1242017 Creating Meaning Through Literature and the As: Arts Integration for Classroom Teachers Introduction ++ When you look at teaching in wnits, it becames obvious how everything fts together Megan McComas The opening Classroom Snapshot features a third grade teacher. Her lesson is part ofa science unt guided by the standard for students to explain ‘how organisms adapt. Another target isthe third grade ELA Common Core writing standard, “Write narratives to develop real ot imagined ‘experience or events using effective technique, descriptive details and clear event sequences.” ‘With her grade-level eam, Megan McComas developed ars options for each unit—strateges that can be repeated, if adapted, Book moking is ‘one to! in her toolbox. She explains that book making “causes students to organize what they have learned.” This lesson isa continuation of previous work. Notice ways she causes students to collect information that will support thei final preduct—conchusions expressed in small Staggered book about an invented animal. knformation on many bolded strategies is available through the index Classroom Snapshot: Integrating Visual Art in Science and English Language Arts (Creation requires imagination, concentration and perspiration. Zoomie (2014) Around the classtoom is abundant evidence of previous student work—especially information collecfed to meet a creative challenge, Posted prominently at the front of the room is an Adaptations Web (graphic organizes) with many examples of how organisms adapt to survive. Web legs are labeled with categoris like defense, movement, and food gathering, To inspire ereative work today, Megan explains that they will read Shel Silverstein’s “The Romance,” a story about a pelican marrying an elephant, a union ast produces a pelicant. She reminds students, seated at fables of four, about the criteria forthe challenge. “Your animal noods to have thee adaptations,” she says, holding up three fingers. T immediately think about an inquiry question (1Q): What if people could fly? Taking the role ofa student, T imagine heads, body, and legs collected from animals, including the condor. Mander pops inte ‘my mind as Ire-focus on Megan, who is bringing up Internet images on a smartboard. To enrich the process of collecting details, she displays adaptation examples fom National Geographic for Kids. “What adaptations help animals?” she asks. A forest of hands wave, and kids barrage her with examples: bear claws for grabbing, long arms to reach, big eyes to see inthe dark, strong legs to run fast, flat tails to slap prey, webbed fee to ran on water, pointy teeth to puncture, She asks abont ather resources for ideas, acquired from previons lessons, Stuen's who don't already have them out slide black composition baoks from theie desks. Megan then invites questions. After several procedural questions, there is one about using color, Megan asks, “Is color an adaptation? If s0, how?" After afew seconds, the class is on another rll offering examples that include how eolors create camouflage, scar off predators, attract mates, snd help animals mitnic other animals-—evideatly there is a snake in Florida that resembles the deadly coral snake, “Great examples. Now it’s time to experiment,” she says. think about the wealth of information they have generated to forge connections, Megan walks over tothe CD player. “Tl put an music, bt remember not to talk over it. Fee! free to talk quietly to bounce ideas off of ench other.” Classical background music, without iyrics and lots of violin, fils the roam, Students set to work, Some study notes in their composition books tht include rough sketches, webs of adaptations, and lists of animal names. Others already have an animel name written on the top page of the book they are making. Megan circulates, giving feedback, answering questions, and coaching. “Try to make your animal different from anyone else's. Add color, shapes, and texture: Ob I see you Wrote “herbivore” next io yous animal name,” she stops to tell one student ‘After completing the staggered books,* students will eompose narratives about their animals, using the same three-part strucure as they used in their art, Having already used the compasition/eative inquiry process to organize conclusions visually, students will repeat the process with words. Thus, Megan puts into practice a research finding: Art making prepares students to produce higher quality writing (Olshansky, 2008), "Note: Previously, Megan made up blank staggered books, leaving mare time for students to be creative rather than fold and staple, To make a small four-page staggered book, start with a piece of standard copy paper cut in half, lengthwise. Fold down the first third of one strip and two thirds ofthe second. Stape both together at the erease. To create an animal book, put the animal name on the top page, head an the second, torso fon the third, and legs on the final page, Visual Art Seed Strategies Artis not what you see, but what you make others see. Edgar Degas (quoted by Gammell, 1961, p. 2) Megan McComas isa veteran teacher capable of taking seed ideas like those inthis chapter and weaving them throughout lessons. The undeveloped strategies that follow are just that—seeds, They need to be planted in the rich soil ofa full concept of ars integration (Al), as culled in the ten Pillars. The following seeds are organized into sections, but many fit in more than one. The first three sections, hipsfiphoeni vitsisource.comtibooks/97B 18231544681 0U4/2/2016/6/2400:0 2140arzaiz017 (Creating Mearing Through Litratur and the Ars: Arts Integration for Classroom Teachers nergizers/Warm- Ups, Elemeats/Concepts, and Media, include seeds to help lay visual arts groundwork, Gradually, students learn more ways to create meaning and demonstrate understanding using visual ats across curricular areas, The final sections are organized using cuticular areas: English language ars, math, scinee, and social sts L Energizers and Warm-Ups (E/WUs) ‘The purpose of energizers and warm-ups isto ready students mentally and physically for creative thinking. E/Wus also relax students so they can focus, gather, and release ideas. Thus, they are especially useful in lesson introductions Eye-magine ‘Tell students to warm their hands by rubbing theta together and then lightly place their hands over their eyes for @ minute. With closed eyes, invite them to imagine colors and shapes as they ere mentioned, Visual Gym Describe a series of images for students to sketch or imagine. Say “Imagine (a dot). Now strefch it... now make it shrink.” Options: Use different angles, curves, dots, circles, trengles, ovals, colors, and textures. See Put Your Mother on the Ceiling (Mille, 1997). Squiggle Compositions Invite students to daw a squigly ine on paper and then use their imaginations to tun te squiggle into someting that makes sents. Encourage creative odapistions (eg, make the origina! squiggle and oot eing coor, darness,or hice) Invite caring of dravings and askstdets tow the reton proves compares to wren comporton. To wrapup, stare The Sige by Civae Lexa Schacter. Yarlaton: Give eveyone the same sqigate (ake photocopies) ort shape fom an upcoming book Provoke imaginative meaning making using inp questions QQ), Compare te stents creations wit he saps in She book Doodle Minute Challenge students to draw lines, dots, and circle of all shapes and sizes to fill up an entire paper. Encourage overlapping and working both rapidly and freely Seta timer. What If? With a piove of art, disouss what ife using these SCAMPER (Eberle, 1971) verbs: Substitute, Combine, Adapt (change), Modify (eiity o magnify), Putto other uses, Eliminate, and Rearrange or reverse. Example: What ifthe face was another color? a different animal? What effect ‘would it have? What if other media were used? What ifthe size Was changed Variation: Show how artists use SCAMPER (e.g, Picasso ‘combined a bicycle seat and handle bas to make a bull's bead) See—Feel-Think-Wonder ‘Use the SFTW steps during close Jooking and other inquiry. ist, display art elated to lesson. Ask students to tell or write about details they see (at clements and subject mater), fe! (emetions, plus causes), hink (connections to students lives or other arto topics) and wonder (questions the art provokes) I needed, frame can be used: Ise. Ife. nd 60 on Mirror Art (Concentration) Sow any line drawing with abstract ines and shapes oa representational nage, Challenge stents o draw the ior image Geo Shapes Give teams one minute (or more) o find geometric shapes (aquare, triangle, cirle, ct.) i the