tag:blogger.com,1999:blog-33975538527200761632024-03-13T03:58:19.791-07:00Art for Small HandsJulie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comBlogger100125tag:blogger.com,1999:blog-3397553852720076163.post-9189991517454365152013-09-11T05:18:00.000-07:002020-08-11T11:07:51.918-07:00Drawing - All-School Artists<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw50DnEqD-xPoTyGdpW3cwzD6VUYw_D3SmdUkusdeMSEeWAU7CqkkwUxkEbkZ2ewlHS-OvKdkHeIJ0e9jhJLY9lGqi9meVWpQJ8LndqKor_Y_Y96uvjN7tMCCdLP7pELh-ol5t9TYTNkI/s1600/finalgroup.jpg4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw50DnEqD-xPoTyGdpW3cwzD6VUYw_D3SmdUkusdeMSEeWAU7CqkkwUxkEbkZ2ewlHS-OvKdkHeIJ0e9jhJLY9lGqi9meVWpQJ8LndqKor_Y_Y96uvjN7tMCCdLP7pELh-ol5t9TYTNkI/s400/finalgroup.jpg4.jpg" title="Portion of display of all-school artists" width="400" /></a></div>
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<i>The children use watercolor markers to draw self-portraits for an “All-School Artists” display.</i><i></i><br />
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<i><b>“Too often we give children answers to remember rather than problems to solve.”</b></i><span style="font-size: 12pt;">—</span>Roger Lewin<br />
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Writing this blog over the last four years has given me the opportunity to share what I have learned in my thirty years of teaching art to children. My goal has been to support the creative process in art education. Since I first started teaching, there has been confusion in separating the term “art” from “craft.” Although the terms are often used interchangeably, they have different meanings. Art is a process of self-expression where children explore and discover, producing unique and original results. By comparison, craft is a form of imitating that produces a predetermined outcome, without the need for creative or original thought. Crafts develop manual dexterity and have their place in after-school activities and summer camps, but it should not replace art in the classroom. Each child is unique, therefore successful art projects need to allow for a wide variety of solutions. Crafts and lessons presented with step-by-step instructions or pre-made cutouts are uninspiring and lost opportunities for children to develop their own solutions–imagine all the self-portraits shown above as perfect pre-drawn circles! <br />
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Keep in step with the children's natural artistic development by planning projects that are age-appropriate. A common characteristic of children's art starting about the age of 3 is the repetition of symbols for familiar objects, such as lollipop trees and square houses with triangular roofs. Art educator Frank Wachowiak writes that well-planned art lessons teach children to expand and embellish these symbols while still allowing each child to find his or her own vision. This can be seen in the lesson <i><a href="http://www.artforsmallhands.com/2011/02/drawing-head-to-toe-self-portraits.html">Head-to-toe Self-portraits</a></i>. Before starting to draw, the children observe themselves in mirrors and become aware of body proportions through physical exercises. The stick-like figures usually depicted at this age are replaced by detailed portraits that are unique and original.<br />
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By around 9 years old, children develop a prolonged attention span and are becoming capable of abstract reasoning and thinking, making them ready to experiment with a variety of materials, tools, and complex processes. However, they are also developing doubts about their artistic abilities. Art educator Viktor Lowenfeld wrote in his book <i>Creative and Mental Growth</i> that in this stage, the product becomes more important to the child than the process. Frustration occurs as they become aware of their lack of ability to show objects the way they appear in their environment.<br />
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How do we find the right balance between providing instruction while still allowing freedom for each child to find his or her own vision? Here are some things that I have found successful in nurturing creativity in children.<br />
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Engage children at the beginning of an art program by introducing a project that does not weigh heavily on past artistic experience, such as the lesson <i><a href="http://www.artforsmallhands.com/2010/02/cut-paper-gwiazdy.html">Gwiazdy Paper Cutouts</a> </i>where even mistakes can have wonderful results, and <i><a href="http://www.artforsmallhands.com/2009/10/drawing-look-eat-and-draw.html">Look, Eat, & Draw</a></i> which is so much fun that the children actually forget their inhibitions.<br />
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Demonstrations are often necessary to help the children
understand certain processes. Be sure that they are done in a way that does not
set up preconceived solutions. For example, if the teacher draws a picture of a
tiger in demonstrating a project with the theme of animals, children’s minds are filled with that particular image and they become inhibited, their abilities to think of their own solutions are hindered, and worse, they often attempt to imitate the teacher’s drawing. This problem can be
easily avoided by using subjects unrelated to the assignment for the demonstration.<br />
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Looking at examples and pictures can add to the children’s
confidence and help them become aware of characteristic details to
embellish their art work. Keep their minds open to their own interpretations by
using real-life images, rather than other artists’ renditions. The exception is
art history which is a great way to introduce children to new ways of working.
Rather then just looking at the art work, concentrate on how the artists use
their tools and materials. Have the children experiment with the styles and
techniques of the artists, using materials that offer experiences as close as
possible to those of the artists. For example, using thickened tempera paint in
place of oil paint will give the child a basic understanding of the process
that the Impressionist painters used. Avoid “tricks” that only yield similar
effects to the artist’s style<span style="font-size: 12pt;">—</span>although rubbing crayon over sandpaper will
replicate the appearance of Pointillism in a Seurat painting, this shortcut
bears no resemblance to the labor-intensive process of creating an entire
painting with dabs of paint. When the project is completed, discuss with the
children their feelings about working in the artist's style and if they would
consider using what they have learned in their own art work.<br />
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Quality art lessons focus on the processes of thinking,
planning, and creating. Discuss a child’s work and share ideas, but do not make
changes to the artwork yourself. Answer questions and offer advice in the form
of open-ended questions that allow the children to think for themselves, giving
them opportunities to come up with their own solutions and make their own
changes.<br />
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Complete each project before moving on to the next. This
places value on the work as art and can strengthen the learning process
through discussions and critiques. Most importantly, the children take
pride and satisfaction in what they have achieved.<br />
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Each year, I set aside the last session to return all art work to the children. They carefully wrap their projects and pack them into large paper bags with their names attached. The parents are delighted as the children bring home the bags and carefully go through them, explaining each project and knowing that they are special artists.<br />
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I want to thank the many readers who have sent me supportive and enthusiastic comments along with the wonderful images of their children’s art work. I hope that you continue to find this body of one hundred lessons helpful toward ensuring that art remains at the core of your program. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93BGfJlLzFJsfWd9ufaTpvuuH3XUY99d9oFnseL0oX9TzxtgPs54_vhtHfAXEZK732rMSSz9v-1VwxtYOhDmxFL2Y45tn6ZnwsYmc3cTwjtUVUj0FeyZyQoBiNi3LTXc_siCbjYjjRgc/s1600/finalgirl.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93BGfJlLzFJsfWd9ufaTpvuuH3XUY99d9oFnseL0oX9TzxtgPs54_vhtHfAXEZK732rMSSz9v-1VwxtYOhDmxFL2Y45tn6ZnwsYmc3cTwjtUVUj0FeyZyQoBiNi3LTXc_siCbjYjjRgc/s400/finalgirl.jpg" title="Age 10" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-3Ig9MpsEedYUzVLbUCKhUfuT4SlVz1Tzvf9tGRvip4JgtVVxOXlennLmBvt6mV9CpQz6LvfU73M-FZCVG1-Sh6Of0OxE26XZNtAZ0iO9DeKpCuiii7XF-NSn4buzYrIFeVF6sTT218/s1600/finalboy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-3Ig9MpsEedYUzVLbUCKhUfuT4SlVz1Tzvf9tGRvip4JgtVVxOXlennLmBvt6mV9CpQz6LvfU73M-FZCVG1-Sh6Of0OxE26XZNtAZ0iO9DeKpCuiii7XF-NSn4buzYrIFeVF6sTT218/s400/finalboy.jpg" title="Age 7" width="400" /></a></div>
Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-12697753971213149042013-08-28T05:34:00.001-07:002022-01-01T08:10:45.427-08:00Cut Paper - Stand-up Clowns<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1FfycKkGu3_t5OIIJJXGAjb7-zQXxAG2CZE_zcWpoXIrVXgOK-v7TxHEMORDb_jbDi_JHY-d3GC22skeQF6r1p7SGFP1KuyQOSDkSqitZ6p9s4YcTLqOb_n85Vl49YKjpu-d_19-07s/s1600/0623.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1FfycKkGu3_t5OIIJJXGAjb7-zQXxAG2CZE_zcWpoXIrVXgOK-v7TxHEMORDb_jbDi_JHY-d3GC22skeQF6r1p7SGFP1KuyQOSDkSqitZ6p9s4YcTLqOb_n85Vl49YKjpu-d_19-07s/s400/0623.jpg" title="Age 9" width="301" /></a></div>
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</i> <i>The children use construction paper and glue to create whimsical clowns. For ages 6 to 9. Plan 2 to 3 sessions.</i><br />
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<i><br />
</i> <b>KEY IDEAS</b></div>
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<li>Cutting with scissors</li>
<li>Using glue</li>
<li>Working with three-dimensional form</li>
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<b>LANGUAGE</b></div>
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three-dimensional, circular </div>
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<b>YOU WILL NEED</b></div>
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<li>Sulphite construction paper (See note below.)</li>
<li>Scissors</li>
<li>Glue sticks</li>
<li>Slightly dampened sponges for wiping sticky fingers</li>
<li>Odds and ends for decorating clowns, such as yarn, sequins, stickers, foil paper, pompoms, feathers, and scraps of fabric</li>
<li>Liquid craft glue</li>
<li>Photographs of clowns</li>
<li>A scrap paper bin with a collection of leftover paper from past projects (optional)</li>
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<i>Note: It is imp</i><i>ortant to use sturdy paper so that the clowns will stand upright. These clowns were made with Tru-Ray Sulphite Construction Paper.</i><br />
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<b>RESOURCE</b></div>
<div class="MsoNormal">Old programs from the Ringling Brothers and Barnum & Bailey circus performances are good sources for pictures of real-life clowns.</div>
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<b>THE PROJECT</b></div>
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<b>First Session</b></div>
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<b>Preparation</b></div>
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<li>Cut the construction paper into 6- by 9-inch pieces. Plan one piece for the lower half of each clown plus a few extra. Display the rest of the paper in the middle of the tables for sharing.</li>
<li>Set out glue sticks, scissors, and odds and ends for decorating.</li>
<li>Set out a scrap paper bin (optional). </li>
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<b>How to Begin</b></div>
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<li>In this session, the children will be using paper and glue to make <i>three-dimensional</i>, or free-standing, clowns.</li>
<li>First demonstrate the proper use of scissors when cutting paper. The thumb goes in the small hole and two or three fingers go in the larger hole. With the blade of the scissors opened wide, place the paper deep into the opening, taking advantage of the whole blade when cutting. To cut a <i>circular</i>, or round shape, use one hand to slowly close the scissors while using the other hand to gradually turn the paper. Continue opening and closing the scissors while gradually turning the paper until a circular cut is completed.</li>
<li>Show the children the examples of clowns, emphasizing details like their baggy pants and oversized shoes. To make the lower part of the clowns, fold a 6- by 9-inch piece of construction paper in half (6 by 4 ½ inches). Working from the folded side, cut out the shape of clown pants including the shoes, keeping the folded side intact. The open edge of the folded paper should form the bottoms of the shoes. Stand the pants up with two shoes in the front and two in the back<span style="font-size: 12pt;">—</span>the folded top will be the clown’s waist.</li>
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<li>Explain to the children that they will be sharing the colored paper on their tables to cut out the upper torsos of the clowns, including shirts, arms, hands, etc. Each child should start by choosing one color of paper. When finished cutting from it, return the paper to the middle of the table for someone else to use, and then choose another color. Reassure the children that if a color is used up, you have more to replace it. (A scrap paper bin is fun to search through for special and unusual colors.)</li>
<li>Have the children attach the additional pieces with the glue sticks. Remind them that they should apply the glue to the smaller piece of paper and press it onto the larger piece. Slightly dampened sponges on each table can be used to wipe sticky fingers.</li>
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<b>Second/Third Sessions</b></div>
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<b>Preparation</b></div>
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<ul>
<li>Set out the clowns from the previous session.</li>
<li>Set out scissors, glue sticks, construction paper, and optional scrap paper bin.</li>
<li>Set out odds and ends for decorating and liquid craft glue.</li>
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<b>How to Begin</b></div>
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<li>In this session, the children will continue to build on their clowns.</li>
<li>Looking at the pictures of clowns, discuss distinguishing items such as bow ties, round red noses, silly hair, and often, funny hats.</li>
<li>Explain that small dabs of liquid craft glue may be needed to attach some items like yarn, pompoms, and hats.</li>
