Exit Portfolio

Name: Accepted Not accepted Date:

EXIT PORTFOLIO: THE ART EDUCATION OPTION
WHAT IS INCLUDED IN THE PORTFOLIO?

ART EDUCATION OPTION STUDENTS MAKE AN APPOINTMENT WITH THE CREDENTIAL ADVISOR TO DISCUSS THE EXIT PORTFOLIO.

THE PORTFOLIO MUST BE SUBMITTED AT THE TIME OF APPLICATION TO THE CREDENTIAL PROGRAM IN THE CSU CHICO DEPARTMENT OF EDUCATION---AT THE BEGINNING OF THE SEMESTER BEFORE YOUR LAST SEMESTER.

____ 1. A GOOD QUALITY COVER for the 8.5" x 11'' TO 9"X 12"pages (9"x 12" plastic page sleeves are to be used in the portfolio).
____ 2. A TABLE OF CONTENTS PAGE
____ 3. A COVER LETTER FOCUSING ON YOUR EDUCATIONAL AND PROFESSIONAL
DEVELOPMENT.
____ 4. PHILOSOPHY OF ART AND RELATED PHILOSOPHY OF ART EDUCATION.
This is an essay. It should be constructed like one; with an introduction, body and summary. It must include references to at least three sources from literature directly involved in the professional field of Art Education.

____ 5. BUSINESS CARD. This should be a prototype of an original design by the candidate.
____ 6. CURRICULUM VITAE.
____ 7. TWENTY 35 mm COLOR SLIDES WITH ACCOMPANYING LIST OF THE NUMBERED
SLIDES:

• _____ TEN SLIDES SHOWING BREADTH OF EXPERTISE AND TEN SLIDES SHOWING DEPTH OF EXPERTISE.
• _____ EACH SLIDE SHOULD PROVIDE INFORMATION ABOUT MEDIA, DIMENSIONS, VISUAL ART FORM, TITLE, DATE OF PRODUCTION.
• _____ A PAGE LISTING THE NUMBERED SLIDES (includes the information listed on the slides).

____ 8. ANY NEWS CLIPPING, FLIERS, OR ANNOUNCEMENTS OF EXHIBITS IN WHICH
YOU HAVE PARTICIPATED.
____ 9. A SAMPLE OF YOUR WRITING ABOUT VISUAL ART:
This should be a sample of your writing about Visual Art while enrolled in a class, no earlier than at the undergraduate level of your education. This may be a particularly successful art history paper, gallery exhibit review, or other paper addressing an issue related to visual art.
____ 10. OPTIONAL; ONE 8" X 10", OR TWO 5" X 7", BLACK & WHITE PHOTOGRAPHIC
PRINTS OF YOUR WORK. ---PRINTS PRODUCED IN A CHEMICAL DARKROOM, NOT ON A COMPUTER.
____ 11. OPTIONAL; ONE 8"X10", OR TWO 5"X 7", DIGITAL PHOTOGRAPHIC PRINTS OF
YOUR WORK. Prints may be in black and white or color. ---PRINTS PRODUCED ON A COMPUTER, IN THE DIGITAL DARKROOM.
____ 12. OPTIONAL; ANY OTHER INFORMATION THAT BEST MARKETS YOUR ART AND ART EDUCATION RELATED SKILLS AND EXPERIENCE.

Art Education Assessment Committee Chair Signature:

Before prospective candidates for the single subject teaching credential are recommended to a credential program, they are required to present an exit portfolio demonstrating breadth and depth of subject matter competency.

Students completing the Art Education Option are to complete an exit portfolio requirement. The portfolio is to be assessed by the Subject Matter Preparation Advisory and Assessment Committee, according to completion and accuracy of required content, and presentation of the materials. For those planning to apply to the credential program, the completed portfolio is due at the beginning of the semester of application, or no later than the beginning of the last semester before graduation. The portfolio is submitted to the Art Department Credential Advisor for review. The student should be collecting materials for the portfolio throughout the undergraduate years up to the time of submission. Students should discuss progress in regard to the portfolio with the credential advisor each semester throughout their enrollment in the option.

CSU Art Education: Advising Bulletin Board

Important Notice from Credential Advisor

Information of Single Subject in Art

About Art Education

About Art Department

General Information of CSU, Chico

People & Curriculum in Art Education

Nancy Meyer
ART 91: Introduction of Art Photography

ART 207: Development of Children's Art

Michael Simmons

Art 207: Development of Children's Art

Art 208: Development of Adolescent Art

Sharon Smith

Art 207: Development of Children's Art

Art 208: Development of Adolescent Art

Masami Toku

ART 004: Art Appreciation

Art 207: Development of Children's Art

Art 208: Development of Adolescent Art

ART 218: Cultural Diversity in Art Education
ART 298: Special Topics in Art Education

Other

Mother's Day Wampum Beads

Art 207-08, Group 7
Jessica Schulken, Jessica Taber, Crystal Burcham, Michelle Ventura, Nicole Provencher, Becca

Objectives: Students will learn…

• The historical significance of Mother’s Day and the cultural background of Wampum Beads as they create colorful mother’s day gifts
• How to make beads out of magazines
• Diversity in media
• How to develop fine motor skills
• Creative expression
• Knowledge of color theory

Student Materials:

1. Precut, colorful magazine clippings (preferably ads)
2. String (floss or yarn)
3. Elmer’s glue
4. Scissors
5. Pencils or toothpicks

Teacher’s Materials:

1. History of beads
2. Examples of previous students’ work
3. Visual procedures

Vocabulary:

• Color theory
• Wampum Beads
• Diversity

Procedure:

1. Introduce the lesson purpose and historical context
2. Demonstrate the two varieties of bead making step by step:
• Cut either squares or triangles from magazines
• Wrap around a pencil and glue down the edge
• Let dry for 30 seconds and slide off of the pencil
• String together to form a necklace or bracelet
3. Discuss color theme options (cool or warm)
4. Dismiss students by table to retrieve supplies
5. Answer any questions, clarifications, and repeat demo if necessary.
6. Have students share their artwork with the class

Comments/Suggestions:

Make clear to class that this can be a gift for anyone. This is so that children without mothers do not feel singled out or awkward. Suggestions according to sec. 07:

This activity is great because it is easy to clean up and is appropriate for both sexes and many age groups. It allows children the opportunity to chose a variety of different necklace styles to express individuality and the use of magazines shows them that they can create realistic artwork from a variety of medium. Students will enjoy the lesson because it provides them with a hand made and wearable mother’s day gift for their moms. The class also liked the surprise colors that rolling the beads made. Other positive points were the mentioning of the history of Mother’s Day and how it incorporated art into the holiday.

History Context:

Wampum was usually made from the Northern Quahog, a hard-shell clam known to biologists as Mercenaria mercenaria. Beads of quahog shell were used for currency in 17th century New England.it is believed the use of Wampum dates from the fifteenth century. The Iroquois originally obtained Wampum of this form and color by trade and tribute from the "Wampum makers" of Long Island. The Iroquois did not make the beads themselves, and Wampum did not serve as a form of currency among the indigenous Iroquois.

Source: http://www.wampumworks.com/beads2.html

In Ancient Greece the earliest Mother’s Day was celebrated for Rhea, the Mother of the Gods. During the 1600’s, which was about 400 hundred years ago, England celebrated Mother’s Day the 4th Sunday of Lent, they called it “Mothering Sunday” and it honored the mother’s of England. Mother’s Day as we know it today was started in the 1850’s by Anna Reeves Jarvis a teacher and church member from West Virginia who was looking for ways to improve sanitation in her community. She lived during the Civil war and afterwards she supported both sides and looked for a way to bring both sides together. She did this, by devoting her life and consequently her daughter, Anne Jarvis’s life, to the cause. On May 10th, 1908 the first church responded to Anne Jarvis’ requests for a Sunday service for mothers, shortly after 46 states were participating in Mother’s Day services. As time passed, Anne Jarvis became very concerned with the commercialization (to use something to make a profit, money), of Mother’s Day. She thought it was much more important to make this a day of reflection and thanks rather than a day to just buy flowers for your mom.