room. Teams can use clipboards to sketch and note locations, Example: A rectangle ceiling tile isa shape. Shape Elements Blitz Give teams one minute to find and list shape elements inthe room: cireles, dots, straight and angled lines, and eurves. Count and graph. Variation: Search for one shape element for one minut. Shape Match httossiiphoenbx alsource.com/#fbooks/878192154498/C16!1042/30/516!264@0:0 340erzanat7 (Creating Meaning Through Literature and the Arts: Arts Integration for Classroom Teachers Give each group a set of word or picture cards, each with one of five shape elements: circle, dot, and curved, straight, and angled lin. Display any artwork; then ask groups to turn over one eaed and find an example in the art, Share and continue Doodle Log Instead of using free writing (o release ideas, invite students to doodle about favorite words, new learning, and so an. Doodle logs ean be offered ‘when studens finish projects (Courtesy of Misty Kaplatka, art teacher). Art Poems CColleet poems about art or poems that inspire art making. A classic collection on color is O°Neill’s Hailstones and Halibut Bones (1989). Designate color ofthe day or week and perform using the postry performance ideas in Ready Reference 5.6, Riddles Find or create riddles ahout ast artists, styles, and particular works. Start by creating & punny answer from a topic such as “Picasso.” Take each syllable inthe word and think of sound-alikes such as Pigasso. Then, make up a question: “What pig atts liked to make abstract paintings?” Make a Mess ‘To promote confidence and self-control, give kids time to explore new materials and techniques before creating a product. Example: Put out torn scraps of paper and challenge studeats to examine and discover for @ couple of minutes. Take time to debrief Brain Squeeze Before making art or doing ert interpretations, squeeze ideas. For example, “What are things we ean look for in art?" and “Where ean we start?” ‘Record in web/cluster form or ina list. Mystery Bag Introduce a piece of ator an at project by finding three to five objects that conneet to itin different ways, Pull each out of a bag,and challenge students to solve the mystery about ways they commect. ‘Twenty Questions ‘Use an art eoneept or an object in a bag that represents an idea (e.g, texture). Students ask yes-no questions about it to accumulate clues, Examples: “Ist sometbing about landscape?” “Is it something you mix?” the name of the item ean't be guessed until all 20 questions are asked. Senses Stations ‘Stimulate the senses before making or viewing art by setting up areas for students to: Taste: With closed eyes, try salt, sugar, lemon (use sticks or plastic spoons). Ta Reach into feely boxes holding sandpaper, sil, fi ‘Sight: Examine something using a magnifying glass, cardboard tube, or kleidoscope. ‘Smell: Snitt perfume strips from magnzines, porpourt, or canes. Hear: Play environment sounds, listen to conch shells or shake bags of unknown objects. Look Back Prime the brain for creative inquiry, Challenge students to look through past art for something to redo in a different maoner. Examples: A part ‘can become a whole work; a t2e or shape in the background can be the subject of a new work Browse Keep files of magazine pictures, cards, photos, and book covers for students to look through to spark art making. Save digital images on the interest website hitosilphoenalsoure. comiifoooks/9781323154496/cfN61OU4/2/30I624@0-0 480arso7 Creating Meaning Through Literature and the Ars: Arts niegration for Classroom Teschers Close Looking: Art Walks School premises are ready-made for short diseovery walks to find art and beauty, Provide mapnifiers for close looking and hardbeck composition books for kids to take notes and sketch colors, textures, and shapes. Return to the same spots to compare and contrast finds during different seasons. Stop, sit in special places, and listen to the details of sounds. Challenge students to close their eyes and picture what they hear, prompting them with art vocabulary such as color, shape, and size, Use collected ideas for art making and writing. Mentor Books ‘To teach stadenis to read and create like artists and writers, collect books with techniques used by renowned artists and writes. Chatlenge students fo be on the lookout for images and ideas that grab them such as different media, styles, and subject matter. For example, speculate on ‘materials used by Bunting in Smoky Night (1994) to create collages and explore collage options (eg. painting papers and tom paper) used by eats like Eric Carle and Ezra Jack Keats. Chart “finds” and give time to experiment with these “real” media and techniques. In the book Jn Pictures and in Words (Wood Ray, 2010), there are 50 techniques used by visual artists and writers. Collections Invite students to add to scrapbooks, photo wallets albums, or clear shoe hags that organize items that stimulate aesthetic response, Provide Drowsing time and use collections as conversation starters. Collections can also be used to make art or as writing prompts. Evample: Collect ‘beans, sand, and pebbles and layer in jars to study the effects of pattem, Talk and write about your conclusions. Picture Sorts Develop vocbulary and thinking skills, sch as comparing, contrasting, and classification, by challenging suadents to categorize picture and photo collections. Encourage flexible and multiple groupings using subject mater, media, style, artist, or art elements Postcard Collections Postcards are indispensable and inexpensive collections. When a teacher is enthusiastic about collecting, students often catch the spirit, Seadents ccan also make personal art posteards using index cards and original or magazine at (e.., ads for fie art appear in magazines such as Architectural Digest). Art postcards make great birthday cards or note cards to send to parents. + + Closed sorts: Art postears work for sorts and finds and are best when connected to units (c.g, cultures, animals, and plants) ‘Teams sort by designated topies: subject mater, portraits, landscapes, styles, and art elements (e.g. color, texture). + + Open soris: Altematively, give students random posteards and challenge them to ereate ways to group them, Visual Journeys Swetch visual thinking using a character and SCAMPER verbs (Ready Reference 2.8) Tae students ona visualization journey: Imagine Wilbur turning int a litle dog Tooking up at Chariots web, Now change his into a big dog. Now think of Wibur asa pig witha dogs body Make this new Wilbur really smail. He sting to talk to Charlot, bus he gets litle and litler Oops, now heS growing, growing, growing. He is getting slant Look at Charloue' expression, Now he shrink back ane Charlote stars to grow I. Teaching Visual Art Concepts and Elements Color in a picture is lke enthusiasm in life. Vincent van Gogh (Letter to Theo van Gogh, December 28, 1883) ‘This section includes ideas for teaching art knowledge needed to better view and do art, Pair these ideas with best practices from Chapter 6. Concentration Play this memory game using ten pairs of art cards that are matched (e.g, names of two pieces by Renoir), Groups lay ont eards face down. Use ‘a pocket chat fr large groups. Each person gets @ turn to flip two cards and make a match, If successful, the player keeps the cards and plays again. If not, she must replace the cards face down. The play passes to the next person, who tres to remember where cards are located. To reinforce at leaming, students must name the artist or style or “say something tue” about each eard tured over. Variation: Use cards with images, such as online at. Art Elements Mnemonics Students each make a grid by folding paper in half until they each have four to eight squares. Have them label each square with an art element: color, line, shape, and so forth, Students then draw an image that serves as a muernonic for exch clement. Variation: Use large paper with groups collaborating, htpssphoenutaisource.combltiocks/0781323154496/cfU8OL4/2RONIE24G0:0 5140ere4icoiT Creating Meaning Through Literature and the Ars: Avs niagation for Classroom Teachers One-Minute Find (Call out an art element and give groups one minute to find examples (eg. kinds of lines inthe classroom). Ask them to count ones found and/or \write answers. Variation: Graph results. Big Book or Poster Elements Visuals of art elements and concepts are important references for art viewing and making. The class can make big books, posters, or individual books with titles suc as The Facts ahout Color. Use poster board for the cavers of big books; roll bulletin