131-Lesson Plan for Plaster Face Masks Lesson

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.

130--Paper Mache Masks/..and Beyond! Lesson Plan

Paper Mache Masks and Beyond--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.

Variations can include covering balloons or other objects to make bowls or constructing free-standing figures or animals.

131--Moving Eyeballs Portrait 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.

CLASS CANCELLED TONIGHT, NOV. 23!!!!

I fell today and have injured my right leg and can't walk or drive. (I just found out from the ER that it does not seem to be broken, which is good news.)

Your drafts will be handed back to you next Monday and we will go one extra week into final week to make up the class and get all of our session in. So sorry.

Professor Healy

130-Self-Portraits-Grades Pre-K & Up, Lesson Plan

Self-portraits are the kind of art lesson that should be done every year. If you are a classroom teacher, have your students make a self-portrait at the beginning of the year (and save it!) and one at the very end of the year (which will be soooo much better!). Another idea which is a little more work is to save a self-portrait every year and give the portraits to graduating students. There is no better way to see artistic growth.

Aims: To begin (or continue) to observe the human face
To explore paint mixing and application

Materials & Tools:
drawing/painting/watercolor paper
pencil, eraser
sharpie marker
mirror
watercolors*
soft brushes
water can

* You may prefer to use tempera for this project

Procedure:
With small children I talk about what’s on a face and generate a lively discussion while drawing an example on a whiteboard or large pad. This age may not be ready to use tempera paint in a portrait, so you may want to let them use crayons, craypas or sharpie markers with watercolors instead. (Older kids could also use these materials.) Markers look messy and scratchy, so don’t use them for portraits.
With older students we go over the face in more detail, with mirrors in hand. Some ideas I bring out are:
Your head is not round like a ball
Your neck is not like a popsicle stick
Your eyes are not at the top of your head
Your eyes are just above the middle
Your eyes are not round; they are more almond shaped
You don’t usually see all of your round iris at once
You have eyelids, so draw them
Add your eyebrows, too
Your nose is not a hook
Make parentheses, a snake, shade the ends of the snake and add two lines to show that your nose is 3D
Your ears do not stick out and they are probably lower down than you think
Your mouth has a wavy line that is made when you close it
You have “two mountains” on top of that line
You have a “boat” underneath it

Add a background that has meaning if you wish. (Your pets, your friends, a place you love, a fantasy place, a background from a favorite book, etc.) When drawing, I encourage sketching lightly so students can make changes. Next they can darken their lines if they want to.
Painting:
Paint the skin first. To mix skin I have students make orange and water on the tray, combine them and add brown as necessary. You have to do this gradually until you get the right color. Watercolors will dry lighter. (Acrylic will dry darker).

Painting is a layering process. Work on the background or hair while the skin is drying. Change the water often and keep your paints and brushes clean. Wash off your lid as needed.

Reflection:
Share the work by displaying if possible. Maybe make a sign: Guess Who We Are!

131--Stencil Mural and Other Projects, lesson plan

For grades 4 and up: As a variation to the mixed media mural, you can have your students make a STENCIL MURAL. First they paint a background, taking turns to give each child a chance. You then have every student make a stencil out of oaktag or bristol board. This idea works best with themes where you want lots of the same images: a garden, zoo, jungle, under the sea, teddy bear convention, rainforest, etc.

Each student must plan a design that will be cut out and "make sense" when it is stenciled in. Think of the oaktag as have two parts: the mainland (or background) and the cut out parts. You have to maintain the mainland in order for this to work. Keep tape handy, because you will need it for a few students who will have trouble grasping the concept at first. Draw the object--a fish say--making it bold and simple. Then figure how how to section it in order to be able to take a stiff brush and dab paint in it to create a readable form. You cut out areas which will be the ones that the paint goes into. In some cases you will have to make a tab which will attach to the mainland.

Once cut out, use a stiff brush to pound the paint into the areas, making sure not to shift the stencil. Move it when done and then place on another area and stencil again. The idea is that you can make many, many images. Add a bit of white paint to your color to make sure the stencil will go over dark backgrounds.

Another idea is the BLOW-UP. Take an image such as a work of art by an artist they are studying and grid it, like in the grid method we did earlier. Cut the image into squares (one for each student)and number the placement on the back for later. Don't forget this step or you'll be sorry. Have them translate their section on a large piece of paper. Color in with whatever you deem best: craypas, tempera paint or acrylic paint would probably look best, depending on the image. When each student is finished, tape the mural together. It will be enormous and impressive. The pieces will match pretty well and each child has made a part of the whole.

For other group projects, think in terms of quilting. Any small piece can be put together with others to make a grander whole. Paper projects, felt squares, prints and the like can be taped together to form a larger piece. The subject matter is up to you: self-portraits, heros, women in history, inventors, scientists, artists, writers, etc. could all be made into great mural-quilts.

272--Mixed Media Mural

131 Mixed Media Mural (K- adult)
Group projects are wonderful for community-building. They also display well because they’re big.