<li>Have the children complete building and decorating their clowns.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquHO9Lv-QYjXQWw13WPlb1aaZV6BvoWKpodQL_Ga7uF1vFMzCvoLthP_dF3EegtXF2fK2B4XpsDiQHTh6PaG-uE8ytAsK8S-7LJWYQTVIRy3yLYajknhtS4sUKFwZq5j5uKCeaQg8ONE/s1600/final1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquHO9Lv-QYjXQWw13WPlb1aaZV6BvoWKpodQL_Ga7uF1vFMzCvoLthP_dF3EegtXF2fK2B4XpsDiQHTh6PaG-uE8ytAsK8S-7LJWYQTVIRy3yLYajknhtS4sUKFwZq5j5uKCeaQg8ONE/s400/final1.jpg" title="Adding the final touches to her clown." width="295" /></a></div>
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<b>NOTES</b><br />
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<li>Use only slightly dampened sponges for wiping hands while working. Too much water will leave marks on the construction paper.</li>
<li>Keep extra paper available because some children have trouble cutting the lower part of the clowns while keeping the folded side intact, ending up with two separate images.</li>
<li>Clowns that are under eight inches tall will stand easier.</li>
<li>The hula hoop pictured in the first photo is held in place by small pieces of wire taped to the bottom and then threaded through the clown’s pants and taped again. Wire was also braided into yarn to create the flyaway effect of the clown's hair.</li>
<li>Balloons can be made to stand in the air with pieces of floral wire.</li>
<li>As pictured below, an insert made of lightweight cardboard glued to the inside of the pants legs will keep the clowns standing upright even in humid weather.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2uX3pGtnDCwD-TGbP3_LrOSEX6hSLTNy9MgsY8d7vdq8X50hLtVEFqD9iX0CijBwhAp-_cI3aB5ooQdu72eHi9Qs9QPULZwbJmnycOocvFBaxV4A-7u2Hj4mkKtTCPQKhj8A0UDb16hI/s1600/finalsupport.jpga.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2uX3pGtnDCwD-TGbP3_LrOSEX6hSLTNy9MgsY8d7vdq8X50hLtVEFqD9iX0CijBwhAp-_cI3aB5ooQdu72eHi9Qs9QPULZwbJmnycOocvFBaxV4A-7u2Hj4mkKtTCPQKhj8A0UDb16hI/s200/finalsupport.jpga.jpg" title="Cardboard support to help the clowns stay standing." width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhieRD4fWAvG-QTZIfaOOr6kMbSGnkWY_g-6arNb00Cgc17pVvAwfCJsXqxJwnGczM5tM5iZJacxT1ICX3EgjWBjOLzgu1wWiT9qz6Ez8ubJdiV2Js1lq9EtWr3_egbTOsIB2tqprDnZqY/s1600/final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhieRD4fWAvG-QTZIfaOOr6kMbSGnkWY_g-6arNb00Cgc17pVvAwfCJsXqxJwnGczM5tM5iZJacxT1ICX3EgjWBjOLzgu1wWiT9qz6Ez8ubJdiV2Js1lq9EtWr3_egbTOsIB2tqprDnZqY/s320/final.jpg" title="Glue the support between the pants legs." width="320" /></a></div>
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<b>LET’S TALK ABOUT OUR WORK</b></div>
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<ul>
<li>Discuss what makes the clowns three-dimensional.</li>
<li>Have the children talk about the unique characteristics that they added to their clowns.</li>
<li>Review the cutting and gluing processes.</li>
</ul>
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<b>What the children might say...</b></div>
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<ul>
<li><i>I’m having trouble getting my scissors to cut the paper.</i></li>
<li><i>Everything is sticking to my fingers.</i></li>
<li><i>My clown is wobbly and won’t stand up.</i></li>
<li><i>My clown fell over after I added a big hat.</i></li>
</ul>
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<b>What you might say…</b></div>
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<li><i>When using your scissors, be sure you have your thumb in the small hole and your fingers in the larger hole.</i></li>
<li><i>If your fingers are sticky, use the sponge on your table to wipe off the glue.</i></li>
<li><i>If your clown is wobbly, we need to trim the feet so that they are even and flat on the bottom.</i></li>
<li><i>Additions will change your clown's balance, often causing it to fall over. We can get it to stand again by adjusting the feet.</i></li>
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<a href="https://docs.google.com/document/d/1iNKSB2yAHIAkrqtEPb5nPO_Lqlk5TaX-OmisiohLkvI"><span id="goog_85159904"></span>Click here to view this lesson in a printer friendly format.</a><span id="goog_85159905"></span><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-51580933065188133232013-06-12T05:01:00.000-07:002014-10-16T07:51:13.782-07:00Printing - Fruit & Vegetable Prints with Oil Pastel<div class="separator" style="clear: both; text-align: center;">
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<i>The children explore shapes and textures by making relief prints using fruit and vegetables, and then create backgrounds with oil pastels. Ages 9 to 13. Plan 2 to 3 sessions.</i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Exploring shapes and textures through relief printing</li>
<li>Making a balanced composition</li>
<li>Creating backgrounds</li>
</ul>
<b>LANGUAGE</b><br />
relief printing, balance, oil pastels<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Colored construction paper–12 x 18 inches</li>
<li>Soft packaging foam to make stamp pads–approximately 5- x 6-inch pieces</li>
<li>Liquid tempera paints</li>
<li>Plastic plates or foam trays to hold stamp pads</li>
<li>Plastic wrap</li>
<li>Pads of newspaper to work on–one for each child</li>
<li>Fruit and vegetables (See note below.)</li>
<li>Oil pastels</li>
<li>Paper towels for cleaning oil pastels while working</li>
</ul>
<i>Note: Fruits and vegetables, such as artichokes, onions, and lemons, have wonderful textures when cut. Apples, mushrooms, and the ends of celery stalks work well for a variety of shapes. </i><br />
<br />
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Prepare stamp pads for printing by filling the foam pieces with several tablespoons of tempera paint. Make some test prints to be sure there is enough paint to make good prints, but not so much as to fill in the delicate lines in the fruits and vegetables. Plan one stamp pad for every two children. Cover the pads with plastic wrap to keep them moist until ready to use.</li>
<li>Cut fruits and vegetables in half and place juicy fruits like lemons cut-side down on paper towels to absorb some of the liquid.</li>
<li>Set out a variety of cut fruits and vegetables with each color of stamp pad, designating one color of stamp pad for each table. (Have the children move from table to table to change colors or let the children remain in their seats and move the stamp pads with the fruits and vegetables to the different tables.)</li>
<li>Set out the stamp pads, construction paper, and pads of newspaper.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that the children will be filling their papers with prints of fruits and vegetables and then making a related background with oil pastels.</li>
<li>Demonstrate the process of <i>relief printing. </i>Place the construction paper on a pad of newspaper for crisp, clear prints. Gently dab the fruit or vegetable onto the stamp pad several times, explaining that only the raised areas will pick up the paint. Transfer the color to the construction paper by pressing the fruit or vegetable firmly onto the paper, holding it for a few seconds and then lifting it off in a straight-up motion to avoid smearing. Emphasize that this process needs to be repeated for each print.</li>
<li>Be sure the children understand that the fruits and vegetables must remain with their designated stamp pad so that the colors are not mixed.</li>
<li>Discuss how the children can arrange the prints to create a feeling of <i>balance</i>, or stability, by repeating shapes and colors.</li>
<li>Have the children fill their papers with prints.</li>
</ul>
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<b><br />
</b> <b>Second/Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out dried prints from previous session.</li>
<li>Set out the pads of newspaper, oil pastels, and paper towels.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be creating backgrounds for the prints using <i>oil pastels</i> which are a blend of oil and pastel.</li>
<li>Demonstrate how to use oil pastels. For a smoother and easier application, place the paper on a pad of newspaper. Apply the oil pastels carefully around each print, pressing firmly to bring out the color intensity. Avoid going over the edges of the prints by leaving a little space around each one<span style="font-size: 12pt;">—</span>the colored construction paper that shows through will add continuity to the composition. Warn the children that brushing away any loose bits of oil pastel will smear their pictures. Instead they should blow the bits away gently or shake their paper upside down. Have paper towels available so that the children can wipe clean the sticks of oil pastel as they work.</li>
<li>Explain how to create balanced background designs by repeating colors and shapes that allow the prints to stand out.</li>
<li>Have the children fill the backgrounds with patterns using oil pastels.</li>
</ul>
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<b><br />
</b> <b>NOTES</b><br />
<ul>
<li>Some fruits and vegetables have very delicate lines, so it is important to not overfill the stamp pads.</li>
<li>For variety, carve designs into carrots and potatoes using linoleum carving tools or knives.</li>
<li>If the stamp pads begin to dry out, wet the tops of them with a little more paint.</li>
<li>Designs with lots of small prints may take two sessions to carefully color around each print.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Are the fruit and vegetable prints crisp and clear?</li>
<li>Discuss the different approaches used to balance the designs.</li>
<li>Do the background patterns help the prints to stand out?</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>My apple prints are coming out too light.</i></li>
<li><i>Can I make another print on top of one that is too light?</i></li>
<li><i>I dabbed the onion on the stamp pad each time, but I can hardly see the prints.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>Remember that you must dab on the stamp pad for each print. </i></li>
<li><i>Printing exactly on top of another print is very difficult to do and usually draws our eyes to the mistake. It’s better to work with the light print as part of your design.</i></li>
<li><i>If you dabbed on the stamp pad and your prints are still too light, the stamp pad might be drying out. Let me add some paint to it.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1LJpnY0hO9jmmaZB89E-xKI2lLjRit7W5PVik02sJutA/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-35499743657109148642013-05-29T05:46:00.000-07:002020-07-27T11:00:25.418-07:00In the Style of - Edward Hopper<div class="separator" style="clear: both; text-align: center;">
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<i><br />
</i> <i>After learning about the life and works of Edward Hopper, the children use his style to make paintings of houses. For ages 9 to 13. Plan 2 to 3 sessions.</i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Learning about Edward Hopper and his work</li>
<li>Painting houses in the style of Hopper</li>
<li>Introducing American realism</li>
</ul>
<b>LANGUAGE</b><br />
realism, sketch, outline<br />
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<b>RESOURCES</b><br />
Click <a href="https://docs.google.com/document/d/19ON4tBNWMOdU6TCTYEvPQwfCz__k6Ou246ihAFMuDtA/edit?usp=sharing">here</a> and scroll down to view five examples of Hopper’s paintings. In the book<i> <a href="http://www.abebooks.com/servlet/SearchResults?sts=t&tn=hopper%27s+places">Hopper’s Places</a></i>, author Gail Levin pairs Hopper’s paintings with photographs of the actual scenes that he painted. <br />
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<b>BACKGROUND</b><br />
<b>The Life of Edward Hopper</b><br />
Edward Hopper, one of the foremost American realists of the 20th century, painted urban and rural scenes, such as motels, gas stations, lighthouses, and drugstores. He was the first artist to capture the American visual world and make it his own style. <br />
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Born in 1882 in Nyack, New York, Edward and his sister Marion grew up in a happy home. He was a good student and already showed talent for drawing at the age of five. Both of his parents encouraged his art and supplied him with sufficient materials, as well as magazines and books. By his teens, Hopper was working in pen and ink, charcoal, watercolor, and oil. <br />
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His father, a dry-goods merchant, thought that a career in the fine arts was too risky and encouraged him to study illustration for security. One of his teachers was the artist Robert Henri, a leader in American realism, who urged him to study all aspects of urban life and to portray how he felt about it.<br />
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Often referred to as “soft” realism, Hopper’s paintings are of simplified shapes and details. Sunlight fascinated him and he used it masterfully to create moods. He said, “What I wanted to do was paint sunlight on the side of a house.” He worked with vibrant, almost flat colors with no apparent brushstrokes, clearly defined forms, and strongly defined lighting. His paintings of people are cold and mechanical, while his paintings of houses are full of character with window shades at various heights, cropped compositions almost cinematic in their viewpoint, and a sense of motionless silence. A road, city street, railroad embankment, or porch step often cuts across the foreground, creating the transient effect of viewing the scene on a stage. The surrounding landscapes are sparse and free from patterning or unnecessary detail.<br />
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Three trips to Europe had little influence on Hopper’s style, which remained consistent throughout his career. He eventually settled in Greenwich Village in New York City, spending summers along the New England coast in Cape Cod and Maine. He also traveled extensively in the United States, making road trips by car, in search of subject matter. <br />
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Edward Hopper was 84 when he died in 1967.<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Manila paper or colored construction paper (approximately 12 x 14 inches)</li>
<li>Drawing pencils</li>
<li>Liquid tempera paints</li>
<li>Individual trays for mixing colors (optional – Styrofoam trays from the grocery store work well)</li>
<li>Paint brushes</li>
<li>Containers of water to rinse brushes between colors</li>
<li>Sponges to dry brushes after rinsing</li>
<li>Examples of Hopper’s paintings of houses</li>
</ul>
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Become familiar with the life and paintings of Edward Hopper.</li>
<li>Set out pencils, paper, tempera paints, brushes, containers of water, sponges, and optional mixing trays.</li>
<li>Gather examples of Hopper’s paintings.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Tell the children about the life and works of Edward Hopper and share the examples of his works. Explain that his style is referred to as <i>realism</i> because he made lifelike paintings of common everyday places. In this session, the children will be making paintings of houses using Hopper’s style.</li>