board paper ean be folded and stapled with a long-arm stapler for pages. Arts Notebooks ‘Students maintain a notebook with designated summary pages such as Art Elements/Vocalulary, Color Wheel/Mixing, Design Principles, “Media, Artists, Facts, Quotes, and so on. Exension: Use these notebooks to document visual ar literacy developmeat Word Charts. ‘The goal isto find unusual and descriptive words to expand concepts behind art elements and add words to charts. For example, for texture, words such as rough, smooth, silly, and bumpy may be added tothe char. For patiens, words lke checked, striped, borders, and dotted work. Variation: Make a web on word collage Songs and Chants Co-compose art songs for art coneepts and elements. For example, for primary colors and mixing, “There was an artist who had some paints— rod and yellow and blue. And wit the paints he made his art—red and yellow and blue. Here a red, there a blue, now it's purple-what a hue!” Hot Sock ‘Make a set of cards with art elements or concepts. Tie a sock in a knot. Sit in a circle with IT in the center, With eyes closed, IT throws the socke —2 “hot potato” that no one wants, Whoever catches the “potato” throws it to someone else, and the students keep throwing. IT calls “stop” at ‘any time. The person caught holding the sock passes it to the right, and that person hold the sock while IT picks one card. The caught person ‘must now name a set numberof items (fou ta six) inthe category while the sock is passed person to person around the circle, The goal is for IT lo Finish before the sock gets hack around; otherwise the new TT goes to the center Variarion: Use with eny categories or alphabet cards. Elements Exploration Ask students to bring in a brush (sponge, baster, or bottle washer), Stat with lots of aewsprint for each student and one paint color. Slowly direct exploration: Paint diferent lines: angled, curved, lying down, angry, calm, excited. Create different shapes: dots, citcles, triangles, uneven, Toose. Tate one shape and pain it diferent sizes. Group the same shapes. Paint a group of shapes that are the same size. Change colors and color-code “same” shapes or same izes. Outline shapes in a lighter or darker color. Thy painting slowly. Try using very litle paint to dab. ‘Smear a jot on. Give feedback as students work. Afterward, ask what they discovered about art elemeats. Adaptation: Ask students for exploration ideas. Game Boards ‘Make all-purpose game boards using file folders or pizza cardboard, Laminate and print information needed on 2 board, Make separate cards for slifferent concepts, For example, create art question or concept cards (colors, shapes, lines, styles). Students play by naming as many ideas as they can in # category and moving the mimber of spaces designated by a spinner or dice Bubbles ‘Explore shepe and colo: with bubbles: Mix L tablespoon of dish detergent, 5 tablespoons of wate, and [tablespoon of glycerin, Blow bubbles ‘and eatch them on paper painted with Wet tempera, Explore organic and geometric shapes with bubbles made through straws, pipe cleaner ‘wands, plastic berry baskets, funnels, and plastic from soda six packs. Be the Sculpture Look at famous statues. Discuss their emotions and why statues exist, Look closely to see hove different bovdy pats are arranged. Have students, assume a statue pose and, when lapped, say a one liver about what be or she is thinking or feeling. htps:pnoenacuitatsource.convlfbooksI8781323154A96/c16/10V42/30166/24@00 60arzaros7 ‘cea Meaning Trough Literature andthe ts As htsgraton for Cassoom Teachers Art Questions Post inquiry questions (IQs) to stimolate close locking and dep thinking: What i specie! about__? What is happening? What does this ‘make you think about? How did the artisimake this? How do you think the aris felt when she created this? Why? Find-trace-point to elements ‘or concepts (e.g, biggest, brightest). Ready Reference 7.2 has more questions and activities about art elements Compare and Contrast ‘Create a large Verm diagram to record likenesses and differences between paintings. For exanuple, compare and contrat the elements, media, style, and subject matter of two paintings called First Steps, one by van Gogh and ane by Picasso, Expert Predictions Cover half ofa painting or ask small groups to choose & focus section (c., foreground, background). Groups serve as “experts” on ther section ‘and report tothe whole group, People Tableau ‘Students pase for a group photograph that might happen or did happen in Kterature, histary, or sclence (e.g. family watching shuttle launch), ‘Students decide about the composition, background, and so forth, Pose~freeze-photograph and discuss results. Variation: Write captions. Ready Reference 7.2 Art Elements: Questions and Activities Line ‘+ + What kinds of lines do you see? Straight, curved? ‘+ + How do dhe lines make you fee!? Tred, busy, relaxed? + + Which are repeated? Why do you thiok? + + Which fines are strong? Which ate faster? Activisies: Have students pick a line and follow its movernent with their hands or draw in the ait, Use a asblight to “trace” a line or make Light hall lines onthe floor to get the feel ofthe lines. Use lines as a stimulus for dance or mavernent: Shape your body in angles, move ina zigzag, ‘make curves with different body pars, Shape ‘+ + What kinds of shapes do you see in the painting? 1+ + How do the shapes create a pattern? + + Which ate organic? Geometric? Activities: Have students make a shape with their ams, fingers, or bodies. Ask them to look for a shape in the room and find thet shape in the art, Paint or draw all kinds of lines (eg. wavy, zigaag). Go on a shape walk to find shapes within shapes (e-g., window, roof5, cars), ‘Texture ‘+ + Ifyou could touch the objects in the art, how would they feet? ‘+ How has the artist made the textures appear real? Activities: Ask students to touch the floor, face, and chairs and describe how each feels Tell them to cup their hands to make a fist telescope to Isolate an area of a painting. Ask about thc kinds of brush strakes the atist usd. Color + How has the artist used color? How does it make you feel? Why? + How would the painting be different if _ was changed to, + Name all te colors. What colors are used he most? + What are some unusual uses of color? + What happens when white is used? + What happens when colors are put next to each other; for example, red and green? Activities: Close your eyes and think of @ color in the painting. Imagine yourself turning into that color. How do you feel? Find complementary ‘colors, primary colors, and examples of ues, tints, and shades. Get paint chips irom paint stores to show bues. Brainstorm color names using pint chip titles as idea starters, Space and Composition itpefiphoenix talzouree.comlkbaoks/07812291S44Sien/61014/2/001/8/26@G0:0 740aso? Creating Meaning Through Literature and the Arts: As Inlegration for Classroom Teachers ‘+ » Why and how as the atst created a foreground, midground, and background? + Introduce perspective. How isthe space broken up? Where do you think the aris was standing? Why? ‘+ + Where does your eye go next in the painting? Why? ‘+ + Squint and look at «picture. What masses stand out? ‘+ + Why are some things smaller, bari, or overlapped? How did the artist do that? Activities: Choose a small part ofa picture and magnify it by drawing just that part much lager. Use paint or markers. Create a tableau (frozen picture) of @ painting by asking students to assume the came positions a8 figures or become a tee, pond, or bls. Light and Shadow ‘+ + Wht is the possible fight source? From what direction is it coming? How has the artist created volume (modeling gradations of light and ark)? Activities: Imagine the painting ina diferent light, Ask how the feel of the painting would change. Use a flashlight to shine light in different Girections on an object and ask students what they notice, Perspective ‘+ How does the artist show that some things are closer and others are far away? Acti ook at objects from different angles and distances: stand on a chair, use microscopes, or use a magnifying glass. Emotion and Mood ‘+ + How does the painting make you feel? Why? How do you think the artis felt sbout his or her subject? ‘+ + What do you hear? Taste? Smell? Activities: Show with face and body shape how the at feels. Make a fist of feelings and how to create them, such as sad shapes and color, Food Alternatives Food items, such as potatoes for printing, are commonly used to make art. However, make sure children distinguish art materials fron food—for ‘both safety