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:
construction paper--(9 x 12 works well)
craypas or crayons
Kraft paper
tempera paint, big brushes, water cans
scissors
glue, glue brushes, glue containers
newspaper to protect floor

Procedure:
Have a theme in mind when you begin this project. Some themes I have done in the past have been jungle, endangered species, sea life, spring, and the rainforest. The possibilities are endless.
Motivate your students with visuals. Each student then creates at least one thing on the construction paper. (If they finish early, they can then make more with the cut scraps. Show students how to layer craypas to create beautiful effects. (I love magic white, especially). Have them explore texture, pattern and blending. Cut out the object.

Background: Overlap the pieces a little bit and glue along the edges to make the size of mural you want. Let dry completely. Next, pour paint Jackson-Pollock style onto the paper and spread with large brushes. Keep the background loose and free. Usually it will be just a few colors (Sky, clouds, grass for instance).

Glue the pieces on well. Use a newspaper or other scrap paper to cover the craypas shape while rubbing down. You can also weight down your piece with heavy books.
Overlap if you want. Make sure each student gets at least one thing represented.

Reflection:
Hang up in your school. I run a piece of colored masking tape along the entire top edge, around the sides and along the bottom which usually secures the mural quite well to a wall.

131-Portrait Busts Lesson Plan

This could be a self-portrait lesson or the students could make portraits of heroes or other people they admire.

Grades: 3 and Up

Time Frame: 2-3 art periods

Materials and Tools:
Session One: Self-hardening clay, water, clay tools (plastic cutlery, old pencils, sticks, etc.)
Session Two: Acrylic paint, water can, paper towels/sponges, brushes

Motivation/Visuals:
Images of famous portrait busts of Roman emperors, Presidents, etc.

Talk about how these sculptures were used to glorify and celebrate the various people depicted.

Vocabulary:
portrait, self-portrait, bust, sculpture, three-dimensional, texture

NYS Standards:
1,2,4

Procedure:
Session One: After showing students images of portrait busts and discussing them, demonstrate how to make a simple knob on top of a ball shape and bang down on table to flatten bottom. Create a chin. Poke in two holes for eye sockets and pinch out a nose and lips. Draw eyes and eyebrows. Use tip of pencil to make nostrils. Sculpt/Draw hair or add on, depending on hairstyle. Add clothing and jewelry, etc.

Session Two: Demonstrate painting techniques--especially how to mix skin color. Emphasize details--hair can be more than one color (highlights); clothes can have logos or patterns, etc.

Closure/Reflection: Share the work. Make sure the students talk about and/or write about the finished products and display.

Follow-Up: Have students do a project of their friends, or people they admire, etc.

Special Needs: Gifted--Have students make a second portrait bust of them when they are older and in a career.
Learning Disabled--Break the project down into steps--form clay, make eye sockets, draw features.

130--Lesson Plans for Clay

Ages 5 and Up

Aims: To explore clay and realize its possibilities
To learn basic construction techniques
To learn how to teach clay to children

Vocabulary: three-dimensional
two-dimensional
texture
for older students: vessel

Day One Materials: self-hardening clay (no kiln necessary)
water
clay tools (plastic cutlery, sticks, pencils, etc.)
World's best art tools (hands!)
Day Two: Paint (acrylic or tempera)
brushes
water can
optional for tempera (acrylic varnish)

Procedure: Show your students how to make basic shapes (balls, pancakes & snakes).
Next, demonstrate how to make a PINCH POT. The clay should be moist but not gooey. Make a ball and put it on your thumb. Then put the other four fingers together to make a paddle and show them how to "Press and turn and press and turn and press and...etc." The opening gets bigger because the clay has nowhere else to go. When the pot reaches the shape they want lightly bang it on the table to flatten the bottom. The decoration can take many forms from patterns made with a fingernail to drawing to pressing many textures into the moist clay. Let dry. In the next class, students paint the clay. Sometimes it is best to paint a coat of white on first. When finished, a layer of varnish seals the surface and looks great. No eating or drinking out of these pots, by the way!

Another clay project is making a COIL POT. Students make snakes, also called coils (as above) and form vessels by coiling one level on top of another. To secure the coil, it is best to scratch, wet and stick both pieces they are attaching. I tell students to think of velcro. Clay will shrink when it dries, which is why attachments don't hold if they aren't done well. The surface of the coils may be smoothed out if students wish. Again, paint and varnish the pots.

Another construction technique is what I call PULLING OUT A FIGURE. This could be an animal or human. This method keeps the main shape intact so it doesn't fall apart. Students make a potato shape and simply coax out a head and four legs from it. A tail can also be pulled out. The figure can then be made to stand or not, as the case may be. They can cut open a mouth, pull out ears, scales, etc. Legs, by the way, should be a bit chunky, since otherwise it's hard to hold up the body. When dry, paint and varnish.

There are many other construction techniques such as SLAB construction (rolling out sheets and cutting into them to make tiles or thin slabs which can be used for boxes or cylinders).