<li>Discuss how Hopper painted houses with lots of character using vibrant, almost flat colors with no apparent brushstrokes, clearly defined forms, and strong lighting. Point out details such as window shades raised or lowered to various levels, the cropped houses which sometimes run off the edges of the canvas, and the sense of motionless silence in his paintings.</li>
<li>Explain that in this session the children will be using pencils to <i>sketch</i> or draw a house or part of a house without the details. They should draw only the basic <i>outlines</i>, or shapes, of the houses and additions such as windows, doors, steps, and columns. Decorative details will be added in the next session.</li>
<li>When the sketches are completed, the children should paint the first layer of color on their houses, as well as the surrounding background like sky and grass.</li>
<li>Have the children sketch the basic outlines for the houses and apply the first layer of paint.</li>
</ul>
<b>Second/Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the paintings from the previous session.</li>
<li>Set out paper, tempera paints, brushes, containers of water, sponges, and optional mixing trays.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Review Hopper’s style of using vibrant colors and strong lighting. In this session, the children will be adding details to their paintings. Encourage them to include items such as bricks, stones, or siding for the buildings, shutters for the windows, and scenery around the buildings.</li>
<li>Remind the children that when painting over dried paint, they should dip their brushes into the paint often to avoid scrubbing with the brush which will cause the bottom layer of paint to become wet and mix with the top color. They should dry the brush well after rinsing between colors to keep the tempera paints from becoming too watery.</li>
<li>Have the children complete their paintings with additional details.</li>
</ul>
<b>NOTES</b><br />
<ul>
<li>If using mixing trays, show the children how to lift dollops or puddles of paint onto the trays with their brushes before mixing the colors together. This will avoid watery colors that have been scrubbed onto the paper due to mixing too little paint to cover the area.</li>
<li>Painting houses in the style of Hopper is a good introduction to the <a href="http://www.artforsmallhands.com/2010/11/clay-houses.html">lesson</a> on making clay houses.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Review Hopper’s style of painting.</li>
<li>Have the children tell how they felt while using Hopper’s style.</li>
<li>Discuss the characteristics of Hopper’s style that can be seen in the children’s paintings.</li>
</ul>
<b>What the children might say…</b><br />
<ul>
<li><i>I put black panes on my windows. Now how can I make it look dark in some of the windows?</i></li>
<li><i>I’d like to paint a picture of a house that I pass everyday on my way to school.</i></li>
<li><i>Do I have to paint every detail that is on the house that I saw?</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>We will still be able to see the black panes on your windows if you paint the inside of the windows with another dark color or add a little bit of white to make a lighter shade of black.</i></li>
<li><i>Hopper also painted houses that surrounded him or ones that he saw while travelling.</i></li>
<li><i>Hopper’s paintings are called “soft” realism. Although he painted what he saw, he decided which details he wanted to include. You can also decide which details to include in your painting.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1rkrb1cjI-E0pSN88g5zflS8LCVT643ls5O70sA38orM/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-50518587095116736422013-05-16T06:03:00.001-07:002020-07-27T11:48:50.297-07:00Clay - Free Clay Day<div class="MsoNormal">
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<i>The children plan and create their own projects for "free-clay day.” For all ages. Plan 2 to 3 sessions.</i><br />
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<b>KEY IDEAS</b></div>
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<ul>
<li>Combining pinch, coil, and/or slab methods of building</li>
<li>Working with three-dimensional form</li>
<li>Applying underglazes and glazes</li>
</ul>
<b>LANGUAGE</b><br />
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scratch and slip, bisque ware, underglazes, glaze<br />
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<b>RESOURCES</b><br />
Click <a href="https://docs.google.com/document/d/1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA/edit">here</a> to view additional information about working with clay in a printer-friendly format.<br />
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<b>BACKGROUND</b></div>
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The excitement of “free clay day” can be felt throughout the school; it’s one of the most popular projects we do in the art room. With several days to a week’s notice, the children think about and plan what they would like to make with clay. They can choose their subject (barring anything inappropriate) to be built in a single session using one grapefruit-sized ball of clay.</div>
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<b>YOU WILL NEED</b></div>
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<ul>
<li>12- x 18-inch Masonite boards with one side unfinished (one for each child) or canvas to cover the work surface</li>
<li>Clay, one grapefruit-sized ball for each child plus a few extra</li>
<li>Underglazes (opaque and non-toxic)</li>
<li>Clear glaze (non-toxic)</li>
<li>Brushes for applying underglazes and glaze</li>
<li>Trays and plastic bags for slowly drying the clay</li>
</ul>
<i>When working with 6- to 13-year-old children include</i><br />
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<ul>
<li>Clay needle tools</li>
<li>Containers with a small amount of slip or water</li>
<li>Rolling pins or stiff cardboard tubes</li>
</ul>
<b>THE PROJECT</b><br />
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<b>First Session<br />
Preparation</b></div>
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<ul>
<li>Introduce the project to the children at least several days in advance. Explain that they will have one ball of clay and one session to complete the building of their project and another session to paint it.</li>
<li>Check the clay to be sure it has a good workable consistency.</li>
<li>Wedge the clay into grapefruit-size balls, planning one for each child, plus a few extra.</li>
<li>Cover the work area with Masonite boards (unfinished side up) or canvas.</li>
<li>Set out balls of clay.</li>
<li>When working with six- to thirteen-year-old children, set out rolling pins, needle tools, and containers of slip or water. When working with the three- to six-year-old children, moisten the clay a bit more so it will hold together without the need to scratch and slip.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>In this session, the children will be making clay projects of their own choosing. Remind the children that they will have this session for building their project with one ball of clay and another session to apply underglazes.</li>
<li>Discuss the children’s plans and point out ways that they might simplify ideas that might be too complicated to build in a single session.</li>
<li>For six- to thirteen-year-old children, review the <i>scratch-and-slip</i> process for attaching pieces of clay<span style="font-size: 12pt;">—</span>scratch the surfaces to be joined, apply a small amount of slip or water, and press the two pieces together. Remind the children that if they don’t scratch-and-slip their attachments, the pieces of clay will likely fall apart as they dry.</li>
<li>Have the children build their projects. Alert them when ten minutes are left in the session so they have time to bring their projects to a conclusion.</li>
</ul>
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<i>Note: Cover the projects carefully with plastic wrap, gradually loosening it to slowly dry the clay and then bisque fire them in a kiln.</i><br />
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</b><b>Second Session</b></div>
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<b>Preparation</b></div>
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<ul>
<li>Set out bisque-fired clay pieces.</li>
<li>Set out brushes and a variety of underglazes.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>Explain that the clay has been fired in the kiln and is now referred to as <i>bisque ware</i> which is very fragile and must be handled carefully. The children will be adding color to the bisque ware using <i>underglazes</i> which are paints for clay.</li>
<li>Demonstrate how quickly underglazes dry when applied to the bisque ware. The children will need to dip their brushes often to avoid scrubbing and to cover all areas. They should carefully dab into any cracks or rough areas on the clay surface, brushing away any puddles.</li>
<li>Explain that designs can be put directly on top of dried underglazes and that the last color painted is the one that will show. This makes it easier to add designs or repair mistakes.</li>
<li>Have the children paint their projects with underglazes and allow the pieces to dry overnight.</li>
</ul>
<i>Note: While the older children can apply the clear glaze in a third session, have an adult put it on for the three- to six-year-old children.</i><br />
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<b>Third Session<br />
Preparation</b></div>
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<ul>
<li>Set out clear glaze and brushes.</li>
<li>Set out the underglazed clay pieces.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>Remind the children that the clay has been bisque-fired and is very fragile and must be handled carefully. In this session, the children will be applying clear <i>glaze</i> to their projects which will give them a shiny and strong surface. Explain that the clear glaze will cover up the colors of underglazes temporarily. When the clay is fired in the kiln again, the glaze will melt and turn clear, allowing the colors to show through.</li>
<li>Explain that when the glaze is first applied it will look transparent and as it dries it will become opaque. Putting on too much clear glaze will cause the colors to become cloudy after firing. (The number of coats needed varies according to the glaze instructions, but usually one coat is sufficient.)</li>
<li>Make sure the children understand that if any glaze gets on the bottom of the project, it will stick to the kiln shelf during firing. If glaze does get on the bottom, wipe it off with a damp cloth.</li>
<li>Have the children apply the clear glaze to the projects, reminding them to handle the bisque-fired clay very carefully.</li>
</ul>
<i>Note: Let the projects dry and glaze fire them in a kiln.</i><br />
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<b><br />
</b><b>NOTES</b></div>
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<ul>
<li>In order to complete their project in one session, it is important that the children be given sufficient planning time before the class begins. </li>
<li>Limiting the children to one ball of clay will keep the projects doable in the allotted two sessions. </li>
<li>In most cases, water works as well as slip for joining pieces of clay and is less messy.</li>
<li>It’s essential to emphasize and monitor the safe use of needle tools.</li>
<li>Approach this lesson with the three- and four-year-old children as an opportunity to experiment with the clay, rather than being concerned about producing a final project.</li>
<li>Glazing the projects doesn't take much time, so plan an extra activity to fill the session or skip the third session and have an adult apply the clear glaze.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Have the children talk about the projects that they chose to make with clay.</li>
<li>Point out where pinch, coil, and/or slab methods were used.</li>
<li>Discuss the many interpretations to this project demonstrating the versatility of clay.</li>
</ul>
<b>What the children might say...</b><br />
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<ul>
<li><i>I want one side of my seesaw to be up, but it keeps falling down.</i></li>
<li><i>I made flowers, but they won’t stand up in my pot.</i></li>
<li><i>I’m running out of clay and will need some more.</i></li>
</ul>
<b>What you might say...</b><br />
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<ul>
<li><i>Use a box or an extra stump of clay to prop up the side of the seesaw. When the clay used for the seesaw dries, the box or stump of clay can be removed.</i></li>
<li><i>Perhaps you could make some clay “dirt” to hold your flowers upright.</i></li>
<li><i>In order to finish the projects in one session, you need to plan to use one ball of clay.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1EvqwinJwe422QT9vFPcrUoWSsl8VSxTYGNi5Dn_AG30/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-47554472877882297722013-05-01T06:02:00.001-07:002020-07-30T13:10:39.210-07:00Papier Mâché - Layered Bowls<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4TAobFLcBzy6niwmzC8zZ6CM1-popS7qnTttVkeEAV0fNS-fgqV3Gy_v2IRWBcRXgn_9wHrM74DxaCi2JW1Ey-cTT-IktIMhyt5Clx8oYnmu8KFzwU2HZMV3RWIJp5i6XsOEsp71PM1St/s1600/final1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4TAobFLcBzy6niwmzC8zZ6CM1-popS7qnTttVkeEAV0fNS-fgqV3Gy_v2IRWBcRXgn_9wHrM74DxaCi2JW1Ey-cTT-IktIMhyt5Clx8oYnmu8KFzwU2HZMV3RWIJp5i6XsOEsp71PM1St/s400/final1.jpg" title="Age 10" width="400" /></a></div>
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<i>The children construct bowls using papier mâché and then design them with cut paper and paint. For ages 9 to 13. Plan 4 to 5 sessions.</i><i></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQptPUlFOXd-RRUVRXRmLC4VHNdv_ZUl9OBuycu5dmrz19dVW8oQgXVs97np9mY2cRxLlm05vpX6U_REbAJ_Ie0GJwbq6kBlN7NMznQ5ajqj5IeJK3tXz3_uP_etVt1AiKgEQ0PDnnZTa6/s1600/final2.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQptPUlFOXd-RRUVRXRmLC4VHNdv_ZUl9OBuycu5dmrz19dVW8oQgXVs97np9mY2cRxLlm05vpX6U_REbAJ_Ie0GJwbq6kBlN7NMznQ5ajqj5IeJK3tXz3_uP_etVt1AiKgEQ0PDnnZTa6/s400/final2.jpg" title="Age 9" width="400" /></a><br />
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<b><br />
</b> <b>KEY IDEAS</b><br />
<ul>
<li>Building with papier mâché</li>
<li>Working with three-dimensional form</li>
<li>Decorating with cut paper and paint</li>
</ul>
<b>LANGUAGE</b><br />
papier mâché, lip<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Newspaper for covering work area</li>
<li>Newspaper and light-weight white paper for tearing into strips</li>
<li>Bowl-shaped forms–plan one for each child (See note below)</li>
<li>Wheat paste–nontoxic (I use PlayBox Wheat Paste.)</li>
<li>Bowls for the wheat paste</li>
<li>Petroleum jelly with several throw-away brushes</li>
<li>Plastic wrap</li>