reasons and aesthetic purposes. Instead of pasts, consider using buttoas, shells, or pebbles in collages or cut up straws to string pieces. Sponges or foam can be cut in creative shapes for printing (precut sponges are nat recommended because this is dictated art) Visual Art Subject Matter: Questions and Activities Ready Reference 7.3 lists ways fo involve stodents with art sibject matter, Ready Reference 7.3 Reading Art Subject Matter Meaningfal experience depends on learning to look longer, notice details, respond personally, asc questions, and think about possible messages Inart. Guide students to look for a least 30 seconds to make discoveries, such as how art reflects the time and culure that produced it. For example, 20t-centary at reflects values for originality and individuality in a world of mass production and imitation Landscapes are about the land. + What isthe mood? Season? How do you know? Ifyou were there, how would you feel? + Where do you enter the art? Why/how did the artist create this position for you to take? + What did the artist do to make you feel a pat of the scene? «Do you fee! like an onlooker? if so, how does the artist keep you at a distance? “+ Look closely to see ifthere are people. Ifo, how are they related tothe landscape? + Does the landscape seem real or imaginary? Why? Does it describe or eapture an actual look of a place, or does it give more of the feeling ofa place (expressive)? Why? + What tile would you give his ar? Why? ‘++ Walk into the painting. What do you see, hear, and feel? What could you do there? ‘+ + Think ofa special place you have been. What made it memorable? IF you could artistically re-create this setting, what medium would ‘you use (il paint, watercolor, pastes, charcoal, pencil, collage)? What would you emphasize? Why’ Portraits are of people bui show more than what a person looks like. Artists use a “visual vocabulary” to communicate this. Consider tis special artistic vocabulary as you look at a portrait (see Ready Reference 6.) + + Subject! What does the artist tell about this person? How does the person feel? the person's dress give? + + Facial expression, posture, and gestures: What does the body language say”! What do the eyes, eyebrows, mouth, throat, forehead, and ‘angle of head tell? Where isthe person looking? How does this affect you? How isthe person positioned? Why? What is he or she doing ‘ith his or her hands? Take the position yourself. How do you feel? Would you want to meet the person? Why or why not? batpexphoonin utatsource,comftIbooks/78 1323154496 eH O14/213015240.0 a0aranoi7 (Creating Meaning Through Literature and the Art: Arts Integration fr Chassracm Teaehers ‘+ + Background and accessories: Where isthe person? What clues does the environment provide about the person? What might the specific objects in the seting mean? ‘Size and medium: Is the posteait lifesize, or smaller? How does the size change the way you feel? Wheat medi and materials co you think the artist used? What ifthe materials were different? How would marble give a different feeling than paint? + + Details: Start at the head and slowly observe, Pretend you are the person and walk, sit, and stand. Be the person and say one thing in that role, + + Fariation: Look at real people through a tube or frame to see the shapes oftheir eyes, lips, and head. Observe groups of people: How close are they? How are they grouped (line, circle, random)? Sui ifes are paintings of inanimate (nonitving) object + What attracts your eye? What do you discover that you did not notice at first glance’? + What is the most important part ofthe painting? + How does the artist make it seam that there is ight on surfaces? + What kind of lifestyle do the objects represent? Why might the artist have chosen these objects? What might the objects represent (symbols)? ‘+ + What objects could you use to make a sil life (eg, toys, fruit, school items)? Why? How would you arrange them? What would you ‘want fo say ina stil 1? Abstract ar goes beyond showing the visible world fo allow expression through colo, line, and shape. Images are “abstracted from what they represent ‘+ + What is your fist reaction? How did the atist cause you to react like this? ‘+ + What are you curious about? Why do you think the artist chase to create an abstract work? + + How does the work's abstaciness change how it makes you feel? + + How would you deseribe the personality ofthe art? What contrtutes to if? Hove does it cause you to stop and think? ‘+ + What meaning or feelings do you think the artist intended? What does it mean to you? Square Foot Display ‘Teach seudents to organize and compose by arranging flowers, fomiture, or collected nature items. Give each a squate foot of space fora choice dlisplay, Stimulate summary and synthesis thinking by having them label or caption displays, Parent Mini-Page Here are suggestions for responding to children's at that can be shared and they canbe usd to enconage a making + 1.Don’t ask children, “What is it?” That’s insulting. Instead ... © = List what you see in the child's art (e.g. colors, shapes, lines), © + Explain how the art makes you feel or think. fe + Ask the child to “ell about the art™ ‘© + Ask how the art was made. Emphasize the child's process and the effort 2. Make at projects alongside the chil. 43. Keep a folder of the child's art and date the pieces. 4, Sct up a special place or table to make ar. 5. Visit museums and other special art displays. Stop to talk about what you see and feel, 6. Regularly share what you think is beautiful and tel why. Invite the child to talk about what is beautifal to hm or he: Sing Art Display a landscape, seascape, or cityscape and brainstorm sounds associated with different parts. Encourage creative thinking about what “might be." Come to agreement about sounds for five or six parts ofthe art, Diseuss the piteh, dynamics, and how many times the sound will be repeated. Ax a conductor pols to an area, students make the sounds, sustaining them or repeating them as directed, Try harmonizing, changing pitches, adjusting dynamics and tempo, or using the round form. Variation: Ask groups to find or ereate songs for people singing in artwork, Come back together to sharefperform, Art Bags ‘Use lage ziplock bags to send home a piece of art, a book related to it, anda related artifact or object. Invite students to check these out to share ‘with their families, For example, a spring bag can have prints or posteatds of Monet’s garden art, the Book Linnea in Monet's Garden (Bjork, 1982), and flower seeds to plant. IIL. Using Different Media ‘This section begins with ideas to prevent problems by planning ahead for art making, itespnoendxalsource,comifbooks/97813231 54496 Ri OV4/216I624@0:0 9140erzszat7 ‘eeatng Meaning Trough Lisratre and thefts At negation for CsercomTeschers General Tips Before doing art projects, be sure to prepare for contingencies, Here are tips. ‘++ Make student clean-up a routine pat of projects. Sot this expectation clear in advance. + + Collect a variety of paint tools such as sponges and brushes. Use Q-tips to make “dot art” similar to Seurats style. Students ean also paint with rolled newspaper “brass. + + Collect egg cartons or ice cube trays. Use half for different paint colors and the other hl for mixing, Alternative: Use washed juice cans, cut in haf, and set in small milk cartons for stability. Note: Do nat give out all possible colors. Studeats need to explore mixing as part of creative inguiry (what if.) + Use bascball-sze clay balls to store markers, Poke holes so each looks like « mult-holed bowling ball, Let clay harden. ‘+ + Use clear plastic shochoxes and bags to store materials. + + String a clothesline to hang art. Hang straw beach mats and use drapery books to hang anything that you ean punch a hole in and put over the book. Use plastic drying cacks that have clothespins on cach arm as a way to display them or as mobiles. + *Use old shirts to cover clothes. Cutoff long sleeves and button backwards. Gazbage bags ean also be used: slit and then cut rm and neck. bboles. Wam children ebout putting bags over their heads + + Trim paintbrushes with scissors to keep them fresh, + + Use warm iron to fatten curled student art, + + Mount or frame student arto give it finished look. Transparency frames make quick frames, Save the tabs off soda cans to tape bangers on the back of pictures, ' + Stain removal: Try toothpaste to get crayon ftom clothing. + + Students should do most ofthe work (eg. let them cut out shapes), If there is too much preparation, its probably not an appropriate art activity for children. + + Tfyou don't have a sink, check out Susan Antoneli’s practical bucket method at http.