Reflection: As always, share the work and talk about it in a positive way. Displaying sculpture in a case is a wonderful idea, if you have one in your school. Be sure to write a description of the assignment to accompany the exhibit.

131 Transfer Print Lesson Plan

Transfer Prints—Grades 3 to Adult
This printmaking process is suitable for many ages from elementary to adult. Obviously, if working with younger students, you will have to control the set up and clean up differently than with older students.
Aims:
• To explore the transfer process
• To look at examples of work done in this process by artists such as Paul Klee
• To create individual works that express personal meaning or are a response to a given theme such as consumerism, family, night, etc.
Materials/Tools: Plexiglas plate, water soluble black ink, soft brayer, white paper, magazine illustrations, sketches, picture library pictures, old phone book or newspaper for clean printing
Vocabulary: print, backwards print, brayer, monoprint/monotype
Procedure: After showing students examples of transfer prints and discussing how this is a backwards process, demonstrate how to make them. Put out a line of ink on the plate and work it to make a smooth inked surface. Do not put out too much ink or you’ll get a black, blobby print. (Be prepared to have to make a few of these before you get the hang of them.) You may want to blot with a phone book page first.
Method One: Free draw—Lay paper down on inked plate and use a pencil to draw image on back of paper. Be careful not to lay the side of your hand on the paper, unless you want those dark areas to appear.
Method Two: Wipe—After rolling on the layer of ink, wipe areas off, using a soft rag, paper towels, Q-tips, scrapers, etc. Lay the paper down and rub to print.
Method Three—After inking the plate, lay down your paper and put a photo or image on top. Trace the image, being careful not to move the image. You will get a very interesting line drawing of your image.
Reink the plate (lightly), and make more.
Reflection/Follow-up: Share the work. Perhaps you can make a class quilt with one work by each student being put together in rows.
Variations: You can have students tear unsuccessful prints and create collages. Try printing on cloth. Try printing on other prints or combining processes. Try using color.

271-Styrofoam Printmaking Lesson Plan

This is easier than you might think. Kids love making prints.

Aims: To make a multiple
To learn the process of styrofoam printing

Materials & Tools:
styrofoam meat trays (Sometimes you may get them for free at the grocery store if you ask nicely but they’re also available in art catalogs)
pencil
water soluble printmaking ink
xerox paper or fadeless
inking tray

Procedure:
As in other lessons, choose your theme. This could be a group project if you wish.
Let’s assume you’re doing a project on “Women in History.” Each student would research a woman and draw a practice line drawing of her. Next the student will draw the image again on the styrofoam plate with a pencil. This is a backwards process, so avoid words or numbers.
Tell the students that they are going to try to “trick the ink” so they have to make the lines deep enough. Be sure to trim the edges carefully so the raised edges won’t print funny.
When ready to print, have the ink set up on a table with plenty of newspaper or a phone book to keep things clean. Put some ink on a try, toothpaste-style, Use the brayer to make an square going back and forth creating “kissing” sounds. If it looks like icing and is slippery, you have too much ink on your tray.
I show students how to print and then let them line up to use the color they want. Usually I’ll have 3-4 printing tables, each with a different color. Student put their names on the paper first before getting on line. (They should try several different colors of paper for variety.) Ink color should not be changed until the plate is completely dry, or you’ll get a blurry, messy print.
Ink the plate smoothly and evenly, being sure to get the corners of the plate. Change the paper underneath after inking, so print will be clean. Lay the paper on the plate and rub with the flat of your hand. Do not scratch, as that will print. Lift up and pull off. If you rub too long the plate will start to dry and it will be hard to remove the paper, so work quickly.
Put print on rack or hang to dry and repeat the process. When done with all the prints you can trim the edges and glue onto larger paper. Decorate the border, if you wish.

Variations: You can have each student make enough prints for everyone and then make a portfolio or book for each member of your class. Another idea is to make a paper quilt and glue into a large piece. Another idea is to cut your plate into a shape--say a fish--to make a group project on a large piece of paper. (For this you have to put your plate on top of the paper, so it’s harder to rub.)

Reflection:
Share with your students and display.

NO CLASS ON MONDAY--SCHOOL CLOSED FOR COLUMBUS DAY

130--Use the time you have to make as many of the figures and objects you are going to have pop-out or slide ahead of time. Don't forget the Homework, either.. (two pages with a cut-out of some sort in your Sketchbook/Journal.

131--Homework is to use the envelope I provided to create a page in your Sketchbook/Journal. Glue/Collage/Rip apart, etc. You can seal something inside or not. What kind of project could you come up with for your students that would use an envelope (and maybe also employ literacy)?

131-Oil Pastel Still Life Collage Lesson Plan

Vegetable Still Life Lesson Plan-272
This is a great way to begin teaching observational drawing to elementary children.