<li>Masking tape</li>
<li>Variety of patterned papers like ones used for origami, gift wrappings, and scrapbooks</li>
<li>Scissors</li>
<li>Liquid tempera paints</li>
<li>Brushes for painting</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Small containers with lids for saving mixed paint colors</li>
<li>Water-based polyurethane</li>
<li>Non-stick surface such as wax paper for drying the bowls</li>
</ul>
<i>Note: Use plastic, ceramic, or strong paper bowls with lips that are wider than the bottoms so that the dried papier mâché can be easily removed. </i><br />
<br />
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Mix the wheat paste to a cream-like consistency and put into bowls, planning one for every two children.</li>
<li>Cover the work area with newspaper.</li>
<li>Tear newspaper and white paper into roughly 1- x 3-inch strips.</li>
<li>Prepare a non-stick surface, such as wax paper, for drying the bowls.</li>
<li>Set out the wheat paste, strips of paper, petroleum jelly with brushes, plastic wrap, and masking tape.</li>
<li>Set out bowl-shaped forms, planning one for each child.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be making bowls by putting <i>papier mâché</i> over bowl-shaped forms. Explain that the paste-soaked paper will become hard after it is dried and can then be decorated.</li>
<li>Show the children how to prepare the form. Apply a thin coat of petroleum jelly to the outside of the form and then wrap it with plastic wrap, smoothing the wrinkles as much as possible and taping the loose ends against the inside. The petroleum jelly will help the plastic wrap cling to the form and the plastic wrap will allow the papier mâché to be easily released once it dries.</li>
<li>Demonstrate how to apply the papier mâché to the prepared form. Explain that white paper will be used for the first layer to create a surface that is easier to paint. Dip the white paper strips into the paste and pull the wet paper between two fingers to remove excess paste. Lay the dampened strips on the form, following its shape carefully while overlapping and smoothing the edges. Use newspaper strips to apply at least two more layers.</li>
<li>Have the children apply one layer of white paper and two layers of newspaper to the forms, smoothing the surface as much as possible before letting the forms dry.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYVi4DtzWQRldAdagDSZXNWb3__b-uucsBvI7uxDcxN5VOEDKUyq_qTVnd2Y5bKYSmP97b352Ze2mrr7EItA7RHAvVyEpLmVJjcGMt-my-3yY_AQZfu0ek28t2HxvfZPx9XjzF_0MDimS/s1600/scan0010.jpga.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYVi4DtzWQRldAdagDSZXNWb3__b-uucsBvI7uxDcxN5VOEDKUyq_qTVnd2Y5bKYSmP97b352Ze2mrr7EItA7RHAvVyEpLmVJjcGMt-my-3yY_AQZfu0ek28t2HxvfZPx9XjzF_0MDimS/s400/scan0010.jpga.jpg" title="Pull the wet paper between two fingers to remove the excess paste." width="285" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXdbtrePyvc5gwJm_aHxpvpIq2AqfEU38XhwMVMPJmra_V7kYNjt8IRqLWWCtRWfJkgAqKHtbKkLIfXb1HD9zh4MGG_2enVqCzlD_7i7SSt43llpKHTJCcpa0ijGvpYV8adkIq_0iP6C_/s1600/scan0012.jpga.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXdbtrePyvc5gwJm_aHxpvpIq2AqfEU38XhwMVMPJmra_V7kYNjt8IRqLWWCtRWfJkgAqKHtbKkLIfXb1HD9zh4MGG_2enVqCzlD_7i7SSt43llpKHTJCcpa0ijGvpYV8adkIq_0iP6C_/s400/scan0012.jpga.jpg" title="Use newspaper strips to apply at least two more layers over the white paper." width="290" /></a></div>
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<i><br />
</i> <i>Note: Dry the bowls upside down on a non-stick surface.</i><br />
<i><br />
</i> <b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Cover the work area with newspaper.</li>
<li>Set out wheat paste, white paper strips, and scissors.</li>
<li>Have available, but set aside, the patterned papers so that, if the children have extra time, they can begin to plan the designs for the bowls.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be completing the forms of the bowls to be decorated in the next session.</li>
<li>Show the children how to release the dried papier mâché bowl from the form by carefully sliding it off and discarding the plastic wrap. </li>
<li>Trim the <i>lip</i>, or top edge, of the bowl with scissors. Then use white paper strips to carefully wrap the trimmed lip and cover the outside of the bowl, making sure that all edges are smoothed before letting the bowl dry.</li>
<li>Have the children prepare the bowls for decorating in the next session.</li>
</ul>
<i>Note: Dry the bowls on a non-stick surface. If there is extra time, have the children look through the patterned papers to start planning their designs.</i><br />
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<b>Third Sessions</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the dried bowls.</li>
<li>Set out the patterned paper for cutting, scissors, and wheat paste.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be using cut paper to design the outside surface of the bowls.</li>
<li>Explain that the patterned papers can be cut and applied to the bowls by dipping them into wheat paste, using the same process as when building the bowls. Cover the complete surface on the outside of the bowls, leaving no white paper showing. (Be sure that the children understand that the inside of the bowls will be painted in the next session.)</li>
<li>Have the children design the outside surface of the bowls, wiping away extra paste and smoothing the edges as much as possible.</li>
</ul>
<b>Fourth/Fifth Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the dried bowls.</li>
<li>Set out the tempera paints, brushes, containers of water, and sponges.</li>
<li>Set out containers with lids for saving mixed colors.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In these two sessions, the children will be painting designs on the insides of the bowls.</li>
<li>Explain that it is important that the design on the inside of the bowl coordinate with the outside of the bowl. This can be done by repeating or contrasting the shapes and colors in the patterned paper.</li>
<li>Warn the children that when mixing their colors, they should make enough to cover the surface of their bowl. (These colors can be stored in small jars for repairing mistakes that may occur and for sharing with other children.)</li>
<li>Have the children mix their colors and then cover the entire surface on the inside of the bowls with the first layer of paint.</li>
<li>Let the bowls dry between sessions before painting on details.</li>
</ul>
<i>Note: When the bowls are completed, have an adult apply a coat of polyurethane.</i><br />
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<b>NOTES</b><br />
<ul>
<li>The amount of time needed for each session will depend on the size of the bowls, the amount of experience the children have working with papier mâché, and the time needed for drying the papier mâché between applications.</li>
<li>Newspapers that are printed with vegetable inks are preferred because they are more flexible.</li>
<li>Newspapers can be torn easily when ripped vertically.</li>
<li>Although more difficult to work with, white liquid glue can be substituted for the wheat paste.</li>
<li>Applying petroleum jelly to the form will release the dried papier mâché, but it leaves a greasy residue on the papier mâché bowls. Using only plastic wrap can be awkward for small hands to manage. The combination of petroleum jelly and plastic wrap works well.</li>
<li>Using white paper for the first and last layers of papier mâché creates a cleaner surface for designing the bowls. An alternative would be to use only newspaper for the papier mâché and apply gesso to the dried bowls before adding the paint and cut paper.</li>
</ul>
<b>LET'S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Are the bowls sturdy with no weak areas?</li>
<li>Are the surface and lip of each bowl carefully smoothed?</li>
<li>Discuss how the designs on the inside of the bowls were made to coordinate with the outside.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>I have some sports stickers at home. Can I bring them in for my bowl?</i></li>
<li><i>I want to make the inside of my bowl just yellow.</i></li>
<li><i>Can I cover my bowl with this blue paper and then cut out my own flowers to attach on top?</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>Your stickers should work as long as the paper is sturdy enough to handle while it is wet.</i></li>
<li><i>You can paint the inside of your bowl a solid color, but first look carefully to be sure there isn’t a design that you could use to make it better coordinate with the outside.</i></li>
<li><i>Cutting shapes to apply over a solid color will work very well.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1YhgRtxfqSQItssEeIplLM02eOwgR_pI8tcVwMXbVG90/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtSSXoNCZgEmka_YMayadt2ryhYdksn7MfAkkoDg0d7vKVfnySFRV9coFHLpkp-8DB-Xh9dgh6x5XlkZ4ax_SJ4I6ENJxbPGMbuUML6IqAgm83ErHbVK9oXkhIK5bOBA4a1u0f7HVFYl8/s1600/scan0006.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtSSXoNCZgEmka_YMayadt2ryhYdksn7MfAkkoDg0d7vKVfnySFRV9coFHLpkp-8DB-Xh9dgh6x5XlkZ4ax_SJ4I6ENJxbPGMbuUML6IqAgm83ErHbVK9oXkhIK5bOBA4a1u0f7HVFYl8/s400/scan0006.jpg" title="Age 10" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-3605259841680696252013-04-17T05:53:00.001-07:002020-07-30T13:20:17.820-07:00Painting - Textures & Patterns<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5bIBtVK4UH6WLLIZ6Qvg0qKLR-HYCBT0wJCTVvFJwFOi7hl4lAYsTmq3TJUuRcdvA0Kp34kVgNSKBB2J2yBj3eC_BSRed2pdsO56GVcOYBFQKAjwKUAthESpB4gw6uWoynldflgiWKau4/s1600/scan0012.jpg2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5bIBtVK4UH6WLLIZ6Qvg0qKLR-HYCBT0wJCTVvFJwFOi7hl4lAYsTmq3TJUuRcdvA0Kp34kVgNSKBB2J2yBj3eC_BSRed2pdsO56GVcOYBFQKAjwKUAthESpB4gw6uWoynldflgiWKau4/s400/scan0012.jpg2.jpg" title="Age 9" width="400" /></a></div>
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<i>The children explore brushstrokes to depict the textures in everyday objects and then repeat the brushstrokes to fill their paintings with patterns. For ages 6 to 9. Plan 2 to 3 sessions.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMI5WrYK3lBu3cTK_FNQvKL3mXsSs1-F2K96yPKqZvnYoFh4rCmBJosWkiEeUgfvK5N5RoKo90MxFm69iXsSDi2HAzUzh4qsa0ojlE1XUpiyPcfrFOpW58aE3eLEg8uYuWySxv0Bzcyil/s1600/scan0008.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMI5WrYK3lBu3cTK_FNQvKL3mXsSs1-F2K96yPKqZvnYoFh4rCmBJosWkiEeUgfvK5N5RoKo90MxFm69iXsSDi2HAzUzh4qsa0ojlE1XUpiyPcfrFOpW58aE3eLEg8uYuWySxv0Bzcyil/s400/scan0008.jpg" title="Age 7" width="400" /></a><br />
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<b><br />
</b> <b>KEY IDEAS</b><br />
<ul>
<li>Looking at textures and patterns.</li>
<li>Experimenting with brushstrokes</li>
<li>Filling the paper</li>
</ul>
<b>LANGUAGE</b><br />
two-dimensional, texture, pattern, composition, negative spaces<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Newsprint paper<span style="font-size: 12pt;">—</span>18 by 24 inches</li>
<li>Black construction paper<span style="font-size: 12pt;">—</span>approximately 12 by 18 inches (See note below)</li>
<li>Liquid tempera paints including white and black</li>
<li>Small containers for tempera paints</li>
<li>Flat easel brushes<span style="font-size: 12pt;">—</span>approximately three-eighth-inch wide</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Items with texture, such as ears of dried corn, pieces of tree bark, pine cones, peanut shells, fishermen’s nets, sponges, and sea shells.</li>
</ul>
<i>Note: Using black paper with white paint is a fun switch, creating sparkling effects when some of the colors mix with the white paint. </i><br />
<br />
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out newsprint paper, containers of black paint, and brushes.</li>
<li>Display the examples of textures.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be exploring ways to show <i>texture </i>(the feel of a surface) on a <i>two-dimensional</i>, or<i> </i>flat, piece of paper using a variety of brushstrokes.</li>
<li>Explain that all surfaces have texture<span style="font-size: 12pt;">—</span>some are smooth and some are rough. Looking at objects with rough texture, point out the lines and/or shapes that are repeated. Tell the children that these textures can be reproduced on paper by using a variety of brushstrokes.</li>
<li>Demonstrate ways to use the brush to create different types of brushstrokes. For example, using the flat side will make wide strokes; the skinny side will make thin strokes; and the tip of the brush will make even finer strokes. Applying pressure will make dark, heavy strokes and less pressure will make light strokes. </li>
<li>To experiment with brushstrokes, fold a sheet of newsprint paper four times, creasing the edges. Then open the paper to reveal sixteen smaller rectangles. Choose an object from the display, and after looking at it carefully, fill one square with brushstrokes depicting the texture. Do not paint the shape of the object<span style="font-size: 12pt;">—</span>just the texture. Return the object to the display and choose another. Explain to the children that they should continue this process until each square on their paper is filled.</li>
<li>Have the children fold their papers and paint sixteen different textures in the sixteen squares.</li>
</ul>
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<b><br />
</b> <b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Display the newsprint papers with the painted textures around the room<span style="font-size: 12pt;">—t</span>he idea is to fill the room with brushstrokes!</li>
<li>Set out the black construction paper, containers of white tempera paint, and brushes.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session the children will plan the <i>compositions </i>(the way something is put together to form a whole) of their paintings<i> </i>and then fill their papers with <i>patterns, </i>or designs, using white paint on black paper.</li>
<li>Discuss how patterns add interest to paintings and can be made by repeating the brushstrokes used to depict the textures. Discuss the various brushstrokes in the paintings displayed around the room.</li>
<li>Have the children use white paint to fill their papers with patterns, encouraging them to refer to the many brushstrokes on display.</li>
</ul>
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<b><br />
</b> <b>Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the dried paintings from the last session.</li>
<li>Set out tempera paints, brushes, containers of water, and sponges.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be adding color to the <i>negative spaces</i>, or the spaces in-between the already painted white brushstrokes.</li>
<li>Explain that the children should paint the colored brushstrokes in the same direction as the white brushstrokes; for example, following the movement of the waves in an ocean. Emphasize that the colors should be painted next to the white lines, not over them, although some of the white paint can mix with the colored paint.</li>
<li>Have the children paint the negative spaces in their compositions, filling their papers with colors.</li>