//vondesteacher.com. Mixing Colors: Color Triangles ‘To show primary colors, as well as secondary colors made from them, draw a large triangle withthe thee points: red (top point), yellow (aext point moving clockwise), and blue. Draw an upside down triangle over the first triangle to create asta. Label these points (moving clockwise ‘rom top right) orange, green, and purple (the last is also called indigo-vilet). By combining two adjacent points onthe star you get the calor in between (e.g, red and yellow make orange). Students ean make color triangles for their desks Mixing Hints. Always start with the lighter color and add the darker. (1) White paint tints or makes colors lighter and creates pastels. White is used a fot, so buy ‘double. To tnt, start with white and add color to ita bit ata time. (2) Black shades or makes darker or duller. Add a small amount of black to a color (eg, black to white makes gray and black to red makes brown. (3) Skin colors can be made with black, brown, yellow, red, and white Start with lighter and add darker colors to create shades (e.g. blend white chalk with orange crayon). Remember that skin can be almost any color and artists use many colors, even in a single face. (4) Use a clear pie pan on an ovethead to drop food coloring to show mixing, Turn out the lights and let tbe colors fill the room, (5) Color sugat with food coloring and layer in jars. (6) Show bow to mix colors on a color wheel. (Chose can be purchased at art supply stores} (7) Share chiléren's books about color mixing (eg, Calor! Color! Color! by Heller and Colors by Felix). Ready Reference 6,1 lists more books, Drawing and Rubbing Drawing is linear art made with any tool that can make a mark; itis also a precursor to writing, Human beings are bom to draw. ‘Rubbings are made by placing paper over objects such as coins, shels, wire, or ay texture and then using crayon, marker, and so forth, to bring ‘up ines from the textured surfaces underneath. Scraich art or etching is scraping away a surface to reveal a lighter color. Resist consists of using ‘a wash of paint over something that resists i (e-., crayon), Tools and Media. Fingers, sticks, toothpicks, and straws can be used, along with pencil, chareaal, marker, pen, crayon, pastels or chalk, and shaving cream ‘Children can draw on a blank surface, in pain, or on any medium, sach as glass wax sprayed on windows. (Color glass wax with tempera paint, ‘or add food coloring to hand lotion or toothpaste, fora drawing medium, Note: Food color stains.) ‘Technology. CComsputers have revolutionized the making of both commercial and fine art, To make ar, images can be created and manipulated; for example, sketch can be scanned and then, using a program such as Adabe Photoshop, the image can be manipulated, Online resources make it possible to view art in museums worldwide. Virtsal tours are available, oRten with sound and videoclips that elaborate on che historical period with music and interviews. For example, check the site forthe National Gallery of Artin Washington, DC. In addition, interactive CD-ROMs offer searchable text and images, See the websites atthe end of Chapter 6 such as Virtual Museums and Google Art. nitpsphoenix. alsoures.comMMbooks/9781329154496/cf6ItOV4/2/30616'24@0:0 1040sranotr Creating Meaning Through iterate and the Avs: Arts Integration for Clasroom Teachers Surfaces. [Experiment with & variety of papers, cloth, sandpaper, bags, towels, wrapping paper, paper doles, graph paper, or chalkboard. Draw on T-shirts With fabric markers or erayons (cover with a paper bag and iron on warm to fix crayon). Make scratciboard by frst coloring a surface using Fight crayons, then overlaying that with heavy Black ar datk crayon, Seratchboard can also be purchased with silver on top aud black underneath, Use a nail or stick 10 etch Drawing Ideas hy or make sketchbooks to capture idess, Encourage “looking closely” by sectioning off an area (e.g, with a portrait, ty looking at the face in fourths), A squiggle on a paper, traced hands and feet, or thummbprints ean be starters to ereate animals, objects, people, or abstract art. Draw to music or éraw without looking down while a “model” is studied. Some artists have success drawing upside down, Crosshatching. To add texture, artists draw fine black lines parallel to one another and then cross them. Crosshatching can be ligt or heavy, adding depth and vexture Shape Elements. Elements can be taught directly and sed to analyze aay image and produce a realistic drawing of most anything (Brookes, 1996). These are basis: + «Dots (oval, ound, elliptical, and kidney shapes) 1 + Ciroles in different shapes (oval, round, elliptical, kidney) and “empty” rather than “colored in” like dots 1 «Straight lines + + Curved lines + + Angled lines Drawing Figures. Start with a focal point ey, bole or enter. Look clotly and analyze. Notice dots, sie, tight Hines, angled ies, and curved ines For overlapping, draw things in the front first, and then draw things farther away. If a mistake happens, make something out of it by repeating it, ‘adding to it, or transforming it, Break people down into circles and tabe shapes—the head is an eng shape and the neck is @ tube, Grid off the face to position the eyes, nose, and soon, Creative Crayon Ideas. Pel and beak erayons se them on ter sides, or tae several together: Encourage mixing of colors nd craton of es of one color by Changing smouns of presi: Bld white chek ih orange cr brown eryon for skin tones Rl eroyon crewing with lth fo iv hem a sls Fr crayon res, ty punting over erayon rangs with temper, weecolr oe ood coor, Use Mac contain pape fer the background and paint over crayon drawings with white paint. An alternative isto use white crayon or a candle to draw on white paper and then. ‘was over with paint to reveal the image. This seems lke magic! Chalk Tdeas. ‘Encourage children to break chalk, use it on its side, or dip itin water (once dipped, iis ruined for regular use) Try wetting che paper with a litle sugar water and thea using chalk. The chalkboard and sidewalks have great surfaces because of their size and exture. Tape the end of the ‘chalk to keep your hands clean. Cartooning. Examine books like Hof?’s Sammy the Sea! (1999), Stevenson's It Could Be Worse (1987), Griffith's Granddaddy’ Place (1992), and Steig’s Caleb and Kate (1986), Also consider White's Fraggle Rock and Morimotn’s Taro and the Magic Brush (graphic novels) List what is noticed about shapes and Fines. Start with simple shapes inthe classroom. Emphasize no copying. Painting and Painting Tools Yon pain whatyou are, Andrew Wyeth Types of Paint. hepsufphoentx vislsource.comftinooks/07813231544a6letI6/1OUAIZ/SOBI624—0:0 110ananor7 Creating Meaning Through Literature and the Arts: Arts Integration for Classroom Teachers Acrylic, oils, fempera (comes in liquid, powder [not for kid mixing), and blocks), watercolor, watercolor crayons, and even melted crayons, ‘CTuspentine melts erayons. Consider safety issues before using it and always ventilate) Refillable paint markers with felt tips can be an altemative way to use tempera. Make paints by combining food color and ogg, or eding food color to shaving eream, liquid starch, hui gel, or ‘even Vaseline, Explore stains and paints made from tea, mustard, betes, bleach, shoe polish, or just water Tools. ‘Use a variety of brushes: tnotkbrushes,hairbrashes, combs, and brush curlers, Fingers, feet, hands, feathers, rags, old deodorant rollers, spon aqueeze botles, sticks, Q-tips, cotton balls, and straws can be used as paint tools. Newspaper ean be rolled into tubes and used as throwaway ‘brash, Chalk ean be dipped into tempera to create interesting eiecs Painting Surfaces. Paint can be applied to wood, canvas, fabric, paper plates, windows, dilis, transparencies, plastic sheets, cookie sheets, or wallpaper. (Many stores will donate old wallpaper books to schools.) Rocks can be painted, too; just add liquid white glue to the paint to help it tick. Create frescoes by painting on wet plaster, Pint ceiling tiles wit tempera or acrylic plants using a theme (e.g., celebration). The elass may collaborate ‘on a theme or topics as well. Note: Studeats should sketch aut ideas. Use masking tape to divide off sections for group work. In some classrooms, ils are painted based on children’s books or are painted to look lik clouds. Techniques. Have a brush for each color, and encourage experimentation with mixing: add white to tint and black