Grades: 4 & up

Time Period: 2 art periods

Aim/Goals:
To teach observational drawing
To explore the use of oil pastels and blending
To use collage to create a “real-looking” composition

Motivation:
Examples of still lives from art history, the vegetables

Materials & Tools:
Real vegetables from supermarket (pumpkins, gourds, onions, heads of cabbage (with leaves folded over), artichokes, eggplant, carrots (with leaves on), etc.
Oil pastels
Construction paper—2-3 sheets per student
Scissors
Elmer’s glue (not School Glue)

Vocabulary:
Still life, overlapping, collage, edge, foreground, background

Standards:
1 & 2 (3 & 4, if you choose to add historical piece and talking piece)

Procedure:
You may want to start the lesson by showing examples of painted and drawn still lives. Dutch still lives might be especially appropriate. Use the vocabulary above, if possible. Ask students to tell you about what they see in the images.

Explain that you are going to have them use oil pastels in a painterly way and show them how you can blend layers of the oil pastels to create rich colors. I give them colored construction paper and admonish the students to cover all the paper with pigment. Using “magic white” can make the colors “pop.” Oil pastels will get dirty-looking after kicking around in containers for awhile, but they can be rehabilitated easily by peeling and exposing the clean insides. Encourage recycling and using the small pieces until they disappear.

Explain that they are going to observe the vegetables, one at a time and draw them on the paper, close to one another. They should try to make them look real, but they don’t have to worry about the composition, since they will cut out only the ones they like. This is a great way to give students confidence and if they do make a mistake, they can just move on.

Once the students have drawn at least four or five objects, have them make a background. I encourage having them make a table line and a background wall. They sometimes will want to make a large plate on the table. I also encourage the use of pattern as tablecloths and wallpaper. Again, the colored paper must be covered with the oil pastels.

The objects are then cut out and arranged on the background. Have the students try various combinations. They may find they want to draw a couple more objects or eliminate a couple.

Using Elmer’s glue (not School Glue, which is too weak) and a glue brush, use the phonebook/magazine method to liberally glue around the edges of each shape. Because the surface will be waxy, you need to use a lot of glue.

Reflection:
As always, you want to share and talk about the work when the project is finished.

Follow-Up/Variations:
You may want to substitute fruit or else other objects for your students to draw.

130 & 131 Lesson Plan Format

The following are areas you will want to address in making an art lesson plan:

Title
Age or Grade of Students
Class Periods or Time Frame of Lessons
Aims/Goals/Outcomes (these are sometimes separate, sometimes not)
Materials and Tools
Vocabulary
Standards/Common Core
Rubrics/Assessment Chart
Motivation/Visuals
Questions or Narrative in Your Introduction of the Lesson
Procedure
Special Needs: Learning Disabled/Gifted
Closure
Reflection/Questions that circle back to your aims and goals
Follow-Up (Optional)

Collagraph Plate and Prints

131-Collagraph Lesson Plan—Ages Pre-K (with help) and Up

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;

130--Accordion Books Lesson Plan

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.

131-Haiku Scrolls Lesson Plan--Grades 4 and Up

Haiku Scrolls—Grades 4 and up

Aims:

• To learn how to use gradated shades of ink on rice paper to create a “Japanese-style” scroll
• To integrate literacy and social studies into the curriculum
• To combine poetry and image in a work of art
• To learn about syllables and the haiku form

Materials

India ink/water

Styrofoam egg carton or watercolor palette

Bamboo ink pen

Soft brush

Rice paper (11”x 36” or so)

Practice paper

Procedure

If you have students who need a place to start, have them write on a piece of paper the following:
2 places
A weather word
Another weather word
6 verbs
2 names
6 nouns
6 descriptive words (Adverbs/adjectives)
2 animals
4 feelings
A few random words (and, the, into, out, etc.)

(You can make up your own list, but you need enough to give your students good options.) Have students cut out the words, magnetic poetry style and write how many syllables are in each word at the top of each small piece. This will help when constructing your haiku.

Students then are give the challenge of constructing a simple haiku using the 5-7-5 syllable format. An example might be 

Fleeting gold sunshine

Falls into winter darkness

Until the morning.

Usually there is some sort of reference to the season in a haiku, which is something your students might be able to try. After they get their haiku composed they should plan their scroll on practice paper, putting the words in the body of the scroll. Decide whether you want horizontal or vertical scrolls. (I prefer vertical.) Next, you can have your students play with their bamboo pens and brushes to see how to make marks and get effects on the rice paper. Put newspaper under the work to protect the table as rice paper is very porous.

When students have practiced, they can go onto the scroll. (I prefer not drawing in pencil first but this may be difficult, depending on your students. Working directly on the rice paper will give you more luscious results.)

When completed, you may glue dowels to the ends, adding a string hanger for vertical scrolls.

Note: These scrolls look beautiful in windows, as they are translucent.

Butterfly Shape Book

NO CLASS ON MONDAY!!!! SCHOOL CLOSED.

Our next class will be on Monday, September 21!!!!! See you then. Please check your syllabus (below) for homework due and come prepared to work.

Art Elements Mobiles (Lesson Plan)--131

Using any materials or processes you like, students will make 2-sided shapes that will become a hanging mobile.