</ul>
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<b>NOTES</b><br />
<ul>
<li>The immediacy of liquid tempera paint makes it ideal for young children to use and gives these paintings bold, vibrant colors.</li>
<li>By using only black paint in the first session, the children are able to temporarily put aside their fascination with color and concentrate on the textures in the objects.</li>
<li>This is a good project to help children recognize the value of adding lots of texture and pattern to their paintings. </li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Are the papers completely filled with patterns and color?</li>
<li>Discuss the variety of brushstrokes used to make the patterns.</li>
<li>Review how the brushes were used to create the different brushstrokes.</li>
</ul>
<b>What the children might say…</b><br />
<ul>
<li><i>Do I have to use brushstrokes from the display or can I create my own?</i></li>
<li><i>Can I put designs on top of the white lines if I don’t cover them up?</i></li>
<li><i>Can I use some white paint on top of my colors?</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>The display is only to help you appreciate the variety of brushstrokes that can be used. You certainly can create new brushstrokes for your painting.</i></li>
<li><i>Painting designs on the white lines is a good idea as long as the white lines don’t disappear.</i></li>
<li><i>Using white paint again on top of some of your colors should give your painting a nice feeling of depth.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1u42o15PFId-sF5xzTu8B-kzR1m4Z2lZJoNHx5D46F4o/edit"><span id="goog_1582064961"></span>Click here to view this lesson in a printer-friendly format.</a><span id="goog_1582064962"></span><br />
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<br />Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-11516071251927243182013-04-03T05:24:00.003-07:002023-01-13T13:16:30.264-08:00Clay - West African Ritual Pots<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkHSfK8H3dkqZIrQnkt30HtrHAlfgwAmRKTo2FHK_LPsetH0V9OG_neRWqVKjDGukoRZUe1HMbB58txL0m-PhK7oElgADL3425AjQ-Zi-qfluZcZckPPFG1nmz_aNErD7nAwv9fyvvd5_4/s1600/final1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkHSfK8H3dkqZIrQnkt30HtrHAlfgwAmRKTo2FHK_LPsetH0V9OG_neRWqVKjDGukoRZUe1HMbB58txL0m-PhK7oElgADL3425AjQ-Zi-qfluZcZckPPFG1nmz_aNErD7nAwv9fyvvd5_4/s400/final1.jpg" title="Age 11" width="301" /></a></div>
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<i><br />
</i> <i>After learning about ritual vessels from West Africa, the children make and combine clay pinch pots and decorate them with African style figures. For ages 9 to 13. Plan 6 sessions.</i><i></i><br />
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<br />
<b>KEY IDEAS</b><br />
<ul>
<li>Learning about vessels, figures, and symbols from West Africa</li>
<li>Using the pinch method to make pottery</li>
<li>Working with three-dimensional form</li>
</ul>
<b>LANGUAGE</b><br />
pinch pot, lip, three-dimensional, scratch and slip, bisque ware, underglazes, glaze<br />
<br />
<b>RESOURCE</b><br />
Click<a href="https://docs.google.com/document/d/1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA/edit"> here</a> for more information about working with clay. Scroll down <a href="https://docs.google.com/document/d/1Nfv2u_GqGyp9BkuQGi7UuZOW9oFOt2BdZISVQumHybw/edit?usp=sharing">here</a> to see four examples of ritual vessels from West Africa. Click here to see <a href="https://docs.google.com/document/d/1Tk4ujTl0awD1vLZ30QafaTsqVBRK6k2kPDX0onz_VDM/edit?usp=sharing">symbols</a> from Ghana used to decorate cloth and pottery. Elsy Leuzinger’s book, <i>The Art of Black Africa</i>, has examples of figures used in African art.<br />
<br />
<b>BACKGROUND</b><br />
According to Dogon tradition, ritual vessels were made for a hogon, or spiritual leader, at the time of his installation as the chief, priest, and leader of a village. The vessels were used to hold food during the investment ceremony and were either newly made or handed down from the previous hogon.<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>12- by 18-inch Masonite boards (one per child) or canvas to cover the work surface</li>
<li>Clay (see note below)</li>
<li>Clay needle tools</li>
<li>Clay knives</li>
<li>Containers with a small amount of slip or water</li>
<li>Underglazes</li>
<li>Clear glaze</li>
<li>Brushes for applying underglazes and glaze</li>
<li>Plastic bags and trays for drying the projects</li>
<li>Pictures of West African ritual vessels and figures</li>
</ul>
<i>Note: The children will each need three balls of clay–two sized to fit comfortably in the palms of their hands so they can control the clay while pinching the pots, and a third for making the figure on top of the pot. </i><br />
<br />
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out Masonite boards or cover work surface with canvas.</li>
<li>Set out two balls of clay for each child plus a few extra.</li>
<li>Display pictures of the ritual vessels.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Tell the children about the West African ritual vessels and explain that they will be creating similar vessels using clay. In this session, they will be constructing two <i>pinch pots </i>(pots made by pinching clay) that will be combined in the next session to form the vessels.</li>
<li>Demonstrate how to make a pinch pot by rolling a ball of clay between your palms to make it round. One hand (usually the less dominant one) will hold the clay, while the dominant hand does the pinching. Place the ball of clay on the less dominant hand opened flat so that the fingers will not be in the way while pinching the clay. Using only the thumb of the other hand, press it into the center of the ball until it is about one-half inch from the bottom. Emphasize that only the thumb will go inside the pot. To make the hole larger, place your thumb all the way to the bottom of the hole, and with two fingers on the outside, pinch gently with the fleshy parts of the fingers (rather than the tips) to avoid causing the clay to break off. Rotate the pot about one-quarter-inch after each pinch. Work slowly to avoid stretching the clay too quickly and concentrate on the feel of the clay as you continue pinching and turning until reaching the original starting point on the ball of clay. Each time a pinch is made, it must be repeated all the way around to the starting point to maintain the pot's roundness.</li>
</ul>
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<ul>
<li>Make the <i>lips</i>, or top edges, of both pots even by trimming them and/or pressing the pots upside down on the work surface.</li>
<li>Have each child make two pinch pots with the same lip diameter, keeping them about three to four inches wide and no more than six inches tall when the two pots are combined.</li>
</ul>
<i>Note: Allow the pots to harden slightly and then cover them with plastic to keep them from becoming leather-hard before the next session.</i><br />
<br />
<b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out slightly hardened pots.</li>
<li>Set out clay knives, needle tools, containers of slip or water, and some extra clay for filling in recessed areas on the pots.</li>
<li>Prepare two slightly hardened pinch pots for demonstration.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be connecting their pinch pots, cutting the lids, and carving designs into the clay.</li>
<li>Demonstrate how to join the pots using the <i>scratch and slip</i> process<span style="font-size: 12pt;">—</span>scratch the lips of both pots, apply a small amount of slip or water, and press the two pots together. Blend the connection by gently melding the clay, using extra bits of clay to fill in recessed areas.</li>
<li>With a needle tool, draw a guideline for cutting the lid. Include a “v” notch, as seen in the pot below, to make it easier to find the correct placement of the lid. Cut along the line with a clay knife or needle tool and smooth the lips on both sections of the pot.</li>
</ul>
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<ul>
<li>Make a flange to hold the lid firmly on the pot by rolling a coil to fit along the inside edge of the bottom section of the pot. Press the coil flat and attach it, letting about one-quarter-inch rise above the lip. Place the lid on the pot to be sure that is fits comfortably over the flange.</li>
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<ul>
<li>Tell the children about the West African symbols used on fabric and pottery. Explain that they can use similar symbols or create their own to carve designs on the pots with a needle tool.</li>
<li>Have the children connect their pinch pots, cut the lids, and carve designs.</li>
</ul>
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<i>Note: Store the pots with the lids on under plastic wrap.</i><br />
<b><br />
</b> <b>Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out Masonite boards or cover work surface with canvas.</li>
<li>Set out one ball of clay for each child plus a few extra.</li>
<li>Set out needle tools and containers of slip or water.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Show the children examples of African figures used in art. Explain that, in this session, they will be making figures for the tops of their pots.</li>
<li>Tell the children that they can make figures similar to the traditional African figures or create their own. The figures must be<i> three-dimensional</i>, or viewable from all sides, sturdy, and able to sit securely on the pots. Encourage the children to include extra items, such as the bowl being held by the figure below or the fish in the ibis’ mouth pictured above. Be sure the children understand that when making attachments to the figures, they must use the scratch and slip process.</li>
<li>Have the children make figures and attach them securely to the pots.</li>
</ul>
<i>Note: Dry the pots with the lids on very slowly under plastic wrap, loosening the wrap gradually. Leave the lids on the pots and bisque-fire them in a kiln.</i><br />
<br />
<b>Fourth/Fifth Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out bisque-fired clay pieces.</li>
<li>Set out brushes and a variety of underglazes.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that the clay has been fired in the kiln and is now referred to as <i>bisque ware</i> which is very fragile and must be handled carefully. The children will be adding color to the bisque ware using <i>underglazes</i> that are paints for clay.</li>
<li>Demonstrate how quickly underglazes dry when applied to the bisque ware. The children will need to dip their brushes often to avoid scrubbing and to cover all areas. They should carefully dab into any cracks or rough areas on the clay surface, brushing away any puddles. Explain that designs can be put directly on top of dried underglazes and that the last color painted is the one that will show.</li>
<li>Discuss ways to integrate the figures with the pots, such as through color and repetition of design.</li>
<li>Have the children apply the underglazes to their pots and allow the pieces to dry overnight.</li>
</ul>
<i>Note: If time permits, low-fire the painted pieces before applying the clear glaze. However, if done carefully, the glaze can be applied directly over the dried underglazes.</i><br />
<br />
<b>Last Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out clear glaze and brushes.</li>
<li>Set out the painted clay pieces.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be applying a clear <i>glaze</i> to their pots which will give the clay a shiny and strong surface. Explain that the clear glaze will cover up the colors temporarily. When the clay is fired in the kiln again, the glaze will melt and turn clear, allowing the colors to show through.</li>
<li>To avoid putting on too much clear glaze, which will cause the colors to become cloudy after firing, be sure the children understand that when the glaze is first applied it will look transparent. As it dries it will become opaque. (The number of coats will vary according to the glaze instructions, but usually one coat is sufficient.)</li>
<li>Explain to the children that glaze should not be applied to the bottom of the pots because it will make the pots stick to the kiln shelf. Do not put glaze on the bottom edge of the lids or the lip of the pots to prevent the lids from sticking to the pots after being fired. If glaze does get on any of these areas, it can be wiped it off with a damp cloth.</li>
<li>Have the children apply the clear glaze to the pots.</li>
</ul>
<i>Note: Let the pots dry overnight and glaze fire them in a kiln.</i><br />
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<b>NOTES</b><br />
<ul>
<li>Letting the pinch pots harden slightly makes them easier to handle while joining them.</li>
<li>It is better for the children to apply the clear glaze after the underglazed pieces have been low-fired to avoid smearing the colors.</li>
<li>Fire the pots with the lids on so that they will shrink at the same rate. Be sure that there is no glaze on the bottom of the lids or the lip of the pots so they will not stick together in the glaze firing.</li>
</ul>
<b>LET'S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Discuss the ways the figures relate to their pots.</li>
<li>Are the pots and figures viewable from all sides?</li>
<li>Review the pinch pot process.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>I didn't scratch enough designs in my pot when the clay was wet. Can I paint some on now that the clay is bisque-fired?</i></li>
<li><i>I want my pot to look like a nest for my bird so I don’t want to add symbols.</i></li>
<li><i>Monkeys have very long arms, but I’m afraid the clay will break</i>.</li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>Designs can be added with the underglazes on the bisque-fired pots. This is a good opportunity to coordinate the colors with the figure on your pot.</i></li>
<li><i>If you don’t want to add symbols to your pot, you might consider adding lines that would relate to a bird’s nest.</i></li>
<li><i>Supporting the monkey’s arms by attaching them to the pot will give them extra strength.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1bFMqYYWHM8sX2f_GvrmezAg7cEZ51A8i36eMgvQRch4/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-2160716536551111542013-03-20T05:04:00.000-07:002020-07-31T08:04:59.215-07:00Cut Paper - Birdcages<div class="separator" style="clear: both; text-align: center;">
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<i><br />
</i> <i>The children use paper and glue to create birds and their cages. For ages 3 to 6. Plan 2 sessions.</i><i></i><br />
<a name='more'></a><i></i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Cutting with scissors</li>
<li>Using glue</li>
<li>Developing small motor skills</li>
</ul>
<b>LANGUAGE</b><br />
contrast<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Colored construction paper (See note below)</li>
<li>Scissors</li>
<li>Glue sticks</li>
<li>Slightly dampened sponges</li>
<li>Pictures of birds</li>