Source: http://www.hallmark.com

Artistic Development:

Children of this age group fall under the “Gang Age” category of development that is also referred to as the “Dawning Realism.” According to Lowenfeld, the following characteristics are used to describe children who are in this developmental stage: Greater awareness of details, a greater awareness of physical environment, the disappearance of bare line and emergence of the plane, overlapping objects, the beginning of interrelationships between objects, attempts of showing depth through size of objects, less exaggeration and distortion of body parts

3-D Diorama

Art 207-05, Group 4

Objectives:

• To introduce students to 3-D art.
• To give students the opportunity to practice folding and cutting paper.
• To allow students to experiment with spatial layout.
• To develop skill and confidence with 3-D art.

Student Materials:

1. Scissors
2. Glue
3. Color construction paper (8 1/2"x 11")

Teacher Materials:

1. Examples of three-dimensional art.

Procedures:

1. Introduce 3-D art.
2. Show the students previous examples in order to give them ideas for
3. their diorama.
4. Demonstrate folding paper in half.
5. Demonstrate cutting out shapes.
6. Demonstrate gluing a 3-D figure of their choice to the diorama.
7. Have students make their own diorama.
8. Display the dioramas for review and critique.

Vocabulary:

• 3 dimension - having or seeming to have depth as well as width and height.
• Diorama - a miniature scene reproduced in three dimensions against a colored background.

Information you will need to know as a teacher:

Characteristics of artistic development among fifth and sixth graders:

This stage of artistic development is referred to as the realistic stage. Children at this stage want to draw more realistic characters that are less exaggerated and of visual proportion. Exercises in contour drawing can be helpful in showing students how to draw more realistically. Exercises in drawing posed models, such as trees or mounted birds or animals can be a great tool in teaching children about drawing realistic figures. At this stage it is also important to integrate the art activity with other areas of your curriculum such as social studies, language arts, science, and math.

For more ideas and information about the stages of artistic development, refer to Artworks For Elementary Teachers by Donald and Barbara Herberholz.

Wire Sculpture

Art 207-05, Group 1
Brieanna Billett, Jeana Morrison, Jacklyn Hunter, Ashley Fraser

Objectives:

• Students will learn about the cultural background of wire sculptures.
• Students will learn about shape and line by bending the wire to form an object.
• Students will also learn about the element texture in creating their sculpture.
• Students will learn how to bend and shape wire in order to create a sculpture.
• Students will learn how to mount their sculptures on cardboard to allow them to stand up.
• Students will compare the different components of 2-D art to 3-D art.

Student Materials:

1. Modeling wire
2. Needle nose pliers
3. 4”x3” piece of cardboard

Teacher Materials:

1. Wire cutters
2. Staple gun and staples
3. Slides showing examples
4. Previous students work
5. Demonstration materials

Vocabulary:

• Alexander Calder
• Caribbean Art
• Wire
• Sculpture

Procedure:

1. Introduction: Student will learn about the cultural background of wire sculpturing. Students will discuss the elements of art line, shape, and texture.
2. Students will watch the teacher demonstration.
3. Students will be given a piece of wire that is pre-cut.
4. Students will bend their wire into desired shapes creating the wire sculpture. Examples are: insects, animals, flowers, picture frames, and candle holders.
5. Teacher will use a staple gun to attach sculpture to cardboard base.
6. Closure: Teacher will discuss what the students have learned and display the sculptures around the room.

Suggestions and Comments:

• This project can be done with grades 5th through 12th.
• If there is more time, the students can decorate their cardboard stands with markers, yarn, feathers, or any other textured material.

Cultural Background:

Wire sculpture that has become popular in North America originated from the Caribbean. Here, the Weekes make wire figurines in which every detail is intended to portray authentic Caribbean life and culture. Now wire sculptures are seen in North America everywhere. The first well-known artist to master the art of wire sculpturing was Alexander Calder. He was born in Pennsylvania as a third generation artist in 1898. After tiring of his engineering job he moved to Paris to study a wide array of artists. He gained a reputation by his performances of his toy wire circus. His wire sculptures isolated a characteristic he wanted to represent.

Resources:

Artful Lesson Plans. “Multimedia Sculptures.”
http://www.uidaho.edu/ed/EDTECH/resources/art-methods/lesson-plans/lesson5.htm

5th & 6th Grade
Realism

• During this period a single artwork may show a mixture of stages.
• Children show in their drawings that they perceive that the sky meets the horizon and that objects can overlap and create new spatial effects.
• Children are insistent about using representational colors.
• Children pay more attention to detail in their artwork.
• Children give more action to figures in their drawings.
• Gradually the baseline disappears and an emergence of the horizon becomes apparent.
• Children start to draw shadowing and shading in their pictures.
• Children show depth through diminishing sizes and overlapping.
• If children are going to continue in their artwork, they need to learn realistic drawing skills or they will be frustrated and they may stop drawing altogether.

Stained Glass Impressionistic Landscape Greeting Card

Art 207-04, Group 6
Michele Edwards, Sarah Glick, Diana Anderson, Kim Carter

OBJECTIVES

1. Students will learn about the history of stained glass.
2. Students will learn about the history of Mother’s Day.
3. Students will learn how to mix three colors with tissue paper.
4. Students will learn about landscape.
5. Students will learn about impressionism.

STUDENT MATERIALS

1. Ruler
2. Colored tissue paper
3. Over-head transparencies film ( 8 ½” x 5 ½”)
4. Glue
5. 9” x 12” colored construction paper
6. Pencil
7. Paint brush
8. White scratch paper ( 8 ½” x 5 ½”)
9. Scissors
10. Tape

TEACHER MATERIAL

1. Slides of impressionistic artwork.
2. Slides of stained glass windows.
3. Student’s artwork.

VOCABULARY

• Stained glass
• Impressionism

PROCEDURES

1. Discuss Impressionism, stained glass and Mother’s Day.
2. Choose one color of a 9” x 12” construction paper for card.
3. Fold paper in half, making a 9” x 6 ½” card.
4. On the topside of card draw a 3/4” border and cut out inside border.
5. Place sketch paper under border and sketch simple outline of landscape onto paper staying inside your frame.
6. Remove sketch; cover it with over-head transparencies film and tape to table.
7. Glue (with gloss medium) tissue paper onto over-head transparencies film filling in completely.
8. Glue or tape your stained glass piece to back of border (inside card).
9. Add a greeting to the card.
10. Share artwork and discuss what the students learned.

Impressionist

The impressionist style of painting is characterized mainly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light.

Impressionism, French Impressionism, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. The most conspicuous characteristic of
Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and color. The principal Impressionist painters were Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Armand Guillaumin, and Frédéric Bazille, who worked together, influenced each other, and exhibited together
independently. Edgar Degas and Paul Cézanne also painted in an Impressionist style for a time in the early 1870s. The established painter Édouard Manet, whose work in the 1860s greatly influenced Monet and others of the group, himself adopted the Impressionist approach about 1873.