Grades: 3 (with wire-cutting help) and Up

Aims: To learn the art elements
           To explore various processes and media
           To venture into the world of kinetic sculpture by making a mobile
           To learn about balance

Materials and Tools:
           You may choose what materials and processes you want your students to use. It could be anything from oil pastels, construction paper crayons, ink, watercolor, paint, collage or mixed media.
Choose the paper you want to use, being mindful that it needs to be able to be laminated (no bulky cardboard pieces!)

           You will also need scissors, glue (if doing collage), fishing line, armature or other soft, bendable wire, wire cutters, pliers, a laminator and laminating film.

Procedure:
           Begin with a discussion of the art elements. (Include the principles of design as well, if you like).
See how many elements you can elicit from your students, rather than telling them. (Line, shape, color, contrast or [light and dark], texture, pattern, volume.)
           Explain that you would like your students to depict each and every art element without words. They need to be two-sided, so as they hang they look good, so there may be some drying time involved.
           When finished, laminate the pieces. Have the students cut around the shapes, leaving at least of an eighth of an inch so nothing unpeels. Punch holes in the top of each shape and tie fishing line on, using a square knot. Make it at least 20" long, as you can always cut it. Cut wire into several lengths (you'll need a longish one for the top piece), and show students how to bend the ends to curl the wire around and make enclosed ends. (Some people might prefer using wooden dowels, instead of wire, which is fine. In that case you need a small saw to cut the lengths of wood to size.)
          Create mobiles by arranging the pieces to balance on the various ends of the wires. You will cut some of the fishing line short to make it work. Each mobile will be different, depending on the size and weight of the shapes. Shapes can be tied to one another to balance the other side. Play with moving the shapes to get the balance you want.

Reflection/Assessment:
           Make sure you try to hang these up if you can. They really energize a ceiling! If you want to create a simple 1-4 rubric, your students will be able to understand what you are looking for (7 different shapes, two-sided, nicely colored, appropriate to the art element, etc.)

Variation:
           You can use the idea of a mobile for science, social students, women's history month, holidays, etc.

Note: To take home, lay down mobile on a large sheet of paper and tape down the fishing line, placing another sheet of paper on top to make an envelope of sorts. Otherwise mobiles will get impossibly tangled!

          

131--Drawing With Inked Glue Lesson Plan

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.

Aim: 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.

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.

130--Drawing Upside Down Lesson

This lesson works wonders for helping students to begin to draw realistically. The idea is to forget what you are drawing and just think in terms of shapes textures and tonal qualities. Older students (Grade 5 and up) should be able to do this. It is also wonderful practice for would-be teachers who have never learned drawing skills.

Aims: To render a realistic drawing from a photograph
To look closely at details and relationships in a photograph and begin "seeing"

Materials: picture library pictures (I give out animals), pencil, eraser, white drawing paper or sketchbook/journal

Motivation: Get your students on board by telling them that they won't believe what good drawers they are, but they have to forget about what they are drawing to do it.

Procedure: Hand out photographs to each student. I give easier ones to my beginners and more complicated ones to my more advanced students. The picture library I've made has all my images (thousands of them) mounted on 9 x 12" oak tag. Place the photo upside down, tell the person to forget what it might be and just draw the triangles, blobs, lights and darks as they go along. Show them how they can take their pencil and lay it down to find angles or what's longer. Give them enough time and if you see them going wrong, stop them and discuss what needs changing. When they finally turn their drawings right-side up they can't believe they drew them.

Reflection: Share and display, if possible.

Follow-up: Tell your students to do more.

130--Contour Drawing of Shoe

This is a well-known lesson that has been done forever to help students learn to see. 4th Graders and up can probably do it.

Aim: To learn to see by studying the parts of a sneaker and drawing it simply with a contour drawing.

Materials: sneaker, pencil (or pen), eraser, white paper or sketchbook/journal. Use BABY SHOES if you can gather enough of them. Your students will respond favorably!

Motivation: Putting their shoes on the table to draw will create excitement and moans of "his is stinky" even when it isn't.

Vocabulary: contour, linear

Procedure: Explain that something like a shoe has small dips and bends that we usually don't see. When we do a contour drawing we look deeply at the object and try to draw these subtleties. The key is to try to look at the show more than your paper. You almost pretend you are touching the edges and contours of the shoe with your pencil. Look back at your paper only to place the beginning of the next section of shoe. The drawings will be very linear (no shading allowed).Go slowly and make sure you see the inside of the shoe if it is visible. Doing several of these will really begin to help our students to see clearly.

Follow-up: Have your students draw a chair that has rungs (negative shapes). Put it up high and follow the same procedure of close looking.

Exquisite Corpse

Homework Due next THURSDAY (Conversion Day)!

There is no class on Monday, Labor Day. We meet on Thursday, instead.

Arts 130--Write about an early art memory or memories--good or bad! What are your attitudes about art? Are you fearful? Why do you think that is?

