:
Scratch paper for planning
2 pieces of chipboard or heavy cardboard a bit bigger than the folded page size of your book
white paper cut, folded (and glued by overlapping if necessary) to make even numbered folded stack with correct number of pages (see below). Rice paper is another, more expensive possibility.
Paper for covering cardboard covers--4” larger on top and bottom (for an 8 x 10 cover, you’d want 12 x 14” cover paper)
pencil, eraser, scissors, tape, white glue
Sharpie markers, watercolors, watercolor brush, water can
Colored pencils
Ribbon or string for tying
Procedure:
Decide the theme for your lesson. It could be a book without words, a book about one’s family, a creative story, etc. Have your students work out their stories on scratch paper (4-6 folds is a good number). You need to have a long, folded sheet have 2 more sections than your story, so for a 4-panel story you need six sections and for a 6-panel story you need eight. Keep the numbers even so the book glues together well.
Fold the panels to make equal sections, gluing on extra paper if necessary by overlapping slightly (The seam will disappear once the panel is colored, so don’t worry about it). It might be easier if you give your class the same specifications--say 6 panels for everybody, because then the construction will be the same for everyone.
Draw, sharpie and color the insides as desired.
Next, make your covers. The cardboard should be a little bit bigger than our folded pages for the best possible look. Cover the cardboard by cutting your paper 4” each way (2” per side). Draw “envelope” flaps on all four sides, directly from the corners. You are making angled lines going inward on each side--not outward!!!! Cut out the odd-looking corner shapes which will resemble a triangle with a drooping bottom. Fold over each flap and tape down. This side will be the inside of your front and back covers. Tape ribbon on the left side for the cover and the right side for the back. Glue the end “extra” pages over the inside covers, tie your book closed and you have an accordion book.
Reflection
Share your books as always.
Variations:
Use other materials such as collage. Books can open up and down, too.
Exquisite Corpse
This project is a fantastic way to begin a school year and create a sense of pride in students who have not yet become a “group.” The results are easily hung high up, along the top of school walls (depending on fire regulations).
Aims:
To create individual oil pastels pieces which will fit together
To learn about the surrealist party game of the same name
To create a group dynamic, where each student is a part of a larger, greater, whole
Materials & Tools: Pre-marked construction paper*, oil pastels or some other medium like pastels or construction crayons, scissors
*To make the marks you need to know how many students will be involved. There are ways to add more pieces but it is hard to take them away without messing the finished product up.
Lay out the pieces in a row--you can do a few at a time--from left to right. Draw short lines across the two papers, enough to be seen. I vary where I put them to make the end result more interesting-looking. Write the number and draw an arrow on the back side under the topmost line (see illustration). This is super-important so you know the proper placement. If your students follow the directions, when they cut out their pieces, the numbers on the back will stay intact for easy taping together.
Motivation: If you want to show examples of actual exquisite corpses, be mindful that a few of them are rather explicit, so you’ll have to look at what you choose ahead of time. The idea is that you draw something and that it will connect perfectly with the drawing in front of yours and the one behind. It forms a cohesive whole only after the pieces are assembled.
You may also want to have picture library pictures of animal patterns and other images that will stimulate interesting results.
Vocabulary: exquisite, corpse, blending, pattern, continuous
Procedure: After showing and/or talking about what an exquisite corpse was (and defining the nonsense title), explain that each student is going to make a separate piece that will fit together to make a larger project. Explain that one person will do the head, another will do the tail and everybody else will do an inside piece. You can ask for volunteers for the end pieces or randomly hand them out with the other pieces, depending on ow you want to approach it. The students doing the end pieces will only have two (not four) lines on their papers.
The rules are simple: the top two lines on the left and right side of the paper must eventually connect to each other and the bottom ones must also connect. What the line does in between them is what makes the shapes fun and unique. They can wobble, go up and down, have scales, wings, extra heads and feet, etc., as long as they eventually connect. The sides between the up and down lines must stay straight (and uncut) so they fit tightly to the next piece. The arrow on the back will help students work right side up.