<li>A scrap paper bin with a collection of leftover paper from past projects (optional)</li>
</ul>
<i>Note: Plan one sheet of 9- by 12-inch paper for each birdcage. Use smaller pieces of paper (about 6 by 9 inches) for making the birds so they will fit inside the birdcages. </i><i>Cut ¼-inch strips for the railings, planning 3 to 5 strips for each birdcage.</i><br />
<div>
<b><br />
</b></div>
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<b>THE PROJECT</b></div>
<div>
<b>First Session</b></div>
<div>
<b>Preparation</b><br />
<ul>
<li>Set out the 6- x 9-inch pieces of construction paper for making the birds.</li>
<li>Set out scissors, glue, dampened sponges, and pictures of birds.</li>
<li>If available, set out a scrap paper bin.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be using paper and glue to make the birds. </li>
<li>While looking at the pictures of birds, discuss their shapes, colors, and unique characteristics, such as wings, tails, beaks, thin legs, and clawed feet.</li>
<li>Tell the children that they will be sharing the colored paper on their tables to make their birds. Each child should start by choosing one color of paper. When finished cutting from it, he or she should return the paper to the middle of the table for someone else to use and then choose another color. Assure the children that there is more of each color if needed. (A scrap paper bin is fun to search through for special and unusual colors.)</li>
<li>Demonstrate the proper way to hold and use scissors. The thumb goes in the small hole and two or three fingers go in the larger hole. With the blade of the scissors opened wide, place the paper deep into the opening, taking advantage of the whole blade while cutting. For a circular shape, use one hand to slowly close the scissors while using the other hand to gradually turn the paper. Continue opening and closing the scissors while turning the paper until a circle is completed.</li>
<li>Show the children how to attach two pieces of paper with glue by applying glue to the smaller paper and pressing it on to the larger paper. Warn the children that it doesn't take much glue to attach the pieces. Use the dampened sponges to wipe sticky fingers.</li>
<li>Have the children create their birds with the construction paper and glue.</li>
</ul>
<b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the 9- by 12-inch sheets of construction paper for the birdcages, planning one for each child.</li>
<li>Set out the smaller pieces of construction paper for making items to add to the birdcages.</li>
<li>Set out the ¼-inch<i> </i>strips of paper for the railings on the birdcages. </li>
<li>Set out the dried paper birds, scissors, glue, and sponges.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be making birdcages<i> </i>for their birds.</li>
<li>Show the children how to make birdcages large enough for the birds to fit inside by only cutting around the edges of the paper to change its shape. </li>
<li>Explain that when choosing the color of the birdcage, it should <i>contrast</i>, or be different, from the color of the bird to make the bird easier to see. Demonstrate this by placing a piece of paper on top of another piece of the same color, such as yellow on yellow. Then place the same piece of paper on a piece that is a different color, such as yellow on red. Ask the children which one makes the first color easier to see.</li>
<li>Encourage the children to make additional items for the birds, such as swings, food dishes, water bottles, ladders, and toys. The children should plan the placement of the birds and additional items in the birdcages before attaching them with glue.</li>
<li>Demonstrate how to complete the birdcages by making the railings with the strips of paper. Apply a dab of glue on one end of a paper strip, attach it to the top of the birdcage, and then cut the strip at the bottom of the birdcage and attach it with another dab of glue. Empathize that only a few railings are needed and they should be placed so that the birds can peek through. </li>
<li>Have the children cut out the birdcages, fill them with the birds and additional items, and then attach the paper strips.</li>
</ul>
<b>NOTES</b><br />
<ul>
<li>It is important to use smaller pieces of paper for making the birds so that the birds will fit into the birdcages.</li>
<li>For the birds that become too large, cut the cages from 12- by 18-inch paper.</li>
<li>The younger children tend to put the paper strips on the birdcages without regard to covering up the charming birds. Remind them to place the strips so that the birds can peek through.</li>
<li>Sticky fingers can make attaching the paper strips difficult, so be sure to have slightly dampened sponges available.</li>
<li>The wonderful array of shapes for the birdcages makes an interesting and charming display. On the bulletin board below, the birdcages were mounted on another piece of paper to help them stand out against the cork background.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_vSXjGYZMrzd-OPv7_2wRhc7UDfOy7gF63VAt5EDCpK09O3Z7rRcuA5pTpY64zE2bZUZ6NB8WfnOCuO3st4FxkfW-v4EdVe3OC4gCV9Sm3kg166Bi9q2IWtztlx4M2V5MYSrT-RGZlaD7/s1600/finaldisplay.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_vSXjGYZMrzd-OPv7_2wRhc7UDfOy7gF63VAt5EDCpK09O3Z7rRcuA5pTpY64zE2bZUZ6NB8WfnOCuO3st4FxkfW-v4EdVe3OC4gCV9Sm3kg166Bi9q2IWtztlx4M2V5MYSrT-RGZlaD7/s400/finaldisplay.jpg" title="Display of birdcages that were made by 3- to 6-year-old children." width="400" /></a></div>
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<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Discuss the variety of birds and birdcages.</li>
<li>Have the children talk about the items they included in their birdcages.</li>
<li>Review the cutting and gluing processes.</li>
</ul>
<ul></ul>
<b>What the children might say...</b><br />
<ul>
<li><i>Why won’t these scissors cut my paper?</i></li>
<li><i>I want to make a friend for my bird.</i></li>
<li><i>I can’t get this strip of paper to stick to the birdcage instead of my fingers.</i></li>
</ul>
<b>What you might say…</b><br />
<ul>
<li><i>When using your scissors, remember to put your thumb in the small hole and your fingers in the large hole.</i></li>
<li><i>If there is room for two birds in your birdcage, making a friend is a nice idea.</i></li>
<li><i>If your fingers become too sticky, wipe them on the sponge at your work area.</i></li>
</ul>
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<a href="https://docs.google.com/document/d/1POrJ2AP8F8IRsI0yv7HJ6IgmnSyuGySA-jyJsoyZKKw/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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<ahref bp.blogspot.com="bp.blogspot.com" final4.jpg="final4.jpg" http:="http:" imageanchor="1" p8="p8" s1600="s1600" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" v0cbkwfks="v0cbkwfks" whi9upkfi="whi9upkfi" yeibwh8fi="yeibwh8fi"><img border="0" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFTP8osfHiq4uuw6PdcP31y1lUYj5OMyH81oyNuk-sMmw6Rp2j3_JBef7Y4bNoiVAHbMuEHepHO4VnzvBbQjoNEaJ5lVMOxxxmp0jp7E4jEwvmV92TFTbfN0ICPDNV4fP8y44UIfD48Pu/s400/final4.jpg" title="Age 4" width="400" /></ahref></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-18512751252894904962013-03-06T05:26:00.001-08:002021-02-12T13:04:24.724-08:00Printing - Suminagashi<div class="separator" style="clear: both; text-align: center;">
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<i>The children manipulate colored inks on the surface of water to make Suminagashi prints. For ages 9 to 13. Plan 1 to 2 sessions.</i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Learning about an art of Japan</li>
<li>Making monoprints</li>
<li>Experiencing a new and exciting form of printing</li>
</ul>
<b>LANGUAGE</b><br />
monoprinting, dispersant<br />
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<b>RESOURCE</b><br />
Click <a href="https://www.youtube.com/watch?feature=player_embedded&v=9nAez1H9iAw">here</a> to see a film showing a Japanese master making a Suminagashi print.<br />
<b></b> <br />
<b>BACKGROUND</b><br />
Suminagashi (<i>sue-me-NAH-gah-she</i>) literally means “floating ink” and is an ancient form of Japanese marbling dating back over 800 years. Colored inks are floated on a bath of clear water and then gently manipulated into delicate patterns. Paper is carefully laid on top of the water to absorb the colors and then lifted. This is a form of monoprinting where no two prints will be exactly the same.<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Marbling tray–a photo tray, large baking tray, plastic bin, or similar container that is at least two inches deep</li>
<li>Tap water (If sink is not available, use two large trash cans–one filled with fresh water and one to discard used water.)</li>
<li>Pigmented drawing inks or Boku Undo colors</li>
<li>Small containers for inks</li>
<li>Newspapers to keep work area clean and to skim away dust or color that remains after each print</li>
<li>Photo Flo 200 to act as a dispersant</li>
<li>Eyedropper</li>
<li>Brushes–bamboo watercolor brushes #2 or #4 work well</li>
<li>Absorbent paper (See note below)</li>
</ul>
<i>Note: Although a variety of absorbent papers can be used, each will work differently and must be experimented with ahead of time. In this lesson, Art Advantage Oriental rice paper was used. Since rice paper is somewhat transparent, the dried prints were backed with white paper to bring out the colors. Copper plate paper, which comes in large sheets that can be cut into smaller pieces, absorbs the colors well, but is considerably more expensive.</i><br />
<br />
<b>THE PROJECT</b><br />
<b>Preparation</b><br />
<ul>
<li>Cover the work area with newspaper. (The number of work areas will depend on the size of the group. Some children can observe as prints are being made while they wait their turn.)</li>
<li>Cut newspaper strips to use for cleaning off excess color after a print is made. The strips should be two inches wide and the length of the tray being used.</li>
<li>Pour the colored inks into small containers. Test that each color will spread sufficiently by dipping a brush into the color and touching the surface of the water. The color should spread into about a three-inch circle. If it doesn't, add a single drop of the Photo Flo dispersant to the ink and try again. Work carefully because if too much Photo Flo is added, the color will sink to the bottom of the tray. Usually the pigmented drawing inks and the Boku Undo colors will spread without the Photo Flo.</li>
<li>Cut the printing paper to fit easily inside the tray and test that it absorbs the colored inks.</li>
<li>Make a dispersant by adding one drop of Photo Flo to one teaspoon of water.</li>
<li>Set out the containers of colored inks and dispersant, placing one brush with each color and one with the dispersant.</li>
<li>Set out trays, paper, and newspaper strips.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Tell the children about the Japanese art form of <i>Suminagashi</i> where colors are floated on water to make prints. Explain that this is a form of<i> monoprinting </i>and no two prints will be the same. In this session, the children will be taking turns making their own Suminagashi prints. </li>
<li>Demonstrate how to do Suminagashi. Fill a tray with one to two inches of water. With a newspaper strip, skim the surface of the water to remove any dust and to help still any movement in the water. Dip one brush into a color and one brush into the <i>dispersant</i> which is used to drive the color into a ring. Tap off any drips against the edges of the containers. With one brush in each hand, rest the arms on the sides of the tray and touch the surface of the water delicately with the color-loaded brush. Do not submerge the whole brush–just touch the tip onto the water surface. Then touch the center of the circle with the dispersant brush. The dispersant solution will propel the circle of color into a large ring. Alternately apply color and dispersant to create concentric circles. If desired, move to another area in the tray to make new circles with the same color or another color.</li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeuYjuGsIDGVbenJhihhO9K87D8aRjm4PW3Ipjn2yGq9uxR6BuoMJlyT7f9LjW2Je3HDfF5xn9oIEOk2MDXAG-axpoiG08tdjjepFUqdI4vE_cyluwaklTNBMGXQu-IxlL16RRNopf18T/s1600/sumidemo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeuYjuGsIDGVbenJhihhO9K87D8aRjm4PW3Ipjn2yGq9uxR6BuoMJlyT7f9LjW2Je3HDfF5xn9oIEOk2MDXAG-axpoiG08tdjjepFUqdI4vE_cyluwaklTNBMGXQu-IxlL16RRNopf18T/s320/sumidemo.jpg" title="Demonstration by Diane Maurer at dianemaurer.com" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Demonstration by Diane Maurer at <a href="http://dianemaurer.com/">dianemaurer.com</a></td></tr>
</tbody></table>
<ul>
<li>When the desired amount of color has been added, a print can be made immediately or the colors can be manipulated gently by softly blowing on them, fanning them, blowing through a straw, or dragging a single hair through them. Be careful not to over mix the colors.</li>
<li>To make a print, hold the paper on opposite corners. Lay one edge carefully onto the water surface and continue holding it as you slowly drop the paper onto the colored inks. Dropping the paper too quickly will disturb the design and cause air pockets to form, leaving voids in the prints.</li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLf3dRVsIHmqoO3GxBMSLgxwSjeMSci5-B1z71-itGoYpT1qvPgV4uT0C0mP9F2gbaKXgtThUD9u7gp6cvPhtlmG8WFKV5KlzlwrelWppb2X-iQQgXzrQWcgoyqmvKLcwnMCycrcJcLWbn/s1600/suminagashi-step-7.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLf3dRVsIHmqoO3GxBMSLgxwSjeMSci5-B1z71-itGoYpT1qvPgV4uT0C0mP9F2gbaKXgtThUD9u7gp6cvPhtlmG8WFKV5KlzlwrelWppb2X-iQQgXzrQWcgoyqmvKLcwnMCycrcJcLWbn/s320/suminagashi-step-7.jpg" title="Demonstration by Diane Maurer at blueroofdesigns.com" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Demonstration by Diane Maurer at <a href="http://blueroofdesigns.com/2009/07/01/suminagashi-on-paper-silk-with-diane-maurer/">blueroofdesigns.com</a></td></tr>
</tbody></table>
<ul>
<li>Let the paper sit for ten seconds and then carefully lift it. Only paper which did not absorb enough of the color will need rinsing. Lay the print on newspaper to absorb some of the water and then put it on fresh newspaper to dry.</li>
<li>Drag a newspaper strip across the surface of the water to clean it for the next print.</li>
<li>Have the children take turns observing and making Suminagashi prints.</li>
</ul>
<i>Note: In a second session, the dried prints can be marbled again. The interplay of lines from double marbling creates very interesting and complex patterns. All the prints in this lesson were marbled twice. Dry the completed prints and flatten them under some large books or iron them on a low setting.</i><br />
<br />
<b>NOTES</b><br />
<ul>
<li>Using a clear or light colored tray will make it easier to see the colors on the water surface.</li>
<li>If using drawing inks, be sure that they are the pigmented type. Speedball pigmented drawing inks were used in this lesson.</li>