Arts 131--Write about why art is important to teach in school. Make it like an editorial/opinion piece for the New York Times.

Ceramics from 131

Ceramics

Paper Sculpture

Finger Puppets

Paper Mache Masks

Final Exam Study Sheet

You will be asked one or two questions on the following:

What are the art elements?

What is a Unit Plan?

How can we teach for artistic behavior?

Discuss Product versus Process.

How does an effective teacher share art with his/her students?  Briefly describe the process.

131--Art Lesson Plan Rubrics

131--Lesson Plan Rubrics--Prof. J. Healy  

Criterion  
Suitability and Relevance of Museum Theme  
Performance Rating
4-Theme is engaging and lends itself to elementary art instruction
3-Theme lends itself to elementary art instruction
2-Theme is partially relevant to elementary art instruction
1-Theme is not or barely relevant to elementary art instruction  

Criterion 
Originality  
Performance Rating
4-Lesson is creative and original in design
3-Lesson is somewhat creative and original
2-Lesson is slightly creative and original
1-Lesson is not creative or original; source is from internet or art education book

 Criterion 
Appropriate Media  
Performance Rating 
4-Explores media and processes in depth
3-Explores various media and processes
2-Superficial exploration of media and processes
1-Limited materials used in lesson  

Criterion 
Format  
Performance Rating
4-Follows lesson plan form
3-Partially follows lesson plan format
2-Key aspects of lesson omitted
1-Lesson plan format ignored; most parts missing  

Criterion 
Organization and Proofreading  
Performance Rating 
4-Organized and proofread
3-Organized; some errors
2-Proofreading and/or organization lacking
1-Lesson exhibits poor language skills  
Criterion 
Developmental Appropriateness  
Performance Rating
4-Concepts of materials and activities developmentally appropriate for elementary students 3-Somewhat allied to development level of elementary students
2-Not particularly appropriate for elementary students
1-Inapproppriate for elementary students  

Criterion 
Reflects Knowledge from Reading and Class Discussions 
Performance Rating
4-Reflects knowledge from reading and discussions
3-Some reference to reading and discussions
2-Little reference to reading and discussions
1-No reference to reading or discussions

Criterion 
Artistic Objectives 
Performance Rating
4-Lessons further fundamental artistic objectives while stimulating creative individual responses
3-Lessons further fundamental artistic objectives
2-Lesson are product-oriented. Artistic objectives are unclear
1-Lessons are not artistic

Criterion 
Motivation  
Performance Rating 
4-Motivation is stimulating and on point
3-Relation between motivation and objectives is not entirely clear
2-Motivation is not well-addressed
1-Motivation is absent

Criterion 
Visuals  
Performance Rating
4-The use of visual material is an essential part of the lesson
3-Some visual material is used in lesson
2-Visual materials are poor or not relevant
1-Visuals are absent

Criterion 
Questions  
Performance Rating
4-Several questions are presented in order of increased difficulty
3-A few questions are presented in some order
2-One or two questions are presented arbitrarily
1-No questions are presented

Criterion 
Closure  
Performance Rating 
4-Closure is stimulating, clear and related to objectives
3- Closure is not entirely relevant to objectives
2-Closure is irrelevant to lesson
1-Closure is not present
Criterion 
NYS Standards  
Performance Rating
4-NYS Standards are indicated and accurate
3-NYS Standards are listed but not completely accurate
2-NYS Standards are inaccurate
1-NYS Standards are absent

Criterion 
Assessment and Rubrics  
Performance Rating
4-Assessment is authentic and specific to lesson
Rubrics are included in detail
3-Assessment is authentic
One rubric is included
2-Assessment is generic
1-Assessment is absent

Criterion 
Needs of Gifted Students  
Performance Rating
4-Lesson addresses how to differentiate instruction for gifted students
3-Lesson somewhat addresses how to differentiate instruction for gifted students
2-Lesson does not sufficiently address the needs of gifted students
1-Lesson does not address the needs of gifted students

Criterion 
Needs of Students with Special Needs
Performance Rating 
4-Lesson considers how to address needs of students with special needs
3-Lesson somewhat addresses how to differentiate instruction for students with special needs. 2-Lesson does not sufficiently address students with special needs
1-Lesson does not address students with special needs.