to shade, and use the color wheel to mix secondary and tertiary colors from the primary cofars of red, yellow, and blue. Introduce scumbling by showing how to use thik paint over dried paint (ie, dry brush), Explore dabbing, spatter painting (use a ruler flip a brush), blob painting (place a blob on paper and folding), and straw ‘painting (blow blobs by using a straw), Add salt, Epsom salts, flour, oatmeal, send, savedus, or soap flakes to give texture or thicken (salt gives a bubbly effest), Liquid starch, com syrup, or detergent can be added to change how paint spreads. Soap helps tempera adhere to glossy surfaces. Hand painting includes pounding and dabbing withthe fingers, fst or side ofthe band. When sponge painting, clip a clothespin to the sponge to use asa handle, Bleach ean be applied to construction paper or bright cotton fabric, but do NOT let children work with bleach. To tic-dye, fold ‘he clot or tie a kaot init end then dip the clath in leach or dye. For marbling, mix linseed oil and terupera drops toa thick cream. Puta half- inch of water on a cookie sheet and drop the mixture onto it Carefully lay a sheet of paper on top and lift up, dry, The teacher can flatien with Skin Tones -e Susan Antonelli’s recommendations for watercolor paints and system for ecording formulae for mixing ot wnewwonderteachercom/how:to- nes. with-wateroolorpaints. Painting Tips. ‘Watercolors can stain clothing. Ifyou don't have a sink, keep a bucket of sospy water and towels handy for cleanup. In eddition, never have children mix dry tempers powder because its easily inhaled, Printmaking Pints are made using techniques to produce many copies (eg, woodcut, linoleum, silk sereen). Mono:prints produce only one print. Prints can be pulled from a surface (c.g, a table on which students have finger painted) or stamped with found objects: erasers, vegetables (carrots, ppotatoss), woodcuts, linoleum cuts, or any form that is raised. Real flowers can be pounded into paper to make a mono-print. Tools. Collect objects for printing: pieces of earpet, wire, mesh, bubble wrap, corrugated cardboard, fingers (use watercolors), feet, hands, sponges, ‘erasers, corks, wood block, and nature (lef prints). Cut print shapes from clean foam trays, rbbertie inner tubes, or shoe insoles, and glue them to blocks fora bundle, Vegetables and fruits can be used, but make sure that kids do NOT confuse food and art materials. Node: Soles of ‘eet can be painted and used to print animal bodies. Knuckles can be used to print rows and pattems, for example, a border of small pumpkins Surfaces. Print on paper, fabric, wood, clay, or even paper towels, Techniques. tpalipnoanaxialscurce.comftiboeksi87 1323154666 TOV 27S0IS6240G0:0 1210enen017 ‘Creating Meaning Through Literature and the As: Art nlagration for Classroom Teachers Place folded newspaper under the printing surface to cushion, Put paint in shallow tray (e.g, cookie sheet or paper plates). Have a separate ‘container for each color Use a braver (aller) to paint onto the item with which you will print. Too much paint will smear the image. Make repeated pattems with Vertical or horizontal prints. Overlap twin, and swirl to create designs. A print ean also be made by outlining an image swith white glue, Let it dry. The raised glue i then rolled with paint o print. Alternatively, oll paint over glue-raised items or yarn on paper towel tubes, Any carved item (see three-dimensional at) can be used for printmaking, ‘Children can make giftwrap, greeting cards, Tshirts, and stationery using printing or stenciling, Stencils can be eut ftom plastic or paper (e.8., fold paper in half, cut outa shape, open, and use a8 a paint stencil—not much paint is needed). When stenciling, use a sponge or round brush to ddab on the paint, Use various thicknesses to ereate a more intresting image. Collage ‘The word collage derives from the French word coll, which means “to paste on." In the early 1900s, it was inveated by Pablo Picasso and George Braque who used it in their abstract cubist works. Collage consists of assembling materials and then ordering them. Children enjoy the tactile nature of collage, und this medium invites an ‘experimentation atitudo—realism is not the goal. Any topic or theme (e.g, seasons, plants, school) can be used. Encourage a variety of shapes and sizes, both torn and eut, Protect desks with newspapers. Materials. Just about anything ean be used for collage, especially reeyclables, ising, yam, and found nature objects. Try various papers such as sandpaper, foil, construction, cardboard, newspaper, tissue, wallpaper, greeting cards, and magazines. To produce interesting effecs with crepe and colored paper, wet it, but know that bleeding can stain clothes, Children’s own old paintings can be tor or cut up. Paper doilies offer possibilities for texture, Broken and shaved crayon pieces ean create a mosaic effect, or students can use small squares of construction paper shapes. Consult references for pictures of mosaics. Another effect is created by sprinkling shavings on paper, fabric, T-shirts, or old sheets and covering them with newsprint. Bits of fabric can be used, as wel. Press with a wamn iron (teacher NOT students). Make colored rice, sawdust, for sand by adding tempera paint. Tempera powder should be mixed by teachers—NOT students, Sprinkle collages with sugar or salt to create sparkle and increase texture. Sprinkle over wet give. Backgrounds. Many surfaces wor for aranging and lung’ root singles, cardboard, poster board plastic is, foam, and sandpaper. Leaves, rays, and Colored issue can be pressed hetween wax paper using a warm i, cover with newsprint to prevet sticky iran and only the teacher should be nea the iron, For a thicker base and more texte, make dough: combine half salt ond half flour and add water, Press objects into the dough and Coat with tinned white glue. Use a shoebox, egg carton lid cr foam tray fo press oot dough, Plaster of Pra can also be used. Mix according to the dections and press objects nto it Food coloring ean be added fo pase, but it sts up fast—about 15 mines, Collage Glue. ‘White glue works well and can be thinned with water, winen working with colored tissue, or used as an overall costing for finished work, as in decoupage, See “Pastes” in Ready Reference 7.4, Have Popsicle sticks or Q-tips available for those who don’t want to use their fingers and wet sponges or towels to wipe off glue Digital Collage. “Tur ay ist of word into a colage (word clon) osing websites uch as Tagxodo and Wordle Artistic Techniques: Enlarge, Simplify, Crop Many artists make small things large or simplify subjects down to basie geometric forms (e.g, triangle or erele). Georgia O'Keeffe is an example, She also cropped (cut off) pictures to show a part ofa lower. Show examples ofthese techniques and allow students to experiment ‘With enlarging, simplifying, and cropping images, To enlarge, use smartboard technology, such as Elmo, or make a transparency of anything and display iton an overhead projector (pull it hack to make the image bigger), For example, trace fairytale character shapes on transparencies. ‘Next, tape lange paper to the wall sad project the transparency. Amplify sketch outlines in original ways-—don't tum this into a big coloring book activity! Students can also trace exch other's bodies to get outlines for peaple paintings. Displays and Bulletin Boards ‘Bulletin board space should primatily be used to display student work. Students should be involved in planning the design. Make interactive displays by adding speech bubbles, questions, and flip cards (lift for answers). ‘Students should know basi calligraphy techniques and how to cut block letters to create labels versus using commercial cutters. Block. lettering uses the concept that any letter ean be made from a block—square, rectangle, or triangle of paper—by cutting in straight lines. First, eut itoslphoenix.vialsource.comiMbocksIs7@1229154496\eSI6/10U4/2/90GI6/24@0:0 1340arza2017 Creating Meaning Though iterate and the Ars: Arts etagraton for Classroom Teachrs as many blocks as you need lelers. Blocks can be the same or different size. Then imagine the leter and moake straight cuts. Don't worry about “hole” leters lke B and R. Cut trough joins since letters will be glued or stapled anyway. Check the Children’s Literature Database (see the end of the chapter} and online for calligraphy resources. ‘To frame o finish a bulletin hosed, make a creative border using ribbons, leaves, and so on. Here’s how to cut a border the old-feshioned way, like paper-doll strips: Fits, pull off