Demonstrate good oil pastel use--layering and blending are encouraged. If the construction paper is blue, I tell them cover all the blue. You want to have rich patterns and details. Have them press down and use one color over another. I show them how to peel their oil pastels and that even “dirty” ones have rich, bright colors underneath. “Use them until they disappear,” I tell them.
When colored, they can cut them out. You may want to work with a few students at a time on this step to get it done right. If they miscut, you just tape it together on the back--no worries. Variation: leave the pieces intact and just tape the rectangles together.
If someone needs to start over, you need to make an exact replica of the original paper or it will not fit. If a new student comes in, find the middle of the project (say sheets 13 & 14), ask those students to lend you their papers and make a 13B sheet that fits between them, putting the number and arrow on the back as described above. Begin the project with exactly the number of students you will have that day. I often did almost enough sheets ahead of time and then made the last few as needed, based on attendance.
Tape together from the back and laminate, if feasible. I put pieces of tape horizontally at the top and bottom of the seams in between pieces for extra strength.
Reflection: Share the work, of course! The display of this project will cause create great excitement. I once did this with the entire sixth grade at a large school and wound up with a piece that practically covered the entire school foyer and hallways.
Follow-up: You can make vertical, very tall exquisite corpses based on rainforest trees (with flora and fauna) or just do art elements and keep them abstract. Animals as presented here are only one possibility of many. You can also vary the materials and work in watercolor, oil pastel resist, markers, etc.
Aims:
To create individual oil pastels pieces which will fit together
To learn about the surrealist party game of the same name
To create a group dynamic, where each student is a part of a larger, greater, whole
Materials & Tools: Pre-marked construction paper*, oil pastels or some other medium like pastels or construction crayons, scissors
*To make the marks you need to know how many students will be involved. There are ways to add more pieces but it is hard to take them away without messing the finished product up.
Lay out the pieces in a row--you can do a few at a time--from left to right. Draw short lines across the two papers, enough to be seen. I vary where I put them to make the end result more interesting-looking. Write the number and draw an arrow on the back side under the topmost line (see illustration). This is super-important so you know the proper placement. If your students follow the directions, when they cut out their pieces, the numbers on the back will stay intact for easy taping together.
Motivation: If you want to show examples of actual exquisite corpses, be mindful that a few of them are rather explicit, so you’ll have to look at what you choose ahead of time. The idea is that you draw something and that it will connect perfectly with the drawing in front of yours and the one behind. It forms a cohesive whole only after the pieces are assembled.
You may also want to have picture library pictures of animal patterns and other images that will stimulate interesting results.
Vocabulary: exquisite, corpse, blending, pattern, continuous
Procedure: After showing and/or talking about what an exquisite corpse was (and defining the nonsense title), explain that each student is going to make a separate piece that will fit together to make a larger project. Explain that one person will do the head, another will do the tail and everybody else will do an inside piece. You can ask for volunteers for the end pieces or randomly hand them out with the other pieces, depending on ow you want to approach it. The students doing the end pieces will only have two (not four) lines on their papers.
The rules are simple: the top two lines on the left and right side of the paper must eventually connect to each other and the bottom ones must also connect. What the line does in between them is what makes the shapes fun and unique. They can wobble, go up and down, have scales, wings, extra heads and feet, etc., as long as they eventually connect. The sides between the up and down lines must stay straight (and uncut) so they fit tightly to the next piece. The arrow on the back will help students work right side up.
Demonstrate good oil pastel use--layering and blending are encouraged. If the construction paper is blue, I tell them cover all the blue. You want to have rich patterns and details. Have them press down and use one color over another. I show them how to peel their oil pastels and that even “dirty” ones have rich, bright colors underneath. “Use them until they disappear,” I tell them.