<li>Although the drawing inks and Boku Undo colors are non-toxic, they will stain so the children should protect their clothing.</li>
<li>An accumulation of ink in the water will change the surface tension and the inks will no longer spread. When this happens, change the water in the tray.</li>
<li>Be sure to test the paper ahead of time. Some rice paper will fall apart when wet and some printing papers are not absorbent enough. Copper plate paper absorbs the inks very well. However, because of its stiffness, it is more difficult to avoid air pockets when laying it on the water surface.</li>
<li>If working with very thin paper, keep one edge dry so it can be lifted from the water without tearing.</li>
<li>If using transparent rice paper, you may need to mount the dried print on another sheet of white paper to bring out the colors.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Look for the natural flow of patterns created by the water.</li>
<li>Compare the effects made by manipulating the colors.</li>
<li>Discuss why this process is a form of monoprinting</li>
</ul>
<b>What the children might say…</b><br />
<ul>
<li><i>The red ink fell to the bottom of the tray.</i></li>
<li><i>The color isn't spreading.</i></li>
<li><i>There is a big white spot in the middle of my print.</i></li>
</ul>
<b>What you might say…</b><br />
<ul>
<li><i>If there is too much ink on your brush or you put more than the tip of the brush in the water, the color will drop to the bottom of the tray. It will stay on the bottom and should not interfere with your design.</i></li>
<li><i>Be sure to use a newspaper strip to clean the inks from the previous prints off of the water surface. If the inks still don’t spread, we will need to change the water in the tray.</i></li>
<li><i>It is important to lay the paper gradually over the surface of the water. If you go too quickly, you are likely to get an air pocket that will not come in contact with the inks, leaving a blank spot in your print. </i></li>
</ul>
<a href="https://docs.google.com/document/d/1kOhPW7NlPcrnnqiR9VLUtiY3kYt2MuFJhIzq3zBTFgo/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-4847092044468199022013-02-20T04:52:00.000-08:002020-08-01T10:16:29.736-07:00In the Style of - Grandma Moses<div class="separator" style="clear: both; text-align: center;">
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<i>After learning about Grandma Moses and her paintings, the children use her style to paint landscapes. For ages 6 to 13. Plan 2 to 3 sessions.</i><i></i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Learning about Grandma Moses and her landscape paintings</li>
<li>Painting landscapes in the style of Grandma Moses</li>
<li>Mixing tints and shades of colors</li>
</ul>
<b>LANGUAGE</b><br />
landscape, perspective, tint, shade, foreground, background<br />
<br />
<b>RESOURCES</b><br />
Click <a href="https://docs.google.com/document/d/1GeT-PVbj2OV5CEVFqKuvVb8afdJTuHJRviSg8HQC0uw/edit?usp=sharing">here</a> and scroll down for five examples of Grandma Moses' landscape paintings.<br />
<br />
<b>BACKGROUND</b><br />
<b>The Life of Grandma Moses</b><br />
Grandma Moses was a self-taught artist who is best known for her brightly colored depictions of farm life and the rural countryside. Her paintings capture the excitement of the first snow, the colors of the seasons, and the spirit of the holidays.<br />
<br />
The third oldest of ten children, Anna Mary Robertson Moses was born in 1860 on a farm in Greenwich, a small community in upstate New York. Her father, who enjoyed seeing his children express themselves creatively, bought large sheets of blank newsprint paper for them to draw on. What little formal education she had was in a one-room country school. When Anna reached 12 years old, she began doing sewing, cooking, and household chores on a nearby farm for a well-to-do family.<br />
<br />
At the age of 27, she married Thomas Moses and together they rented a farm in Virginia where they remained for twenty years, raising a family of five children. By 1905, they made enough money to buy their own farm in upstate New York. After her husband died in 1927, she continued to operate the farm with the help of her son. However, when arthritis attacked her hands, she had to give up the farm chores and the <a href="https://docs.google.com/document/d/1z9u_-jJzT7NB3sHJ8CTChA3-51FryOe_XXI-51V2GLM/edit?usp=sharing">embroidery</a> that she loved doing.<br />
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At the age of 76, she followed her sister's suggestion to try painting. When a local drugstore exhibited her work in the window, an art collector from New York passed by and bought all of her paintings. Upon visiting her, he bought ten more and eventually arranged a one-woman show in New York City. The simple realism and nostalgic quality in her homespun country scenes made her famous at the age of 80. Several months later, a journalist, visiting her hometown, came upon and popularized her local nickname "Grandma Moses."<br />
<br />
Describing her process, she said, “I paint from the top down. First the sky, then the mountains, then the hills, then the trees, then the houses, then the cattle, and then the people.” Her tiny figures cast no shadows and seem arrested in action. Her use of color relates to the seasons, such as white paint for winter scenes, light green for spring, deep green for summer, and brown for autumn. Working from her memories, she portrayed the way of life that she had once lived. She painted over 1,000 paintings, twenty-five of which she did after her 100th birthday.<br />
<br />
Grandma Moses was 101 years old when she died in 1961.<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Colored construction paper or Manila paper (approximately 15” x 20”)</li>
<li>Pencils</li>
<li>Tempera paints</li>
<li>Paint brushes</li>
<li>Trays for mixing paint colors (Styrofoam or plastic trays from the grocery store work well)</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Examples of Grandma Moses paintings</li>
</ul>
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Become familiar with the life and works of Grandma Moses.</li>
<li>Gather examples of her landscape paintings.</li>
<li>Set out pencils and paper.</li>
<li>Set out paints, brushes, mixing trays, containers of water, and sponges.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Display as many examples of Grandma Moses’ paintings as possible. As the children look closely, tell them about her life and works. In the next several sessions, the children will be painting <i>landscapes</i>, or pictures of the countryside, using Grandma Moses’ style.</li>
<li>Discuss the main characteristics of Grandma Moses’ works: she painted from her memories; she divided her paper, painting the sky first, then the hills, then the cattle, and then the buildings and people; her paintings are cheerful and full of bright, pure colors; she used no shadows; and she showed <i>perspective</i>, or distance, by painting objects larger in the <i>foreground</i> (closest to the viewer) and smaller in the <i>background </i>(farthest from the viewer).</li>
<li>Show the children how to sketch with pencil the basic outline of hills or land for their paintings. </li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm95yCZkYhpokmoYuXRNK7ooIXUon4F5iLMnVMWiZzEZKOOevMMrqlvpp2m8oV3aorzfzW3h06Yl-q8aHVtNmosZW2fib9cSZDFbKOHMvXTNFIQDnUsDXRHs0vqQo0iDLy8_zHOIJRwVo/s1600/scan0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm95yCZkYhpokmoYuXRNK7ooIXUon4F5iLMnVMWiZzEZKOOevMMrqlvpp2m8oV3aorzfzW3h06Yl-q8aHVtNmosZW2fib9cSZDFbKOHMvXTNFIQDnUsDXRHs0vqQo0iDLy8_zHOIJRwVo/s400/scan0001.jpg" title="Drawing lines to delineate the sky and sections of land." width="265" /></a></div>
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<ul>
<li>Explain to the children that they will need to use different colors or make <i>shades</i> (darkness) and <i>tints</i> (lightness) of the same color to show the different sections of land in the paintings. This can be done by adding blue or black for the darker shades and yellow or white for the lighter tints.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWvLqhjFMYqd1AFulkiL1Migb33OemUeS-fyet1Ma8GcsmXXqkSh4yayRLSUwoy1mX104K0bGS1EWIxn2sL-ZiVywzfmTgiwYJ49utHy_v-CyoZgguLwrin6FI-6wmZ33JS_Zz1jfs9jR/s1600/scan0002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWvLqhjFMYqd1AFulkiL1Migb33OemUeS-fyet1Ma8GcsmXXqkSh4yayRLSUwoy1mX104K0bGS1EWIxn2sL-ZiVywzfmTgiwYJ49utHy_v-CyoZgguLwrin6FI-6wmZ33JS_Zz1jfs9jR/s400/scan0002.jpg" title="Mixing shades and tints for the sections of land." width="261" /></a></div>
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<ul>
<li>Have the children lightly sketch lines to delineate the sky and sections of land on their paper, and then fill in the sections with color.</li>
</ul>
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<b>Second/Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the dried paintings.</li>
<li>Set out paints, brushes, mixing trays, containers of water and sponges.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Review Grandma Moses’ style of painting, using bright colors and showing perspective with large and small shapes. In this session, the children will be making additions to their paintings, such as houses, trees, and people.</li>
<li>Explain that these additions can be painted directly on top of the already dried paint. To do this, they should dip their brushes into the paint often to avoid scrubbing with the brush which will cause the bottom layer of paint to become wet and mix with the top color. Emphasize the importance of drying the brush well after rinsing between colors to keep the tempera paints from becoming too watery.</li>
<li>Have the children complete their paintings with houses, trees, people, etc.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-mytUPT3RWVBnnFNwqqHzzIl8ZvXZBYmDgc7lT4i_PjYA8J418Qd4uSEE61c89EdmA4U8i8SxDYQyPDF6oCD0iYmqnDTNsqHeG5fTaiFusbkSRFWdMOjj5Cm0SVXPDmWO7luUf2JdyI_/s1600/scan0003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-mytUPT3RWVBnnFNwqqHzzIl8ZvXZBYmDgc7lT4i_PjYA8J418Qd4uSEE61c89EdmA4U8i8SxDYQyPDF6oCD0iYmqnDTNsqHeG5fTaiFusbkSRFWdMOjj5Cm0SVXPDmWO7luUf2JdyI_/s400/scan0003.jpg" title="Adding houses, crops, tractors, and cows." width="261" /></a></div>
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<b><br />
</b> <b>NOTES</b><br />
<ul>
<li>Children enjoy the childlike quality of Grandma Moses’ paintings.</li>
<li>Grandma Moses is usually described as either a naive, folk, or primitive artist. Although her work has some characteristics of each, she actually developed her own unique style.</li>
<li>When working with younger children, it is good to demonstrate the wet paint over dry paint process.</li>
</ul>
<b>LET'S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Point out the characteristics of Grandma Moses’ paintings that can be seen in the children’s paintings.</li>
<li>Have the children tell how they mixed their paints to delineate the sections of land.</li>
<li>Discuss with the children how they felt about painting in Grandma Moses' style.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>With all this snow, how can I paint ice on the frozen pond for the ice skaters?</i></li>
<li><i>When I was on vacation in Arizona, I remember seeing hills that were red.</i></li>
<li><i>If I close my eyes and see covered wagons, can I put them in my painting?</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>A frozen pond will usually reflect the color in the sky, so you might add some blue or gray to the white paint.</i></li>
<li><i>Grandma Moses would close her eyes to think about things that she had seen and then paint scenes as she remembered them.</i></li>
<li><i>Covered wagons would make a nice addition to your landscape.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1plymPp6PijHCYxS-iuQ752KnHUSokqjZ8SZEyJ8O25w/edit?usp=sharing">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlH31O4xPPb3Y4e41L9LlCgDi1kKSbT5cGuoLQXq1li55dxEdNb7CMJnMsyfcgK8aYlTodC_stxei-pkOAM5rsCXsnBdqwAtqT2GZA-mSiW6Dq2kIZIIJ2TmrxcWFN9FC898l1sQbTpCS0/s1600/finaltrail.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlH31O4xPPb3Y4e41L9LlCgDi1kKSbT5cGuoLQXq1li55dxEdNb7CMJnMsyfcgK8aYlTodC_stxei-pkOAM5rsCXsnBdqwAtqT2GZA-mSiW6Dq2kIZIIJ2TmrxcWFN9FC898l1sQbTpCS0/s400/finaltrail.jpg" title="Age 8" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-10943219449109125522013-02-06T05:20:00.003-08:002023-01-04T13:16:39.746-08:00Clay - Fishbowl Plaques<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6ekeNTxWcMehTmzlAuktC9SCUuZbIP4sOp40uY53vVkfANbW8vtIIYKHORvnt0OlAyXwHAMQu5fCzrN_AGN1Vs6SE6wO4djZDLmCaGlFLJ15ipCKuN8ReGuROQbhNiJBZm30anr8P2zr/s1600/final1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6ekeNTxWcMehTmzlAuktC9SCUuZbIP4sOp40uY53vVkfANbW8vtIIYKHORvnt0OlAyXwHAMQu5fCzrN_AGN1Vs6SE6wO4djZDLmCaGlFLJ15ipCKuN8ReGuROQbhNiJBZm30anr8P2zr/s400/final1.jpg" title="Age 9" width="400" /></a></div>
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<i>After rolling clay slabs, the children cut out the shapes of fishbowls and fill them with underwater</i></div><div><i>creatures. For ages 6 to 9. Plan 4 sessions.</i></div><div><i><span><a name='more'></a></span></i></div><div><i><br /></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtrlqKHdaks3AoWpQX7Q8U52-T4raABKjnfF4uYwPuUkcWVJ6NgfjBAm3E-SBjf6mvsafWIeGW2PpHIJVSlJGeio9F4T98scRwvh4TGyY3iWBTVFt1utNrX-55uOD7HCM3PgnbBwRtyNWC/s1600/final2.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtrlqKHdaks3AoWpQX7Q8U52-T4raABKjnfF4uYwPuUkcWVJ6NgfjBAm3E-SBjf6mvsafWIeGW2PpHIJVSlJGeio9F4T98scRwvh4TGyY3iWBTVFt1utNrX-55uOD7HCM3PgnbBwRtyNWC/s400/final2.jpg" title="Age 8" width="400" /></a><br />
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<b><br />
</b> <b>KEY IDEAS</b><br />
<ul>
<li>Rolling clay slabs</li>
<li>Combining pinch and slab methods of building</li>
<li>Working with three-dimensional form</li>
<li>Applying underglazes and glazes</li>
</ul>
<b>LANGUAGE</b><br />
slab, three-dimensional, contour lines, lip, foot, scratch and slip, pinch method, bisque ware, underglazes, glaze<br />
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<b>RESOURCES</b><br />
Click <a href="https://docs.google.com/document/d/1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA/edit">here </a>to view additional information about working with clay in a printer-friendly format.<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>12- x 18-inch Masonite boards with one side unfinished (one for each child) or canvas to cover the work surface</li>
<li>Clay, two grapefruit-sized balls for each child plus a few extra</li>
<li>Clay needle tools</li>
<li>Small containers of slip or water</li>
<li>Rolling pins or stiff cardboard tubes</li>
<li>Opaque underglazes (non-toxic)</li>
<li>Clear glaze (non-toxic)</li>
<li>Brushes for applying underglazes and glaze</li>
<li>Trays and plastic bags for storing the clay</li>
<li>Newsprint paper approximately 9 x 12 inches</li>
<li>Pencils</li>
<li>Examples of fishbowls</li>
<li>Pictures of fish</li>
<li>Clear fishing line for hanging the plaques</li>
<li>White craft glue</li>