Math or Science

All of these two-dimensional, flat works create an illusion of three-dimensional depth. Rank them from the composition that appears to be the closest to the viewer (or most shallow) to the composition with the greatest feeling of depth. Look for the ways that each painting depicts depth. For instance, are the colors softer in the background? Did the artist use perspective? Are objects smaller in the background than in the foreground? Do objects in the foreground overlap objects in the background? Although there are no specific right answers, ask the students to hypothesize how many feet of depth each painting illustrates. What clues did the artist provide to support the hypotheses?

Language Arts

Discuss the transparencies with the class. What are their favorite paintings? Why did they choose those? Have the students write an essay from the point of view of a collector or museum director who wants to purchase one of the paintings. Include why they chose the painting and how it will add to their current collections. For instance, a director of a self-portrait museum might want to add the self-portrait by van Gogh to his or her collection.

Social Studies

Have the students stage an art exhibition of their own within the classroom. Send out invitations and design posters to advertise the exhibition. Some students will be traditional artists while others will be experimental artists. Other students will be critics and collectors. The artwork and written exercises that the students create based upon the activities in this packet would be appropriate for the exhibition.
http://www.impressionism.org/

Artistic Development

Students at the age of 8-12 years have a newfound realistic approach to making pictures. By this age they are at Stage 3, the realism years. They pay more attention to body proportion, action of figure, and details of clothing. They begin to think about what they see and how they make their changes dramatically. The geometric symbols they have used to represent the objects they drew no longer are enough. Students begin to show and perceive that the sky meets the horizon and that objects can overlap and create new spatial effects. Closer observation of environment and a gradual disappearance of baseline begin to appear. Shadows and shading may appear. Students begin to use more realistic colors and become more critical of their own work. Students are ready for instruction in how to draw more realistically. As teachers we should provide the students with opportunities.

Mothers Day History

Date: March
Religion: Christian

Also called Mothering Sunday, this festival falls on the 4th Sunday in Lent. It dates back to the Middle Ages, when people in remote villages returned to the main church or mother church, in their parish for a special service.

Celebrations, Children Just Like Me written by Anabel Kaindersley, Published by DK Publishing Inc.

Stained Glass History

Stained Glass has origins dating back to the development of glass making in ancient Egypt in the second century B.C. The Greeks and Romans extensively used mosaics made of pebbles and colored ceramic glass chips. The mosaic art using ceramic glass chips flourished well into the 10th century A.D. Stained glass, as we know it today was first used in European religious panels around the 11th century A.D. However, the craft fell into a period of decline during the "Dark Ages", as did all the arts.

The colored "see through" type of stained glass is still known today as "cathedral" stained glass. This was originally clear glass, which had a colored "stain" applied to it. The "stained" glass was soon developed into a glass which had the stain incorporated into the actual glass by adding metals and minerals to the molten glass resulting in a tinted glass which we know today as "cathedral glass". Stained glass windows were used in European cathedrals from the 1100's. The use of stained glass expanded during the Renaissance period of art revival of the 14th century and the building of grand cathedrals in Europe during the 1400's through the 1700's. During this period, leaded clear glass windows began to be used in some non-church construction, however the use of stained glass outside the church was rare.

Lesson Plan Resources

Impressionistic Stained Glass Mothers Day Cards created by:
Diana Anderson
Michele Edwards
Sarah Glick
Kim Carter

Impressionistic, Math or Science, Language Arts and Social Studies information from:
http://www.impressionism.org/

Mothers Day History information:
Children Just Like Me written by Anabel Kaindersley, Published by DK Publishing Inc.

Stained Glass History information:
http://www.shopsmartxpress.com/AmeriGls/ABhtm

"Soapstone" Relief Sculpture

ART 207-04, Group 2
Ian Fullmer, Jennifer Johnson, Ashleigh Cook, Katie Wilson

Objectives

• Students will learn what relief sculpture is.
• Students will gain a better understanding of the history of relief sculptures.
• Students will practice the relief carving technique.

Student Materials

1. Soap
2. Carving Utensils
3. Newspaper

Teacher Materials

1. Pictures of historical relief sculptures
2. Examples of the project
3. Soap
4. Carving Utensils
5. Newspaper

Vocabulary

• Relief Sculpture
• High Relief
• Low Relief
• Sunken Relief
• Sculpture in the Round
• Greek Art
• Roman Art

Procedure

Introduction

1. Explain history of relief sculpture using overheads.
2. Explain what makes this technique unique.
3. Show previous artwork.
4. Give a brief demonstration.
5. Pass out materials.

Creation

1. Choose the animal or object that you wish to carve.
2. Lightly carve the outline on the flat side of the soap.
3. Carve out the animal or object using the appropriate utensils.

Conclusion

1. Have student who wish to hold up their artwork.
2. Lead a discussion about what was learned.

References

• Gardner's Art Through the Ages: The Western Perspective, Volume II, 11th Edition
• Gardner's Art Through the Middle Ages, Volume I, 11th Edition
• Herberholz and Herberholz's Artworks for Elementary Teachers: Developing Artistic and Perceptual Awareness, 9th Edition

Group Feedback

• It would be fun to save the shavings for a bath. If you make a mistake you can just shave it away.
• It's good how the soap is soft. This would make cheap Christmas presents. It's fun how there are different ways to carve the soap. It's good how the soap is hard.
• The project was fun and easy. The project was fun and all the examples were nice.
• The history research was informative.
• Good project for kids who aren't good at drawing.
• The historical background was good. The visual aids were nice.
• It was a cool project. It might be bad if someone was allergic to soap.

Relief Sculpture

“Statues that exist independent of any architectural frame or setting and that viewers can walk around are freestanding sculptures, or sculptures “in the round,” whether the piece was carved or cast. In relief sculptures, the objects project from the background but remain part of it. In high relief sculpture, the images project boldly. In some cases, the relief is so high that not only do the forms cast shadows on the background, but some parts are actually in the round. In low relief, the projection is slight. In a variation of both techniques, sunken relief, the sculptor cuts the design into the surface so that the images highest projecting parts are no higher than the surface itself. Relief sculpture, like sculpture in the round, can be produced either by carving or casting.” -Gardners Art Through the Middle Ages. Vol. 1, 11th Edition.

Reliefs have been a tool to express the ideas and the feelings of cultures, individuals, religion and many aspects of all forms of culture in the world. Since ancient times when cave men carved the beasts which they hunted, (or hunted them), through the Egyptian hieroglyphics, through the mighty friezes of the Pantheon, the Coliseums, and many other Greek and Roman art and architecture; relief has been a most valuable tool of expression, communication, and documentation of cultures and the views of the people in them. In today’s modern era we see artists using the capabilities of the relief to express their views of our culture in many of the same was in which people had done in the past.

Faux Rice Paper Holiday Cards

Art 207-03, Group 4
Amanda Holt, Jessica Gonzalez, Loren Tomschin, and Hattie Gomez

Objectives:

• The students will learn the history of the uses of rice paper
• The students will learn to use controlled brush pressure.
• Students will work within a border that they create.
• Students will use many materials to create a functional piece of artwork.