131 Lesson Plan Assignment

AR131—Art for Teachers of Children Professor J. Healy Art Lesson Plan Based on Your Own Original Idea—Due April 27 (optional draft due 4/13) This is a Major Assignment and will count as 20% of your semester grade. As we discussed in class, learning how to create an original and dynamic lesson plan is a key factor in being an excellent elementary art teacher. Your assignment is to write an original lesson plan. DO NOT USE A LESSON FROM THE INTERNET. THAT DEFEATS THE POINT OF LEARNING HOW TO USE YOUR OWN IDEAS. Reflect on what inspires you. What interests you. What academic subject areas would you like to bring in your classroom through art? What materials do you think are important for students to use? What skills do you want to make sure they learn? (cutting with scissors, gluing, painting, drawing, etc.). You may also start with something inspired by art or a museum visit, but it is not necessary. Ideas can come from almost anywhere. Decide how you could devise a lesson that will give children the chance to explore materials in an authentic way, yet give them a “take away” as to what inspired the lesson in the first place. You may choose to include a field trip or walk outside or in the community as part of your lesson. Think of all the various parts of a lesson we have discussed and include as many as apply to your particular lesson. The attached rubric will help guide you in this process. Be sure to list the museum, the art object or objects, the title of your lesson, the age group, your time frame for the lesson, your aims/goals, objectives (learning outcomes), New York State Standards covered, materials and tools, vocabulary you intend to introduce, your motivation, visuals you plan to use, questions you will pose in your delivery of the lesson, procedure, assessment and rubrics, closure, follow-up (if any) and how you will differentiate instruction for students with learning disabilities as well as gifted students. I have posted a complete list of the elements you need to include on the here. Also refer to the rubrics sheet. If you leave things out, you will not get an “A.” Make your lesson plan like a detailed “recipe” of sorts. It should be clear enough so that a teacher familiar with the techniques and materials you use should be able to teach it. Pay attention to grammar and spelling. Always proofread your work! If you have any small images of your visuals, you may include those, as well. If you want to include a sample of the project, you may do so. Be prepared to present your lesson to the class on April 27.

130 Museum Lesson Plan Assignment

AR130—Art for Teachers of Children Professor J. Healy Lesson Plan Based on Your Museum Trip—Due April 27 (optional draft due 4/13) This is a Major Assignment and will count as 20% of your semester grade. As we discussed in class, learning how to create an original and dynamic lesson plan is a key factor in being an excellent elementary art teacher. Your assignment is to write an original lesson plan, based on your museum trip. DO NOT USE A LESSON FROM THE INTERNET. THAT DEFEATS THE POINT OF LEARNING HOW TO USE YOUR OWN IDEAS. After going to the museum, reflect on the various things you saw that inspired you. It may be the architecture, a grouping of art works or an individual piece. Ideas can come from almost anywhere. Decide how you could devise a lesson that will give children the chance to explore materials in an authentic way, yet give them a “take away” as to what inspired the lesson in the first place. You may choose to include a museum field trip as part of your lesson. Think of all the various parts of a lesson we have discussed and include as many as apply to your particular lesson. The attached rubric will help guide you in this process. Be sure to list the museum, the art object or objects, the title of your lesson, the age group, your time frame for the lesson, your aims/goals, objectives (learning outcomes), New York State Standards covered, materials and tools, vocabulary you intend to introduce, your motivation, visuals you plan to use, questions you will pose in your delivery of the lesson, procedure, assessment and rubrics, closure, follow-up (if any) and how you will differentiate instruction for students with learning disabilities as well as gifted students. I have posted a complete list of the elements you need to include on the blog. Also refer to the rubrics sheet. Make your lesson plan like a detailed “recipe” of sorts. It should be clear enough so that an art teacher familiar with the techniques and materials you use should be able to teach it. Pay attention to grammar and spelling. Always proofread your work! If you have any small images of your visuals, you may include those, as well. If you want to include a sample of the project, you may do so. Be prepared to present your lesson on April 27.

130--Museum Lesson Plan Rubrics

Criterion

Suitability and Relevance of Museum Theme

Performance Rating

4-Themes is engaging, stems from a museum visit and lends itself to elementary art instruction

3-Theme stems from a museum visit and lends itself to elementary art instruction

2-Theme stems from a museum visit and is partially relevant to elementary art instruction

1-Theme does not stem for a museum visit and is partially relevant to elementary art instruction


Criterion

Originality

Performance Rating

4-Lesson is creative and original in design.

3-Lesson is somewhat creative and original.

2-Lesson is slightly creative and original.

1-Lesson is not creative or original; source is from internet or art education book.


Criterion

Appropriate Media

Performance Rating

4-Explores media and processes in depth

3-Explores various media and processes

2-Superficial exploration of media and processes

1-Limited materials used in lesson


Criterion

Format

Performance Rating

4-Follows lesson plan form

3-Partially follows lesson plan format

2-Key aspects of lesson omitted

1-Lesson plan format ignored; most parts missing


Criterion

Organization and Proofreading

Performance Rating

4-Organized and proofread

3-Organized; some errors

2-Proofreading and/or organization lacking

1-Lesson exhibits poor language skills


Criterion

Developmental Appropriateness

Performance Rating

4-Concepts of materials and activities developmentally appropriate for elementary students

3-Somewhat allied to development level of elementary students

2-Not particularly appropriate for elementary students

1-Inapproppriate for elementary students


Criterion

Reflects Knowledge from Reading and Class Discussions


Performance Rating 

4-Reflects knowledge from reading and discussions

3-Some reference to reading and discussions

2-Little reference to reading and discussions

1-No reference to reading or discussions


Criterion

Artistic Objectives 

Performance Rating

4-Lessons further fundamental artistic objectives while stimulating creative individual responses.