about three feet of lage paper from arall of bulletin board paper. Rol this paper into a tube and cut slices about two to throe inches long using a paper cutter. Creatively cut a pattern along one of the tube’s longer edges (eg, zigaag or scallops). Open the strip and voila! Staple the result onto the bulletin board. Posters and signs can be made to advertise any content. Challenge students to examine ad for ideas using SCAMPER (Chapter 2 and Ready Astiiets in Art Displays Murals My neighbor paints murals, He is «crazy creative man, When [asked bins to tell me about how he thinks, he explained that he starts with a blank ‘wall and asks, “What could this become?” "What do I want to say wit the wall?” and “How can I best say what] want to say?” Thus, Derick Hiickman takes a problem-solving approach to art and uses it to communicate thoughts ané feelings. He isan “out chere” thinker, but he also does ‘what grat teachers do everyday: ask questions that have many answers. Then he proceeds to answer his questions using abundant creative thinking, made visible in bis fabulous murals, His website is Canvas Mural Studi, ‘Murals have became popular public art Often created by groups, large wall art creations are also popular in schools. Cooperative pleaning and sharing are essential aspects of mural making, helping students learn to respect unique ideas of groups and develop pride about group efforts Ready Reference 7.4 Recipes for Clays, Doughs, and Pastes ‘Note: All the following should be prepared by teachers and student use should be carefully monitored for safety purposes. Do not allow students to taste art materials ‘Clays and Doughs Saft Dough Ingredients: | cup water, 1/4 cap salt, {tbsp vegetable oil, 1 thsp alum, 1 eup flour (nontising), food coloring (optional—stains skin and clothing!) ‘Bring water to a boil. Add salt end food coloring. Remove from heat and add the oil, alum, and flour. While it is hot, mix and knead for five minutes, htpsiehoon vialsource.comibooks/9781323154496icil6/1OUA/ZBIBI624@0:0 140ar24r2017 creating Meaning Through Literature and he Ars: Ars Integration for lassroom Teachers Note: Ifyou add food coloring, itis best todo so atthe beginning or add it to the dough after mixing, using a few drops ta time and folding the dough over the color to mix. To change the texture, add cornmeal, sawdust, coffee grounds, sand, oF other grainy items. Store in plastic bag. Coop Mix one part comstarch and one part cold water. Baker's Clay Ingredionts: To make 1 cup for omameats or jewelry: 4 eups flour, | cup salt, 1/2 eup warm water, food coloring (optionalSTAINS skin and clothing!) Mix ingredients, kneading until smooth (five minutes), Add more flour as needed, ‘Note: If you add food coloring, do soa few drops at atime and fold the dough over the color to mix. The dough should be used the day itis made, Add 1 tsp alum and put it in aplastic bag to keep longee. The dough can be baked at 300°F unt! hard (approximately 20 to 60 minutes, depending on the thickness). For Christmas omaments, make holes for hanging before baking. Clay can be painted with felt tips on enamel; you can also use half tempera and balf white glue, Spray with fixative when done Soda-Storch Clay Ingredients: To make 1 cup: 1 eup baking soda, 1/2 cup comstarch, 2/3 cup warm water, food coloring of tempera paint (optional —will stain!) Mix the ingredients ina pan until they are the consistency of mashed potatoes. Stir to boiling. Pour on a coal surface and knead when eaol, Add coloring during kneading. Store in a plastic bag until ready to use. Shape beads by using a drinking straw to make holes. To specd dry, bake ten ‘minates atthe lowest oven seting or 30 seconds on medium in the microwave. "Note: Make a day or two ahead. Make batches in diferent colors. You ean use crayons, paint, or marker to paint clay. Set with clear nail polish or shellac Salt-Search Clay Ingredienss:\ cup com starch, 1/2 cup salt, 1/2 cup water Mix and cook over low heat until it hardens, Adding salad oil delays drying Savedust Clay Ingredionss: 2 cups fine sawdust, 1 cup wheat paste (wallpaper) 1/2 to | cup water, 1 tsp alum to keep from spoiling Mix to bread dough consistency. Let dry slowly. The clay keeps in a plastic bag or the reftigerator. Note: This cay is good for making puppet heads and cli maps. It canbe painted with tempera. Pastes Cornstarch Paste Ungredienses To make 1/2 pnt: 4 cup cor starch, 3/4 exp wate, 2thsp sugar, | tbsp vinegar ‘Mix com starch and cold water in a pan. Add sugar and vinogar. Stir constantly and slowly heat until it clears and thickens, Cool before using. It saves in refrigerator for up to several weeks if sealed. ‘Note: Com starch paste has a pleasant sell and texture. Ibis not too sticky: itis safe, almost colorless, and dries clear 1t forms a stronger bond than flour paste and can be used for lightweight items such as fabri, yam, rice, and cardboard, Iti a stronger homemade paste, but it must be ‘cooked ahead of time. It is har to remove when dry (equites soaking and senibbing). Flour Paste ‘Ada water to flour until itis thick but spreadable. [Note: It ean be used on most paper its safe, and it does not stn. The texture is different from school paste, soit makes an interesting change. It ‘wrinkles thinner papers and makes a relatively weak bond, s0 itis not recommended for collage. The paste washes off easily when wet, but requires soaking and serubbing i ry, cannot be stored, so you must use it when first made. Add oil of wintergreen or peppermint 1 resist spoiling. ‘Murals can be made from a varity of media, from crayons to paint to collage. The easiest are ones that involve individual students adding an item (¢-., something from nature ora print ofa hand). Additionally, students can be taught to plan full scenes relevant for science, aocial studies, of literature, a inthe next clip, Classroom Clip: Creative Inquiry for Mural Making tpepnoentxtalaouree.comvibocks/07613201 SAAN ERIE 04/20 24@0.0 1940arean017 Creating Meaning Through Literature and the Arts: Arts ntogration for Classroom Teachers For a sit on American history a teacher challenges students to create a mural to show variety in cultures. Small groups research the history and circumstances under which groups arrived in America, beginning with Native Americans and progressing through migrations of Europeans, ‘Afticans, Asians, Latinos, and so on. Using collected details, each group connects characteristics into categories, which are subsequently used to synthesize their most important conclusions [Next students learn about the mural process, including decision making about appropriate medi, size of mural forthe wall space, division of space, and possible themes. Working with both small groups and asa whole, they solve these problems and others that arise (eg, how to draw to sale, which requires math —measuring the wall, calculating proportions and ratios, e.). The ereative inquiry progress is slow because the goal has uatipfe prongs that involve representing conckusions in an end product that needs to show fidelity to content and have technical and artistic merit Mixed Media “Many media (paper, wire pant, fabri, and eny oer materials) can be mixed in an artwork, Banners, murals, ad even portraits, landscapes, ‘and abstracts canbe made with any imagineble combinations. Children’s books such 2s Bunting's Smoky Night (1994), Ringgold's Tar Beach (1991), and Shapiro and Brantley-Newton’s Magic Trash (201L) show examples. iber Art. Fibers, such as cloths and yarns, cen be use to create art with texture and pattem, Fabric art connects well with social studies, especially during lesson’ on the clothing of cultures and time periods, as well as careers (knitter, weaver, quite, tales, seamstress). Many wonderful pieces of children's literature deal with iber ar; for example, weaving is central to Annie and the Old One (Miles, 1971). Fora science connection, ‘explore natural dyes, such as earot tops for 8 grecnyellow, onion skins for an orange dye, and tea for brown or orange. Colored drink mixes can setve as dyes, oo, An adult (NOT children) can use an ordinary crockpot to heat the dyes, Wear rubber gloves and rinse with cold water to set the dye, Note: See Judy Chicago's dramatic fiber art, The Dinner Party, at her website. Crafts. Crafts include handerafted traditional art such as potery, weaving, and quilt making, Color Window Quilt or Banner. Give each child a zip-lock bag, colored tissue paper, and cellophane. Children cut, tear, and arrange their piove and then the bags are taped together with cles, wide tape, Make into banners