Student Materials for Each Card:

1. 8.5" X 5.5" Piece of Colored Cardstock or Heavy Weight Construction Paper
2. 10" X 7" Piece of Wax Paper
3. Pressed Flowers and Leaves (or small flat artificial ones)
4. White Glue
5. White Glue Mixed with Water (ratio of approx. 3 to 1 parts)
6. Medium or Large Sized Paint Brush
7. Kleenex
8. Glitter Pens
9. Ruler
10. 4 3/8" X 5 3/4" Envelopes (Optional)
11. litter and/or Confetti Pieces (Optional)
12. Fancy Pens (Calligraphy, Metallic, etc.) or Rubber-Stamps for Inside Greeting (Optional)

Teacher Materials:

1. Slides/Examples of works by Artists
2. Examples of student work

Vocabulary:

• Deckled Edge
• Rice Paper
• Daubing
• Cropping

Procedures:

1. Discuss the basic characteristics and historical uses of Rice Paper with the students.
2. Have the students fold the wax paper in half.
3. Using the Ruler, have the students' measure and fold back the three raw edges 1".
4. Open all folds. You now have two large rectangles surrounded by a border.
5. On right half of the wax paper, create and center a design made of the pressed flowers and optional Confetti Pieces in the rectangle. Use the White Glue to hold them in place.
6. Place one layer of Kleenex on top of the design and over the remaining surface of the Wax Paper.
7. Paint the Water/Glue mixture on top of the Kleenex using a type of daubing stroke. Be careful not to tear the Kleenex. Make sure that all of the Kleenex is coated and stuck to the Wax Paper and Flowers. Do not let the Water/Glue mixture pool up too much on the paper.
8. If desired, at this time you can sprinkle glitter on the surface of the Faux Rice Paper.
9. Let Dry.
10. Fold the Cardstock in half.
11. Write your greeting or message in side the card. Let Dry.
12. When the Faux Rice Paper is dry use the ruler to crop it. Along one side, fold the paper along the original fold line for the border in step 3. Press the edge hard all along the fold. Then flip the fold over to the other side and press hard along the fold again.
13. Align the straight edge of the ruler with this fold, and tear off the excess border.
14. Repeat steps 11 and 12 until the remaining three sides are cropped.
15. Fold the Faux Rice Paper in half along the fold line from step 2.
16. Place a few dots of glue along the inside of the fold of the Faux Rice Paper (The inside is the wax paper side.).
17. Place the Outside fold of the cardstock inside the Faux Rice Paper Fold and center the rice paper on the card.
18. Decorate the design on the Faux Rice Paper with glitter pens.
19. Let dry.
20. Display the students' cards and discuss the different designs.
21. When the lesson is over give the students the envelopes to put their cards in before they take them home.

Suggestions & Comments:

This project makes a great community service project for the holidays. Have the class make enough cards for a local convalescent home as well as a few extras for themselves and their families. They really like having such a nice finished product.

Stained Glass Critter

Art 207-08 Group 3
Neil Scicluna, Stacy Wiley, and Joy Ball
Date of Presentation: 05/04/04

Objectives:

• Students will learn about the origination of stained glass. 12th century cathedrals.
• Students will learn how to write their name in cursive symmetrically.
• Students will learn how to make a stained glass image.

Student Materials:

1. Black Sharpie felt marker
2. Starch
3. Tissue paper scraps
4. 8”X10” piece of wax paper
5. Paintbrush
6. Masking tape

Teacher Materials:

1. Examples of artwork
2. Examples of stained glass in Europe

Vocabualry:

• Symmetry
• 12 Century cathedrals
• Stain Glass

Procedure:

1. Introduction: Discuss the history of stain glass up to the 12th Century, and (if needed) review the process of cursive handwriting.
2. Fold wax paper lengthwise (hot dog-wise).
3. Write name in cursive along the fold, covering most of the wax paper
4. Trace name onto other half of the fold.
5. Create a critter from the name.
6. Apply starch all over the wax paper with a paintbrush.
7. Apply scraps of tissue paper, covering entire area (overlapping is okay). It is advised to use a light color as a base, then apply other colors all around.
8. Apply masking tape frame around the edges.
9. Clean up.

Visual Procedure:

1. Write name and trace onto other side
2. Apply tissue paper with starch
3. Make frame with masking tape

Closure:

Hang up on wall and discuss the importance of 12th Century stained glass.

Comments and/or suggestions:

If critter cannot be seen well, let the artwork dry, then retrace critter with black paint and a paintbrush. This is a simple, but creative way to make stained glass. If possible, show some visuals on how the glass is produced.

Summary of the artistic development of children in the third and fourth grades:

There is one major change in the artwork of children this age, their work becomes much more realistic. They become dissatisfied with the geometrical shapes they once used for drawing people. As they begin to notice the world around them, their artwork becomes a closer representative of what they see. Their drawings begin to show that the sky meets the horizon and that objects can overlap to create new spatial effects. Because they concentrate more on producing realistic art, they give more attention to smaller details such as hair, clothing, and even drawing figures in action. Children in this age also display the beginning usage of shading in their artwork as well as representational colors.

During this period, students may exhibit many stages of development in a single artwork, however they can improve in their realistic abilities by closely observing the objects they wish to draw. By gaining visual information via objects, landscapes, other artists works, photographs (etc.), students will feel more confident about producing a realistic image.

At this stage, children can gain valuable knowledge by being introduced to the color wheel. Experimenting with tint, shade, analogous colors and complimentary colors, students will be able to produce more realistic settings such as landscapes, houses, trees, and people. This is a very important stage of children’s artistic development because those who do not master the skill of realistic art successfully (in their minds) may become frustrated and choose to give up entirely.

Historical background of stained glass:

Legend says that while shipwrecked sailors were on the beach, they built fires containing a sand and soda mixture. The sailors would set their cooking pots on top of these fires overnight. The next morning, the fire's heat would melt the sand and soda mixture. The result was colored glass. Another legend of the invention of stained glass was in Egypt. This legend says that Egyptian potters accidentally discovered glass when firing their vessels. The first appearance of colored glass was in the first century A.D. when the Romans glazed glass into windows. The first multiple pieces of colored glass used in a window was at St. Paul's Monastery in Jarrow, England, founded in 686 AD. These windows show fired glass paintings, which utilize line and tonal shading. They are made of bright, varied colors of glass. Stained glass became commonly used in cathedrals starting in the 7th Century, and it became a sophisticated form of art by the 12th Century. Stained glass in now used in churches, homes and for many other decorative uses.

References:

https://www.stainedglass.org
https://www.sgm.abelgratis.com/virtgall.htm

Hawaiian Leis

Art207-08, Group 5
Danielle Bertini, Amy Dickens, Katie Sugg, Mike Nemiroff

Objectives:

• Students will learn how to create Hawaiian Leis
• Students will learn about Hawaiian culture through the different types of Hawaiian flowers.
• Students will enhance their small motor skills.
• Students will learn the concept (art) of patience.

Student Materials:

1. Straws
2. Assorted tissue paper
3. Scissors
4. String
5. Assorted colored paper
6. Hole puncher

Teacher Materials:

1. Pictures of Hawaii in relation to the US
2. Pictures of flowers and leis
3. Examples of the procedures

Vocabulary:

• Plumeria
• Leis
• Orchid
• Aloha

Procedures:

1. Cut the string about 2 ft./ cut straws into small pieces.
2. Tie one straw at end so flowers and straws don’t fall through.
3. Make flowers using tissue paper and paper.
4. Alternate flower and straw as you put onto the string.
5. Fill until the string is almost filled.

Comment/Suggestions:

• The children may use a stencil to create the flower.
• The children can design their own flowers as they wish.

Cultural/Historical Background:

The floral lei dates back to the ancient Hawaiians who wore braided leaves, native flowers, shells, feathers, stones and bones to make themselves beautiful. They also offered the leis to their gods and each other as a symbol of love and friendship. Giving a “flower lei” as a gift also expresses the same meaning as the word “Aloha”, which is love, mercy, compassion, pity, loved one, to love, greetings, and goodbye. It is a word that has to do with deep feelings and emotions. Traditionally, the gesture of giving a lei is accompanied by a kiss on the cheek to show it is presented with those same feelings of emotions and sincerity. Leis are still made the same way today, as they were made many years ago by braiding, twisting, wrapping or stringing (like we will be doing) colorful flowers and greenery. They can be worn around your neck, head, wrists or ankles. Nowadays, leis are traditionally made with orchids, but you can also make them with your favorite flowers, leaves and shells. They have been known to be given for marriages, birthdays, lu’aus, and funerals, as well as other times to express gratitude or warmth of friendship.