3-Lessons further fundamental artistic objectives.

2-Lesson are product-oriented. Artistic objectives are unclear.

1-Lessons are not artistic.
 

Criterion

Motivation


Performance Rating 

4-Motivation is stimulating and on point.

3-Relation between motivation and objectives is not entirely clear.

2-Motivation is not well-addressed.

1-Motivation is absent.


Criterion

Visuals 

Performance Rating

4-The use of visual material is an essential part of the lesson.

3-Some visual material is used in lesson.

2-Visual materials are poor or not relevant.

1-Visuals are absent. 


Criterion

Questions

Performance Rating

4-Several questions are presented in order of increased difficulty.

3-A few questions are presented in some order.

2-One or two questions are presented arbitrarily.

1-No questions are presented.


Criterion

Closure

Performance Rating

4-Closure is stimulating, clear and related to objectives.

3- Closure is not entirely relevant to objectives.

2-Closure is irrelevant to lesson.

1-Closure is not present. 


Criterion 

NYS Standards

Performance Rating

4-NYS Standards are indicated and accurate.

3-NYS Standards are listed but not completely accurate.

2-NYS Standards are inaccurate.

1-NYS Standards are absent. 


Criterion

Assessment and Rubrics

Performance Rating

4-Assessment is authentic and specific to lesson. Rubrics are included in detail.

3-Assessment is authentic. One rubric is included.

2-Assessment is generic.

1-Assessment is absent. 


Criterion

Needs of Gifted Students

Performance Rating

4-Lesson addresses how to differentiate instruction for gifted students.

3-Lesson somewat addresses how to differentiate instruction for gifted students.

2-Lesson does not sufficiently address the needs of gifted students.

1-Lesson does not address the needs of gifted students. 


Criterion

Needs of Students with Special Needs

Performance Rating

4-Lesson considers how to address needs of students with special needs.

3-Lesson somewhat addresses how to differentiate instruction for students with special needs.

2-Lesson does not sufficiently address students with special needs.

1-Lesson does not address students with special needs.

         

131 Storyteller Dolls Lesson Plan

Storyteller Dolls are a traditional craft of the Jimez Tribe in the Southwestern United States. Usually they feature a seated woman with an open mouth telling a story to groups of tiny children who are sprinkled on her lap and around her.

This lesson is great for Library Week or to encourage reading and being read to. A display in the school library is a nice idea.

Grades: 3 and Up

Time Frame: 2-3 art periods

Materials and Tools:
Session One: Self-hardening Clay, water containers, clay tools (plastic cutlery, old pencils, sticks, etc.)
Session Two and Three: Acrylic Paint, brushes, water cans

Obviously, if you have access to a kiln, you should use real clay and fire the dolls. Glaze with earth colors, letting the red or white clay be part of the pieces.

Motivation/Visuals:
Examples of "real" Storyteller Dolls
Talk about the difference of telling a story and reading a story. Excite the children by having them imagine who (or what) will be all around them. Their family? Friends? Pets?

Vocabulary:
three-dimensional, narrative, Native Americans, texture, pattern

NYS Standards: 1,2,3,4

Procedure:
Session One: Show students examples of the storyteller dolls and ask them about the people (or animals) they might want to tell or read stories to. Talk about crafts and what tradition means.

Demonstrate how to make a star by pulling it out of the clay and form a sitting figure. Give the figure shoes and have the arms wrap around front. Make a book and attach it to the arms by scratching, wetting and sticking both sides of what is being attached. (Clay shrinks and pieces will fall off in the drying process otherwise.)

Using a stick or pencil, push in to form an open mouth and pinch or draw facial details, hair and clothing. The make your tiny figures and add them everywhere and anywhere. Just remember to scratch, wet and stick both sides when attaching them. Let dry.

Session Two: Show students

pictures again and talk about the patterns and designs on the clothing and jewelry. Demonstrate proper painting technique (washing your brush between colors, wiping on the insurance policy (damp sponge or damp paper towels, folded) to make sure the paint is off. Have them be mindful of choosing the right brush for the job. Make sure they paint the back, as well.

Assessment:
Create a rubric chart if you need to assess the work. Things like: "Doll is 3-dimensional and looks good from all sides" and student has added facial details to the children and pets" might be examples.

Closure/Reflection:
Share the work in some fashion and have students write about the project if you want to. Display the work, if possible.

Follow-Up:
Students could do another clay lesson with more complexity (Make your family, for instance), or they could write a story that the doll could be reading.

Special Needs:
If you have gifted students, encourage them to make more than one doll or have them make the  children all reading books, too.

With learning disabled students, break the lesson down in steps, if necessary. They might need attaching help and be sure they watch your demonstration at the beginning.

Another Storyteller Doll Image

131-Image for Storyteller Doll

Haiku Scroll Images-131

National Visual Arts Standards

The url for the new standards (in detail) is: www.nationalartsstandards.org

Moving Eyeball Portraits