When colored, they can cut them out. You may want to work with a few students at a time on this step to get it done right. If they miscut, you just tape it together on the back--no worries. Variation: leave the pieces intact and just tape the rectangles together.
If someone needs to start over, you need to make an exact replica of the original paper or it will not fit. If a new student comes in, find the middle of the project (say sheets 13 & 14), ask those students to lend you their papers and make a 13B sheet that fits between them, putting the number and arrow on the back as described above. Begin the project with exactly the number of students you will have that day. I often did almost enough sheets ahead of time and then made the last few as needed, based on attendance.
Tape together from the back and laminate, if feasible. I put pieces of tape horizontally at the top and bottom of the seams in between pieces for extra strength.
Reflection: Share the work, of course! The display of this project will cause create great excitement. I once did this with the entire sixth grade at a large school and wound up with a piece that practically covered the entire school foyer and hallways.
Follow-up: You can make vertical, very tall exquisite corpses based on rainforest trees (with flora and fauna) or just do art elements and keep them abstract. Animals as presented here are only one possibility of many. You can also vary the materials and work in watercolor, oil pastel resist, markers, etc.
Outrageous Name Tags
This lesson is a great way to learn your students' names and to provide an easy, no fail mixed media result!
Aims: To explore the use of materials
To demonstrate the difference art makes (that between a boring name tag and an
an expressive one)
Materials and Tools: various papers, gluesticks, white glue, glue brushes, staplers,
fabric, magazines, scissors, pipe cleaners, tape, wire, markers, glitter,
sharpies, metallic pens, etc.
Vocabulary: collage, overlapping, three-dimensional, two-dimensional, outrageous
Procedure: You may want to have students fill out a boring label-type name tag and then
announce that they are going to make amazing, outrageous name tags. Stress that
their name tags could be about them--with symbols or images that might describe
hobbies or likes and dislikes. The only guideline is that somewhere on the tag
one should be able to read their name.
Go over gluing and attaching techniques, as well as cutting, if necessary. Make
sure they understand the concept of overlapping shapes and that they all know
what a collage is.
Reflection: Tape or pin the name tags on and share them with each other.
Aims: To explore the use of materials
To demonstrate the difference art makes (that between a boring name tag and an
an expressive one)
Materials and Tools: various papers, gluesticks, white glue, glue brushes, staplers,
fabric, magazines, scissors, pipe cleaners, tape, wire, markers, glitter,
sharpies, metallic pens, etc.
Vocabulary: collage, overlapping, three-dimensional, two-dimensional, outrageous
Procedure: You may want to have students fill out a boring label-type name tag and then
announce that they are going to make amazing, outrageous name tags. Stress that
their name tags could be about them--with symbols or images that might describe
hobbies or likes and dislikes. The only guideline is that somewhere on the tag
one should be able to read their name.
Go over gluing and attaching techniques, as well as cutting, if necessary. Make
sure they understand the concept of overlapping shapes and that they all know
what a collage is.
Reflection: Tape or pin the name tags on and share them with each other.
Wednesday, February 3, 2010
Welcome!
This blog follows the course of the same name that is being offered by Nassau Tract Teachers Center. We will post our lesson plans and examples of work on this site, as well as posting comments from time to time.
Using art to drive academic learning can be a powerful way to "make meaning" in our students' minds. We do not subscribe to the notion of our students being "empty vessels' that we are going to fill. What usually happens with that approach is that what goes in one ear, rapidly goes out the other--especially after the test!
Our goal is to make our students love learning the way we do. So we will inspire, question, and do our best to infect our children with our enthusiasm and passion for knowledge.
Using art to drive academic learning can be a powerful way to "make meaning" in our students' minds. We do not subscribe to the notion of our students being "empty vessels' that we are going to fill. What usually happens with that approach is that what goes in one ear, rapidly goes out the other--especially after the test!
Our goal is to make our students love learning the way we do. So we will inspire, question, and do our best to infect our children with our enthusiasm and passion for knowledge.
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