Artistic Development:

Children between the ages of seven and nine are in what is known as the Schematic Stage of artistic development. During this time the children’s drawings begin to reflect their knowledge of their own environment. Bodies of humans or animals are usually made up of geometric shapes. The first figures they draw are usually of themselves, their parents, siblings, and friends. They also begin to use decorative embellishments and as their sense of self begins to develop, their awareness of their individuality and their differences from others begins to become apparent to them.

References:

http://www.vermontartscouncil.org/hsap/design.htm
http://www.folklife.si.edu/vfest/hawaii/lei.htm
http://www.hawaiiweb.com/html/leis_history.html

Comments:

Group 1- Liked the explanation, it was simple, quick and fun>Group 2- Like that we walked around and gave individual help
Group 3- Visual Aides were good, the history was also good
Group 4- Liked the simplicity of the lesson, and how fast and easy the
clean up was
Group 6- Ditto- liked the colorfulness, age appropriate
Group 7- Templates were good, next time bring a real lei as well

Hats Throughout History

Art 207-05, Group 3
Names: Tracy Murphy, Kerry O’Brien, Laura Carmon, Lindsey Martin

Objectives

• Students will learn a brief history of hats including uses and origins
• Students will learn that there are many types of hats for many purposes
• Students will learn how to create a hat from paper

Students Materials:

1. Large white paper (As large as possible)
2. Stapler
3. Glue
4. Scissors
5. Markers
6. Colored construction paper
7. Decorative Materials (i.e. feathers, yarn, tissue, ribbon)
8. Recycled Paper to cover tables

Teacher Materials:

1. Slides of hats throughout history
2. Information about the history of hats and a list of their uses
3. Examples of paper hats to make

Vocabulary:

• Vikings
• Sombrero
• Cylinder
• Thebes
• Brim

Procedures:

Introduction

• Discuss a brief history of hats and their purposes
• Show slides of various types of hats
• Show an example of how to make the hat project

Decorate large white paper how hat should look

Roll, wrap, cut, and staple into hat shape

Add on all finishing touches and decorations

Closure

• Discuss what students learned from hat project
• Discuss again the uses of a hat

Suggestions and/or Comments:

• Make sure students understand simple ways of folding paper into cylinder hat.
• Make sure they do most of artwork before the hat is folded or made.
• Make sure to walk around and help students

Resources:

The Hat Bible’s History of Hats.
http://www.hatsuk.com/hatsuk/hatsukhtml/bible/history.htm
Microsoft Word’s Clip Art File

Cultural Background:

The first hat that was probably worn was an animal skin cap, to cover the head from harmful weather.

One of the earliest hats that we know was worn was shown on a wall in a tomb painting in Thebes. It was a painting of a man wearing a straw hat.

The ancient Greeks were the first to use the idea of a brim on their hat.

Men actually wore hats before women did. It wasn’t until the late 17th century that women began wearing the same types that men did.

Hats began to be very decorative with things like feathers, ribbons, and flowers around the earlier part of the 19th century.

There are so many uses and purposes for hats.

• To show status
• Part of a uniform
• Shade from sun
• Reasons of hygiene
• Enhance height
• Protection
• Convey a message
• Head warmth
• Religious reasons
• Accessory to clothing
• Hide hair or lack of it
• To attract attention

Summary of Children’s Artistic Development
Third-Fourth Grade: Guidelines for Case Study Research
Dept. of Art and Art History CSU Chico

I. Third-Fourth Grade:

The Gang Age
9-12 years
The Dawning of Realism

II. Drawing Characteristics

Great awareness of details
Self conscious of own drawings
Greater awareness of physical environment
Events are characterized rather than drawn naturalistically
No understanding of shade and shadow

III. Space representation

Disappearance of base line and emergence of the plane
Overlapping of objects
Beginning of interrelationships between objects
Sky now corners down to horizon
Attempts at showing depth through size of objects

IV. Human Figure Representation

Rigid schema no longer prevails
Greater awareness of clothing details
Less exaggeration, distortion and omission of body parts to show
emphasis
Body parts retain their meaning when separated
Greater stiffness of figure

Pie Pan Art

Art 207-04, Group 4
Melissa Manica, Charity Holliman, Kristen Ligon, Thomas Smith

Introduction:

The idea of stained glass originated in ancient Egypt in the second century B.C. with the development of glass making. Stained glass as we know it today was first used as European religious decorations around the 11th century A.D. Stained glass art is the art of manipulating with light and color in an interior space. Light is a major aspect of stained glass because it is what animates and brings the glass to life. It has been written that light is the very essence of stained glass art.

There are two types of stained glass. Originally stained glass was clear and a color stain was applied to it. This changed with the development of glass which had the stain incorporated into the actual glass. This process occurred by adding metals and minerals to the molten glass, which resulted in tinted glass. This type of stained glass is called cathedral glass. The second type of stained glass developed in the late 1800’s and early 1900’s during the Art Nouveau period. During this period American glassmakers began to make the second type of stained glass called opalescent glass. This type of glass was translucent and its introduction significantly expanded the variety of glass available to artists.

The use of stained glass windows greatly expanded during the Renaissance period as well as during the 1400’s through the 1700’s in Europe. During the Victorian era, which took place in the 1800’s stained glass, began to be used in non-religious windows of European chateaus. The expansion of stained glass continued into the Art Deco period of the 1920’s through the 1940’s. During this period stained glass was incorporated into the architectural designs on many buildings. The mid 1990’s brought about another expansion of stained glass called “Stained Glass Mosaics.” This type of art combined stained glass with the art of mosaics. Stained Glass Mosaics are used today on walls and floors as well as vases, lamps, and even plant holders.

Stained glass has been a very big part of the art world for several centuries. It has gone through several periods of expansion, which have lead to new stained glass techniques. Overall, stained glass art is very beautiful and eye catching.

Objectives:

• Students will learn how to trace outlines of simple pictures with nails/thumbtacks.
• Students will learn how to space the holes evenly on the pie pan art.
• Students will learn the use of light by hanging their art up on the window.
• Students will learn different mediums of art (examples, metal, light, ect…).
• Students will learn how to trace different lines, and shapes.
• Students will learn how much pressure/force is needed to create the holes in the pie pan.

Students Materials:

1. Simple outline of a picture (example, heart)
2. Nail/thumbtack
3. Pie tin
4. Tape
5. Marker (any color will do)
6. String/yarn
7. Scissors

Teachers Materials:

1. Examples of artwork
2. Same material listed for the students (example, simple outline of a picture, nails/thumbtacks, etc…).

Vocabulary:

• Pressure
• Spacing

Procedure:

1. Give brief introduction on lesson plan
2. Have students pick a simple picture
3. Center picture on the bottom side of the pie tin with tape
4. Outline the picture with dots using a marker or pencil
5. Begin puncturing holes with nails/thumbtacks
6. Remove picture from the bottom of the pie tin
7. Punch two holes in the top of the pie tin, add string, and hang it in the window
8. Conclusion

Comments/Suggestions:

Warn students about working with the sharp objects, such as the nails/thumbtacks.