or quilts and bang over windows. Class Quilt. ‘To begin, give every student a quilt piece of the same size, Origami paper works and other media can be added. (See Quilt Masters website for ‘examples of pattems used by quilters,) Subject matter can vary. For example, each student can make a personal quilt piece. In math, quilts can be ‘used fo explore geometric shapes (square, triangles) and counting. Experiment with printing, lettering, and collaye and encourage students to use abstract as wel as familiar realste/tepresentational art, To assemble, use chalk: to mark placement on large bulletin board roll pape. (L tape two long pieces together side by side ) Glue on the quilt pieces. Wipe off the chalk. Create border using the steps explained undce “displays and bulletin boards.” Students ean make cartoon-type “speech bubbles” telling about their creation process to post with the finished quilt itpesphoenix.wtatzource, comiibooksi761 323 1S4496ieRIsaNarzcoMUI24@O-o 1640Creating Meaning Through Literature and the Arts: Ats Integration for Glassreem Teachers Literary Quilts. Quilts are particularly adaptable as literature responses. The subject matter can be a book everyone bas read, a favorite book, an author-artst study, ora genre. Bach student can make a square fora class quilt, Encourage use of diverse art materials and styles Self-Portrait Banner. ‘Materials: white paper, white fabric (12 « 12 inches), pencil, chalk, water, mirror, penmanent black marke, and masking tape. Directions: (1) Look in e mirror and examine your face closely. Sketch each half, really thinking of shapes and line. Outline in black marker. Add whatever you ‘want to represent you (eg. hat or symbols). (2) Put fabrie over the paper and tape dawn. Wet fabrie—dlo not soak. (3) Use chalk to putin colo. When dey, spray with non-aerosol hair spray. (4) Sew or glue al portsits into banners or a quilt. Photography Great artis not what it looks like, but how it makes us think, fel and be. Zoomie (2014) Widespresd use of digital cameras and photo-editing software have made it easier than ever to integrate photogrephy. Thankfully there are isposable digital cameras. Photographs and photography are valuable teaching tools to (1) teach content and (2) document the earning process, ‘sis done in the Reggio Emilia approach wo documentation, For assessment parposes, teachers can photograph stages of a project, tableau seenes, and go on, and have children label them, That's one piece. For the artistic pat itesnhoendc vitalsource.comfibooks/0781323 164486icHIE/NOV4/21901/6/24@00 1740242017 Creating Meaning Through Literature and the As: Arts Intogration for Classroom Teachers + + Teach how to use a digital camera (disposable) and invite students fo take personal photos, as Wendy Ewald has done; see her J Wanna Take Me A Picture. This is a powerful way to get to know students with built-in motivation for a weting project. As a follow-up to her book Phe Best Part of Me, take black and white photographs of each student’s “favorite body part.” Attach a piece of student writing to each photograph for a compelling exhibit, «+ = Provide black and white photographs of the playground, cafeteria, classroom, and so on, and invite students to draw, cut, and paste themselves into the scene, perhaps ia the style of Mo Willems in Knugfle Bunny-—anosher example of the art-Grst approach to writing, ‘+ + Setup photography hunts for geometric shapes, patterns, symmbals, simple machines, and so on. ‘+ Create “photo stories” by inviting students to take a series of pictures of people, places, and events and then write a story that pulls the photographs together Story and pictures can be made into a hook. This works well in conjunction with photo manipulation techniques: either digital or using art medi ‘+ + Set upa station for students to sort photos using qualitative criteria. Display with captions, Teachers can also post photos in a ball display (e.g, students aeting out a story, conducting a science experiment, etc). To amp up the effect, hhave students write photo captions Photography is also a wonderful way to share student work with parents and the community-—petheps in ¢ weekly home e-newsletter that is image-based, One good photograph says so much more than several well-written paragraphs! Pareats absolutely love photo-newsleters, Photo Composition. Use this series of tasks and discuss the els (1) Take the sme person or object) closeup and fr away, (8) with fat of ight an then with ‘Shadows or Les igh (i the center ofthe picture and ten off enter (ore tothe le right, op or boom), 2) Take petres of diferent ‘subject matters: people, places (land, water, house interiors), animals, and action shots. (3) Create and photograph a still-life arrangement (Cecil & Lauritzen, 1994), Also, get ten great how-to tips atthe Kedak website Three-Dimensional Art ‘Three-dimensional Q-D) art can be made from assorted material, including found objects, papier mché, paraffin, and soap using the add or subtract methods. Throe-dimensional art projects give tactile stimblation and an emotional outlet through touch because of the versatility of the ‘materials. Note that 4-D adds movement, and S-D adds nonlinear, interactive moveinent. Materials. ‘Clays and doughs (sce recipes in Ready Reference 7.4) and firing clay (tom earth used for pottery) can be used. See Baylor's Wien Clay Sings (1987) for clay examples. Wood, paraffin, and soap can be used for earving, as well as materials fom recipes. Papier mAché is inexpensive and versatile (recipe follows), Tools. Fingers, spoons, nails, sticks, eutouts (not cookie cutters), rolling pins, and things to press into give textures (ee, potato masher) are sll possibilities hitpscphoentx vtalsource. comtioooks/97B1323154496/c1I61 O4/2/305I6/24@0:0 0401242017 ‘Creating Meaning Through Literature and the Ars: Ate Integration for Classroom Teachers ‘The Best Part of Me ‘Techniques. Use each ofthese methods to sculpt: ad, subtract, punch, slap, pound, pinch, and staek. During exploration, children naturally use clays and doughs to form eylinders, then balls, and then pancake shapes. Modeling and plasticine clays hold cheir shape well but need tobe warmed for pliability; kneading clay also develops finger strength. Papier Maché. This material for molding and seulpting is cheap and yields delightfl shapes to paint or collage. Cut or tear up newspaper into 2-inch-long, strips. Use thinned white glue ora subsite for wheat paste, which attracts bugs and molds (eg, Metylan or Elmer's art paste). Dip strips, running them between two fingers to remove any excess. Let dry. Start with bases such asa foam tay or box. Move to mote difficult curved and rounded shapes such as balloons and cardboard tubes. To minimize the mess, have one group ata time work with pepier mAché. Begin with project in mind, rather aan explore as you would with ‘other media, Clean up immediately, beause the mix hardens and makes Doors slippery. Shower eurtains are useful o caver work surfaces. Puppet heads can be made by starting with a base as simple asa wed of newspaper secured on top ofa paper tube with masking tape, Spaghetti ‘or candy boxes can he covered with papier miché, painted, and used for puppets (make sure children can get their fingers or hands inside), ‘Papier miché can be bought from sourees sucs as Dick Blick or online at Proteacher Mobiles. “These 3-D artworks move, Show Alexander Calder’s mobiles as examples. Use sticks, hangers, or picture frames to suspend items from wire, ‘yam, cord, or ribbon, Mobiles ean be made from found objects or by attaching ereated items, Bncourage experimentation with balancing the ‘weights of objects Other Sculptures. psiphoon tlsource.comithnokst781223164496//rOV4R/8026000 ‘suoerano17 ‘Creating Mearing Through Literatura and tha Art: Ate Integration fr Classroom Teachers Make stick seulptures using a clay ball asa base and pushing in toothpicks, buttons, shells, and other similar objects, To create molds, press ‘objeot (ids, pencils, butons, sells) into damp cand, Pour a thin mix (like salad dressing) of plaster of Paris about 1/2-inch deep into the qud0ud J Ayss0NUN Ka 8102 0 ‘aouelpne ue 0) Buluealu pue spiom s oun ue Buug Ajanjoaye 0} epew seriou oun pue posn ssaoaud engeauo ay} urejdxe jm yuepmys SL ees “wood wowed Aaanseye o} sis eoueuuopiod ue sediouud ogewesp Aidde jim yuepms oy (Spiepue}s yuezu00 BuRUM perE|el O8) (sseooid anyeeio ezhjeue) Z0'd'S0 HY splepuers (eouewso}ed) L0°d0'S0'uY “uoB=1O ‘snoo pue ‘vonpelosd ‘uonezueIzeIeU9 "Bupjo0(q ‘poout! 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