Artistic Development:

Between the 3rd and 4th grade most children are between the ages of 8-10. In this stage (Realism) children tend to pay more attention to body proportion, actions of figures, and details of clothing. They tend to pay closer attention to the environment, and there is a gradual disappearance of the baseline and the emergence of the horizon. Shadows, and shading may appear. Their artistic development may show depth through diminishing sizes and overlapping. The children will tend to use realistic colors, and are more critical of their work.

References:

AmeriGlass Stained Glass (History).
http://www.shopsmartxpress.com/AmeriGls/AB.htm

Discovering Stained Glass in Detroit by Nola Huse Tutag
Herberholz, Barbara, and Donald Herberholz. Artworks for Elementary Teachers.
New York, NY. 2002.

Warm Sun and Cool Moon

Art 207-04, Group 1
Joeleane Lucido, Karen Moglia, Jiwan Ghag

Introduction:

George Seurat (1859-1891) In search of a way to represent nature more faithfully, Georges Seurat studied optical science. His was an attempt to measure scientifically the effects of light. The result was the introduction of an approach he called divisionism also known as pointillism.
Seurat's experiments with color led him to paint in small dots of color, which are arranged in such a combinations that they seem to vibrate. Individual colors tend to interact with those around them and fuse in the eye of the viewer. The concept is similar to the dots or pixels in a computer image. If you magnify any computer image, you will see individual colors that, when set together, produce an image. Seurat was interested in the way colors worked together to create a particular tone. Seurat's theories were adopted by a group of his followers, the neoimpressionists, although the style did not last long as a movement. His studies influenced other artists of his day and such major artists as Camille Pissarro and Vincent Van Gogh experimented with the style of pointillism at some point in their careers.

Objectives:

• Students will learn multimedia techniques in a drawing using a pencil, oil pastel, and tempera paints.
• Students will learn about Seurat and his style of painting
• Students will learn how to visually express their ideas

Students Materials:

1. White paper (thick) - 9 by 12 inches
2. Pencils
3. Green, blue, violet, yellow, orange and red tempera paints
4. Paper towels
5. Plastic containers
6. Prints of Seurat (optional)
7. Newspaper (to cover tables)
8. Rulers
9. Q-tips

Teachers Materials:

1. Example (s) – Pre-made
2. Examples of Seurat art work

Vocabulary:

• Seurat
• Pointillism
• Camille Pissarro
• Vincent Van Gogh

Procedure:
1. Introduction:

• Lecture about Seurat
  A. Time period
  B. Art Style
• Ask questions such as:
  A. What did you do over the summer?
  B.How could you illustrate that?
• Talk about Seurat and his style of painting
• Multiple colors for each section

Students will be given a separate piece of paper to sketch their idea. They can use anything that represents their summer vacation.

Once students have decided on what they want, they will sketch their picture on the white piece of paper.

Students will then use tempera paint and Q-tips to fill in each section

• Apply colors one at a time, letting the colors blend together on the edges

Closure

• Talk about what the students have learned and what the assignment was about
• Make sure name is on paper
• Clean up tables and put supplies away

Comments/Suggestions:

Have children sketch drawings on a separate piece of paper before they start on their final project

Summary of Children’s artistic Development (3rd – 4th grade)

Reference: Artwork – Donald Herberholz & Barbara Herberholz

The artistic development of 3rd and 4th graders should be in Stage 3 entitled Realism. In this stage children should (a) devote more attention to body proportion, action of figure, and details of clothing, (2) make closer observations of environment gradual disappearance of baseline and emergence of horizon: shadows, and shading may begin to appear, (c) children show depth through diminishing sizes and overlapping, (d) children use realistic colors, and (e) children become more critical of their own work. Children will pay more attention to detail of the hair and they will gain visual information from actual objects, landscapes, and photographs. Still-life setups can help students perceive relative proportions and sizes, relationships, directional angles, and three-dimensional forms.

Happy Accidents with Watercolors

Art 207-04, Group 5
Amber Luther, Jennifer Newbert, Amy Tanti, Amber Spradling

Objectives:

• Students will learn the basic characteristics of painting with watercolors.
• Students will learn basic color theory using the color wheel and will be able to identify primary and secondary colors.
• Students will learn how to mix colors to create new colors.
• Students will learn how to improvise and incorporate the unexpected into their artwork.
• Students will learn about warm and cool colors and the emotions associated with them.
• Students will learn to let go of concerns about making mistakes and will build confidence in their own creativity and artistic ability.

Student Materials:

1. Watercolor paper
2. Watercolor paints, assorted colors
3. Paint brushes
4. Water and containers
5. Black markers
6. Newspaper

Teachers Materials:

1. Transparency of color wheel
2. Artwork of previous students

Vocabulary:

• Color Wheel
• Color Theory
• Warm colors
• Cool colors
• Primary colors
• Secondary colors
• Transparent
• Opaque

Procedures:

1. Introduction: Discuss color theory. Introduce examples from group members. Discuss the idea that art is a process and sometimes what we think are mistakes can be changed into “happy accidents”.
2. Cover the desks with newspaper and pass out the materials.
3. Encourage students to use what they know about color theory to mix colors.
4. Experiment by blending the paint and allowing it to run on the paper.
5. Pick up the paper and move it around so that the paint runs in every direction.
6. After the entire surface of the paper is covered in paint, pick out shapes and patterns that you see.
7. When the paint is dry, use the marker to enhance the shapes that you see in your painting.
8. Closure: Hang up the students’ artwork and discuss the images and shapes that they found in their paintings.

Artistic Development of 3rd and 4th graders:

According to Lowenfeld, children in third and forth grade are leaving the schematic stage and beginning to use art to represent reality. They are transitioning from drawing symbolic pictures to creating more realistic artwork. Human figures are less exaggerated and more attention is given to the details of the clothing and hair. They want to draw realistic figures that have correct proportions. They are also experimenting with drawing figures in action and using different techniques such as overlapping, shading and perspective. Teachers can help to foster this development by giving students opportunities to draw from direct observations of plants, animals, and people. Students in this stage are becoming more concerned with using colors to represent real-life objects. They can also use color to represent emotions and feelings. At this age, students learn about color theory and mixing colors. They may be very critical of their own artwork and they may be apprehensive about making mistakes. We hope that this lesson will encourage students to be creative and help them to understand that not all mistakes are bad.

Characteristics of Painting With Watercolors

Watercolor painting refers to pigments ground in gum and applied with brush and water to a painting surface, usually paper. The term is also given to a work done in this medium. These pigments are ordinarily transparent but can be made opaque by mixing them with whiting. However, transparent watercolor like we will use today is known for having fresh and luminescent qualities. Its transparency is truly what sets it apart from all other heavy painting mediums. An oil painter creates his design by painting one opaque color over another and building as he goes. When he wants white in his design he achieves the effect by adding some opaque white. The water colorist’s approach is quite the opposite. In essence, instead of building up he leaves out. The white in his design comes from the white of the paper and his darkest colors are achieved by using less water. The more water that is added allows the paper to affect the colors more. Red can be made pink if enough water is added. Because of its unpredictability, watercolor painting is uniquely challenging. An accomplished watercolorist learns to take advantage of the unexpected results of this medium. As practiced by most of its greatest masters, spontaneity is everything. With experience the artist learns to improvise effectively. It is these very qualities of watercolor painting that seem to incorporate the fleeting thoughts of the artist in his design.

Comments/Suggestions:

When doing this project, make sure that the paint is very wet so that the colors blend nicely.

Peer Criticism/Suggestions:

• Teachers might want to encourage their students to try to find or embellish on any patterns they may see in their watercolor painting if there aren’t any shapes or animals that immediately jump out at them.
• When discussing the techniques of watercolor painting with the students, teachers should note that this lesson covers the “wet on wet” technique and also give a brief overview of the “dry on dry” technique as well so that the children gain an overall better understanding of working with watercolor.

The general feelings from our peers or classmates were that this was a fun lesson plan that fostered a lot of creativity and that would enhance the student’s understanding of color through the visual stimulation achieved by blending many colors together at a time.

References:

Idea for lesson plan: http://kinderart.com/painting/happy.shtml

Summary of Artistic Development: Herberholz, Barbra & Donald Artworks for Elementary Teachers. 2002, 9th ed.
Toku, Masami. Guidelines for Case Study Research, 2003.

Overview of Characteristics of Watercolor painting: Excerpted from: Springfield Art Museum
http://home.xnet.com/~honore/watercolors/watercolorpages/sup/history.html

Christmas Play Dough Ornaments

Erin Powell, Raylene Brooks, Arbi Avetiove

Objectives:

• Students will learn the basic ingredients that are involved in making play dough
• Students will learn to make play dough
• Students will learn to use their hands and manipulate play dough to make an ornament
• Students will be given the opportunity to decorate using a variety of materials such as Red Hots and sprinkles.
• Students will learn the history of the Christmas Ornament

Student Materials:

1. Flour
2. Salt
3. Water
4. Food coloring (red and green)
5. Newspaper
6. Cookie Cutters
7. Straws
8. String
9. Rolling pin
10. Tissues
11. Cookie decorations (Red Hots, Sprinkles, etc.)

Teacher Materials:

1. History of Ornaments
2. Examples of Project

Vocabulary:

• Ornaments

Procedure:

1. Introduction: History of Ornaments
2. Hand out all materials- flour/salt bags, cups of water, rolling pin, cookie cutters, straws and string.
3. Add water to the flour/salt bag
4. Mix well with hands to form dough
5. Roll dough out to form a flat slab of dough about 3/4 inch thick
6. Select cookie cutter shape then press into dough and remove the shape
7. Poke hole into the shape with straw
8. Decorate with given materials
9. When dry, (24 hours) attach string and hang
10. Closure: Hang ornaments and discuss project

Comments and Suggestions:

Artistic Development of Third Graders:

Third graders are between the ages of eight and nine. This puts them in between the stages two and three; Making Symbols and Realism. According to the text students still in the second stage are "developing their line and shape making skills as well as muscular coordination in handling drawing tools, scissors, glue sticks, and modeling clay." Students in this stage concentrate on relaying ideas in symbols. In the realism stage students begin to attempt to make things look more like they appear. Students concentrate on detail and want images to look in proportion.

Cultural/Historical Background:

Christmas ornaments originated in Germany in the mid 16th century along with Christmas trees. Christmas markets were set up in German towns and provided gifts and food for the holidays. German bakers, at these markets, would make shaped gingerbreads and wax ornaments for buyers to take home as souvenirs. These ornaments would then be placed on Christmas trees.

The Christmas tree and ornament became popular in England in 1846 when Queen Victoria and the German Prince Albert were illustrated in the London News standing in front of a decorated tree in their home. Ornaments were "home-made" and many young women spent hours making ornaments using a variety of material such as yarn, tinsel, and baked goods.

The trend moved to America with settlers and by 1860 ornaments was becoming popular and more complex and inventive. Glass bead garlands and small toys were very popular. In the 1880s there was a rise in the Aesthetic Movement and highly decorated trees became a sigh of an affluent family.

Information provided by www.christmasarchives.com/trees.html

References:

http://www.lessonplanspage.com - Christmas Play Dough Ornaments
http://www.christmasarchives.com/trees.html

Class Comments:

Positive: The project was cheap and easy to do. Good to have limited colors so that children don't get overwhelmed. It was fun and hands on.

Negative: Change newspaper to wax paper. Find the proper amount of water so students don't have to add more. Use bigger cookie cutters.

Brown Bag Kites

Art 207-03, Group 2
Jacqueline Gallinetti, Tim Jaramillo, Britney Best, Alyson Strickland, Jenn Badoud

Objectives: At the end of this lesson the student will be able to...

• Observe and discuss kites and how they function (fly)
• Apply recycled materials to artwork/kite making
• Utilize and develop self expression
• Appreciate the art made by others and themselves

Student Materials:

1. Large brown paper bags
2. Strong "kite" string
3. Scissors
4. Hole puncher
5. Ring reinforcements (available at office supply stores, buy extra)
6. Glue or pasts
7. Tempera or acrylic Paint (multiple colors)
8. Crayons, markers, pencils (decorative materials)
9. Paper streamers or crepe paper
10. Other light objects for decoration: glitter, paper, buttons etc

Teacher Materials:

1. Book: "let's make a kite", with historical/cultural information
2. Previous student artwork examples

Vocabulary:

• Kite
• Wind
• Air flow
• String
• Fly
• Culture

Procedures:

Introduction:

1. Discuss contents of book, kite building process, and historical/cultural background
2. Instruct students to hole-punch, 4 holes in top of brown paper bag. One hole in each corner of the bag. Add reinforcements to holes. Cut two pieces of "Kite" string about 30 inches long each; tie the string through the holes in bag, creating two loops.
3. Cut another string about 30 inches long. Loop the string through the other two strings creating a handle. You may have to assist students with this section.
4. Decorate bag with decoration materials. Finally, cut multiple streamers about 1 foot (12 inches) long, glue to bottom of paper bag. Set aside to dry.. And now the kite can fly!!

Closure:

1. Take class outside (hopefully it is windy) and test the kites
2. Discuss why some fly and why some do not fly
3. Emphasize cultural and historical background information
4. Come back inside and hang kites up in classroom

Suggestion/Comments:

Make sure you have enough reinforcements for each kite. Masking tape can be a substitute for the reinforcements. Monitor the students' decoration materials; make sure the kite is not too heavy to fly.

Characteristics of artistic development in the age group:

Students at the 3rd and 4th grade level are between the ages of 7 years to 9 years old. According to Lowenfield's artistic development theory, students at this age are leaving behind their first representational attempts at the pre-schematic stage. They enter the schematic stage and develop the achievement of a form concept.

Children's art at this stage is created depicting concepts and not perceptions, which are indicative of the child's knowledge of the environment. Space representation includes drawing of the sky and other baselines, in attempt to create a more complete atmosphere, with little or no overlapping. Human representation includes geometric body shapes and correct placement of limbs (legs, arms, etc). Proportions are drawn depending on the objects emotional value.

The schematic stage is an important stage in a child's artistic development because, when observing or assessing the child's art you are able to see the way in which a child begins to interpret the world, as well as their emotional development in regards to their environment.

Historical and cultural content:

It is not known when the first kite was flown, but its popularly held that the Chinese led the way with early aerodynes copying the form of birds. In Japan, kites were used for religious purposes and they still do this today. On May fifth each year its "Boys day" and any home with a boy flies these kites called carp windsocks. By the 1600's, the traditional diamond shape kite had become popular in Europe and was widely used there.

Kites became very popular and were being used for many things. For example, scientists used kites to figure out atmospheric phenomena by using the kites to carry thermometers to measure such things as air temperature at various altitudes. In addition, kites were used to lift cameras for aerial photography since the 1870's. Other people, such! as the French designer Maillot, used kites to carry heavy payloads from one place to the other.

As time went by people had many different ideas for kite use. Another popular idea was when Lawrence Hargrove decided to design box kites for meteorological forecasting. The stability of his kites made it ideal for man lifting. This idea of man lifting was also seeked out by another pioneer, but he did not have as much success. His kites were used during the Royal Navy Reconnaissance trials and failed. They collapsed during the trial, later killing him, and one other.

A new form of kites started to emerge in 1963. By the 1970's new kite, designs were booming because of the wider variety of materials. Today we see kites used for many different things such as parachutes and pleasure. Over time, we have come up with new contraptions to take over the duties of many things that kites did; but kites were the beginning of a new curiosity era.

Suggestion/Comments:

After the presentation of our well developed lesson plan to the class we realized that there were a few suggestions made by both the students and the professor that would be helpful to note. Most of our peers agreed on the fact that the lesson was both fun and simple. We received many compliments on the pre-cut strings, hole-punched and reinforced bags, as well as the music that we had to "stimulate the mind" during our lesson. Some of the problems with our lesson included the fact that it was difficult to complete both sides of the bag in such a short amount of time. In addition, some thought that there was too much freedom for the children to choose which decorations they would use to decorate their kites. Our professor complimented our group on the uniqueness of our lesson and enjoyed that she had never thought about it prior to our lesson instruction. Although, she di! d comment that we should concentrate on creating a more strict subject matter for the children to work with on their kites.

References:

Book: "The Creative Book of Kites" Provided by Masami Toku
Various Slides of historical kite making and background. Provided by Masami Toku

Guidelines for case study research class handout. Provided by Masami Toku

Art lesson idea: Found on Internet at: www.kinderart.com "Brown Bag Kites"

Animal Jumping Puppets

Art 207-03, Group 1
Lily Gicker, Kelly Bullak, Erin Moore, & Ariella Dalton

Objectives

• Students will learn about proportions of body parts.
• Students will learn how to create moving parts.
• Students will learn how to cut shapes with detail.
• Students will learn how to attach string and tie knots.

Student's Materials

1. 9"x12" Construction Paper (assorted colors)
2. Markers
3. Scissors
4. Hole punch
5. Brads (4 per puppet)
6. String
7. Chopsticks (one per puppet)
8. Newspaper (to lay over the tables)

Teacher's Materials

1. Examples of different animal jumping puppets
2. Javanese shadow puppet and slides of puppets from various cultures

Vocabulary

• Proportion
• Puppet
• Brad
• Indonesia

Procedure

1. Intro: Discus the historical and cultural background of puppets. Show slides and examples.
2. Demonstration on how to make the puppets.
3. Lay newspaper over the tables
4. Think of the animal you want to create and sketch it on construction paper.
5. Cut out body & head, arms, and legs.
6. Add facial features & decorate.
7. Punch holes (four in the body where legs and arms are to be attached; and two in each arm and leg- one for the brad and one for the string)
8. Attach brads
9. Glue on chopstick
10. Attach String and test it out!
11. Closure: Share puppets with the class and discus what they have learned.

Suggestions

• Extend the activity by having students create puppet shows.
• In the beginning talk about the basic shapes of animals, how many legs they
• have, ect.
• The two holes in the arms and legs might be confusing; you might want to draw
• it large - scale on a board to show which hole is for the brad, and which hole
• is for the string.
• Larger string or yarn is easier to tie.
• Have people available to help the students tie the string, this may be a little
• difficult for some third graders.
• Emphasize the size and shape that the body parts must be in order for it to
• work well (if the arms/wings are too fat/round it will not work)
• Suggest having only two wings instead of two arms and two legs- it's simpler.
• Have students make people puppets or other figures that go with what is currently being taught in the class.

Artistic Development

Third and fourth graders are a combination of both the schematic stage and the realistic stage. The third grade students may still be at the schematic stage. The schematic stage deals with developing line and shape making skills. The students work to improve their muscular coordination in handling art tools such as scissors, glue, or clay. There is no overlapping, items are placed randomly in picture space, and bodies are made up of geometric figures. Proportions of figures usually depend on emotional or physical value.

The realistic stage is a bit more advanced and probably will not be present in a student until the fourth grade. This stage begins with a newfound realistic approach to making art. The students still may be holding on to childhood beliefs and fantasies, but their thinking about what they see changes dramatically. Geometric shapes no longer suffice to make all objects. They can now see that the sky meets the horizon and that objects can overlap. They pay more attention to detail on their figures, especially to hair and clothing. They learn to shade objects, add shadows, and make distant objects smaller. The students use more realistic colors and are more critical of their work. By this stage the students are ready to learn about visual space and perspective.

Our art project will be great for the third and fourth grade for four main reasons. First, our puppets will help the students to learn about proper body proportion by having them make even body parts. Second, this activity is great for motor skills because much of this project is done by cutting and putting things together. Third, the student is free to give as much detail as they like to the puppet's characteristics. And lastly, making puppets is fun!

Reference

Herberholz, Donald and Barbara Herberholz. Artworks for Elementary Teachers 9th ed. Boston: McGraw Hill, 2002.

Aboriginal Art

Art 207-08, Group 6
Tiphanie Brust, Danika McAnulty, Thee Moua, Laurel Nichols

Objectives

The students will learn…

• The basic characteristics of Aboriginal Art
• The historical appreciation of Aboriginal Art
• How to make designs with a series of dots
• How to choose colors to express emotion

Student Materials

1. Q-tips
2. Tempura Paint in a variety of colors
3. Colored construction paper size 8 ½ x 11 inch
4. Protective paper to cover table

Teacher Materials

1. Previous student examples
2. Authentic examples
3. Map of the United States

Vocabulary

• Aboriginal/Aborigines
• Australia
• Dreaming
• Emotion

Procedure

1. Introduction: Tell a brief history and characteristics of Aboriginal Art including previous student examples.
2. Choose favorite color of construction paper 8 ½ x 11inch
3. Fold paper in half the hamburger way
4. Put name on the inside of the paper
5. Think of an idea of what to paint on paper
6. Pass out Q-tips each student needs at least 5 to start
7. Choose paint colors that will convey the desired emotion
8. Use Q-tips to paint a series of dots to create the desired image on half of the 8 ½ x 11 inch paper
9. Then place upright for other group members to see
10. Conclusion: Have students share their artwork and describe the image to their group members and then with the class discuss what they have learned.

Visual Procedures

Step 1 - Fold paper in half the hamburger way.

Step 2 - Use Q-tips to dot tempura paint onto construction paper to create desired image.

Step 3 - Place upright for others to see and explain artwork.

Suggestions and/or comments:

For more authentic artwork have children paint on rocks or tree bark (with acrylic paint). This lesson can be included in a lesson on Australia, the Aborigines or included when teaching about creation myths to older students. It would be helpful to have pictures of the Aborigines and a world map to show where Australia is in relation to the United States. Otherwise a great lesson plan.

Artistic Development for first and second graders:

In first and second grade, children begin making symbols by drawing recognizable images. Their pictures usually contain a body made up of geometric shapes with little or no overlapping. They do not relate the actual color of the object to the color they are using. They randomly place items in the picture and work largely from memory.

Cultural/Historical Background:

Aboriginal Art is native to the indigenous people of Australia. It exemplifies non-western art in that it links spiritual and secular daily life, emphasizes tradition over invention, and it is not rooted in the conventions of the three-dimensional world. More often than not, Aboriginal paintings use symbols to illustrate “dreaming”. “Dreaming” is a term used to characterize the basis of their spiritual and cultural life. “Dreaming” represents characters and events that led to the creation of the Earth as well as all-natural forces and features of Earth including animals and man. The art form has not changed much. The technique of using dots to make up an image has remained for thousands of years.

Resources

http://www.cooinda-gallery.com.au/aboriginal_art.htm
http://www.jintaart.com.au/
Herberholz, Donald & Barbara. Artworks for Elementary Teachers. Ninth Edition. McGraw-Hill, New York: 2002. pp 100-109.