</ul>
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Check the clay several days ahead to be sure it has a good workable consistency.</li>
<li>Wedge the clay into grapefruit-size balls, planning one per child, plus a few extra.</li>
<li>Cover the work area with Masonite boards (unfinished side up) or canvas.</li>
<li>Set out clay balls, newsprint paper, pencils, rolling pins, and needle tools.</li>
<li>Set out examples of fishbowls.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that, in this session, the children will be rolling <i>slabs</i>, or thick, flat pieces of clay, and then cutting out fishbowl shapes. In the next session, they will be filling the fishbowls with <i>three-dimensional</i> fish that stand out from the plaques.</li>
<li>Demonstrate how to make a clay slab. Starting from the center of the ball of clay, roll away from yourself to the edge of the clay with enough pressure to begin flattening the clay. Lift the rolling pin and return to the center. Roll towards yourself using the same pressure. Rotate the slab and repeat these steps, gradually increasing the pressure until all sections of the slab are even and at least three-eighths-inch thick. Use a needle tool to write your name in the center of the slab and then flip the slab over to be sure it doesn't stick to the work surface.</li>
<li>Share the examples of fishbowls with the children. Discuss how the <i>contour line</i> goes around the edge of the bowl and includes the <i>lip, </i>or top edge, and the <i>foot,</i> or bottom edge.</li>
<li>On newsprint paper, draw the contour line of a fishbowl, making it large enough to fill the paper and hold lots of fish. Show the children how to transfer the drawing onto the clay slab by laying it on top of the slab and using a pencil to go over the lines, making a slight indentation in the clay. Then remove the drawing and use a needle tool to cut along the indented line.</li>
<li>Have the children roll slabs, draw fishbowls on newsprint paper, transfer the drawings onto the clay, and then cut out the fishbowl shapes.</li>
</ul>
<i>Note: Put two holes in the top of each fishbowl slab for hanging, and then cover the slabs carefully with plastic wrap to keep them from drying between sessions.</i><br />
<b><br />
</b> <b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Check the clay several days ahead to be sure it has a good workable consistency.</li>
<li>Wedge the clay into grapefruit-size balls, planning one per child, plus a few extra.</li>
<li>Cover the work area with Masonite boards (unfinished side up) or canvas.</li>
<li>Set out clay balls, fishbowl slabs, needle tools, and small containers of slip or water.</li>
<li>Have available pictures of fish to share with the children.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be using clay to make fish and other related items to fill their fishbowls.</li>
<li>Share the pictures of fish, pointing out their fins, tails, and eyes. Discuss other things that might be found in fishbowls, like seaweed and gravel.</li>
<li>Demonstrate the <i>pinch method</i> by pinching and pulling shapes from a single piece of clay. Explain that this works well when making small objects. Remind the children that the fish should be three-dimensional and to use the <i>scratch and slip process</i> if extra pieces of clay are attached<span style="font-size: 12pt;">—</span>scratch the surfaces to be joined, apply a small amount of slip or water, and press the two pieces together.</li>
<li>Have the children make enough items to fill their fishbowls and then lay the items carefully on top of their slabs, leaving them unattached.</li>
</ul>
<i>Note: Place the unattached items on top of the slab and cover with plastic wrap. Dry the clay very slowly, gradually exposing them to air over a two week period to keep the slabs from warping. When completely dry, bisque fire the slabs with the still unattached items on top in a kiln.</i><br />
<b><br />
</b> <b>Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Fill a fishbowl with water until it is about three-quarters full.</li>
<li>Set out fishbowl with water, bisque-fired clay pieces, brushes, and a variety of underglazes.</li>
<li>Have available pictures of fish.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that the clay has been fired in the kiln. It is now referred to as <i>bisque ware</i> and is very fragile, so it must be handled carefully. The children will be adding color to the bisque ware using <i>underglaze </i>which is paint for clay.</li>
<li>Demonstrate how quickly underglazes dry when applied to the bisque ware. The children will need to dip their brushes often to avoid scrubbing and to cover all areas. They should carefully dab into any cracks or rough areas on the clay surface, brushing away any puddles.</li>
<li>Explain that designs can be put directly on top of dried underglazes and that the last color painted is the one that will show. This makes it easier to add designs or repair mistakes.</li>
<li>Once again, share the pictures of the fish, pointing out the many colors and patterns. Explain to the children that they can use the designs of real fish or create their own. Since the fish will stand out from the plaques after they are attached, all sides of the individual fish should be painted. </li>
<li>Show the children the fishbowl with water in it, so that they can see that the water level does not completely fill the bowl. </li>
<li>Have the children paint the water level on the fishbowls and then paint the fish and individual items. </li>
</ul>
<i>Note: Although not necessary, bisque firing the clay once again makes it easier for the children to apply the clear glaze in the next session.</i><br />
<b><br />
</b> <b>Fourth Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out clear glaze and brushes.</li>
<li>Set out the underglazed clay pieces.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be applying a clear <i>glaze</i> to their clay pieces which will give the clay a shiny and strong surface. Explain that the clear glaze will cover up the colors of underglazes temporarily. When the clay is fired in the kiln again, the glaze will melt and turn clear, allowing the colors to show through.</li>
<li>To avoid putting on too much clear glaze, which will cause the colors to become cloudy after firing, be sure the children understand that when the glaze is first applied it will look transparent. As it dries it will become opaque. (The number of coats varies according to the glaze instructions, but usually one coat is sufficient.)</li>
<li>Make sure the children understand that if any glaze gets on the bottom of the fishbowl slabs, they will stick to the kiln shelf during firing. If glaze does get on the bottom, wipe it off with a damp cloth. They should also avoid getting glaze in the holes in the slabs that will be used for hanging the fishbowls.</li>
<li>After applying glaze to the fishbowls and the individual pieces, have the children put an extra dab of glaze on the bottom of each piece and position it on the slab. Explain that after the clay is fired again in the kiln, the glaze will hold the pieces in place.</li>
</ul>
<i>Note: Push a needle tool through the holes for hanging to be sure they are clear. Let the glaze dry overnight and then glaze fire the clay in a kiln. To hang the plaques, put fishing line through the two holes and tie a knot. A small dab of white glue will prevent the knots from untying.</i><br />
<i><br />
</i> <b>NOTES</b><br />
<ul>
<li>Water works as well as slip for joining pieces of clay and is less messy.</li>
<li>It’s essential to emphasize and monitor the safe use of needle tools.</li>
<li>Using the clear glaze to lock the pieces in place instead of scratch and slipping them to the slab makes it much easier for the children to paint the fish and other additions.</li>
<li>Although string or wire can be used to hang the plaques, the clear fishing line disappears from view and won't obstruct any parts of the design.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Discuss how the pinch and slab methods of building were used in making the fishbowls.</li>
<li>Are the fish and other items three-dimensional?</li>
<li>Ask the children to point out additions that add interest to the plaques, such as adding gravel or changing the direction in which the fish swim.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>The clay keeps sticking to my rolling pin.</i></li>
<li><i>I want to put a seahorse and a crab in my fishbowl.</i></li>
<li><i>Can all of my fish be the same?</i></li>
<li><i>I’m afraid I will get glaze on the bottom of my slab and it will stick to the kiln shelf.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>Start rolling your slab at the center of the clay ball. Lift the rolling pin and return to the center each time. If you roll back and forth, the clay will stick to your rolling pin.</i></li>
<li><i>You can decide what to put in your fishbowl as long as it is something that lives underwater.</i></li>
<li><i>All of your fish can be the same or different<span style="font-size: 12pt;">—</span>you can even design your own imaginary fish.</i></li>
<li><i>Don’t lift your fishbowl from the table while applying the clear glaze. This will help to keep glaze from getting on the bottom of the slab.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1sez4wQQuPzn22iFauFVFlh7-wmSty1vEbfrFGqAH28Y/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0xywlwHQUokPCTqfnq2XKmYK3PN0Fn6Qprm9QhTKgXQIH7irMeRBy5WH27LnEn9fJ5AgE5Ti5qUmgF_lRqhJSlbCoMlhyphenhyphenn3DfC9WUKp63co1qcon10JMDFYCjw2GNaS25SHr1I9g8t0Zg/s1600/final3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0xywlwHQUokPCTqfnq2XKmYK3PN0Fn6Qprm9QhTKgXQIH7irMeRBy5WH27LnEn9fJ5AgE5Ti5qUmgF_lRqhJSlbCoMlhyphenhyphenn3DfC9WUKp63co1qcon10JMDFYCjw2GNaS25SHr1I9g8t0Zg/s400/final3.jpg" title="Age 7" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-28357518892817116792013-01-23T05:09:00.000-08:002020-08-01T10:43:21.143-07:00Painting & Printing - Brush-dyed Paper<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwbY9yNXLx5JGhW6c-pgy2Br3MIol3EHHIf6CRkrzHXootfdqVvEq-h_0g7uCcsKfxtHaeJQf1qKYFmkIoxU6av2gIDeDlyncnRaZKdQzQdT3s2YrUxAJxYq6iiRkDqt9CnRnguppYuNXr/s1600/palmtrees.jpgb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwbY9yNXLx5JGhW6c-pgy2Br3MIol3EHHIf6CRkrzHXootfdqVvEq-h_0g7uCcsKfxtHaeJQf1qKYFmkIoxU6av2gIDeDlyncnRaZKdQzQdT3s2YrUxAJxYq6iiRkDqt9CnRnguppYuNXr/s400/palmtrees.jpgb.jpg" title="Age 12" width="400" /></a></div>
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<i>After folding rice paper into pie-shaped wedges, the children paint designs on one side, then turn the wedges over and paint the mirror image. When the paper is unfolded, intricate patterns are revealed. For ages 9 to 13. Plan 1 session.</i><i></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LHJGSgyZTaQVQbl1q1g0nVQN0zmouSszdK-cmLYgaEtRcPnF1qXR30KToqaOZFywVPaeaTytxL3nm6EMGqV6ejEkdHtQJuM1Er8V99IOHcsKmh3wnKAfKckqI8deuDrLb7mRgtBpxPnP/s1600/ducks.jpgb.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LHJGSgyZTaQVQbl1q1g0nVQN0zmouSszdK-cmLYgaEtRcPnF1qXR30KToqaOZFywVPaeaTytxL3nm6EMGqV6ejEkdHtQJuM1Er8V99IOHcsKmh3wnKAfKckqI8deuDrLb7mRgtBpxPnP/s400/ducks.jpgb.jpg" title="Age 11" width="400" /></a><i></i><br />
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<br />
<b>KEY IDEAS</b><br />
<ul>
<li>Using simple designs to create intricate patterns</li>
<li>Learning the power of repetition in design</li>
<li>Working with mirror images</li>
</ul>
<b>LANGUAGE</b><br />
brush dyeing, mirror image, repetition<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Paper cut into 10- to 11-inch circles (See note below)</li>
<li>Food coloring</li>
<li>Dishes for holding the food coloring</li>
<li>Round watercolor brushes<span style="font-size: 12pt;">—</span>#1 or #2</li>
<li>Pencils</li>
<li>Lots of paper towels</li>
<li>Newspaper</li>
<li>Water supply</li>
<li>Containers of water for rinsing brushes</li>
</ul>
<i>Note: The paper needs to be unsized, porous, light-weight, and strong enough to withstand being wet. A number of papers will work, but it is important to experiment ahead of time. In this lesson, Japanese kozo paper (Shuji Gami) was used. Since the food coloring will bleed on wet paper, it is easier for the children to control their designs by working on large circles (10 to 11 inches). </i><br />
<br />
<b>THE PROJECT</b><br />
<b>Preparation</b><br />
<ul>
<li>Cut the paper into 10- to 12-inch circles.</li>
<li>Cover the work area with newspaper.</li>
<li>Set out the circles, dishes of food coloring, pencils, brushes, containers of water, and lots of paper towels.</li>
<li>Have available a sink or supply of water.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>In this lesson, the children will be <i>brush dyeing</i> papers by painting designs on folded paper. When the papers are opened, the <i>repetition</i>, or repeats, of the designs will form intricate patterns.</li>
<li>Demonstrate the process of brush dyeing by carefully lining up the edges of a paper circle while folding and creasing it three times, creating a pie-shaped wedge.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNvQrC6iT6Vkw3szwyC_GG9Nn85fSQiq2B9JVUbQgkMFNXthHxj38VdFvnAiv78ZQxvLOzgL0P6tS0Qxwg-pjF9pH60CJ2qq-hjkrmtrgSnnsDSwab8OWbumAulNGiWEh8sdhu9g81KVv/s1600/scan0002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNvQrC6iT6Vkw3szwyC_GG9Nn85fSQiq2B9JVUbQgkMFNXthHxj38VdFvnAiv78ZQxvLOzgL0P6tS0Qxwg-pjF9pH60CJ2qq-hjkrmtrgSnnsDSwab8OWbumAulNGiWEh8sdhu9g81KVv/s400/scan0002.jpg" title="Fold the paper three times into a pie-shaped wedge." width="400" /></a></div>
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<ul>
<li>With a pencil, lightly draw a design on one side of the wedge. (Due to the inevitable bleeding of the food color, the designs should be kept simple.)</li>
<li>Moisten the wedge until all layers have been penetrated. Gently squeeze out as much water as possible between paper towels, leaving the wedge just damp.</li>
<li>Lay the wedge on a dry paper towel. Dip the tip of a brush into the food coloring and tap against the edge of the dish to wipe off any drips. With a very light touch, apply the first color to the top of the dampened wedge. Go over each line two times to be sure the color has penetrated through the layers of the folded paper. (Some bleeding of the colors will occur, but too much food coloring in the brush or pressing too hard with the brush will cause the colors to spread uncontrollably.) Turn the wedge over. You should be able to see the lines penetrating through to the other side. Apply the color two more times to the corresponding <i>mirror image</i>, or reversed design, on the back. Repeat this process for the desired number of colors, making sure to rinse and dry the brush carefully between colors and to find a clean area on the paper towel each time you flip the wedge over.</li>
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<ul></ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Fdr_npBvVUFScOczyf5sQRr52yR-842wHsTqLkgFcMJznfT0rEXq-5XA-nOXGg_KG117rvS3ZALPg35emGNKMEGg0Z-FNhMr8Ehn0xnW9fV5wxaL77qUhfaBqkgJLVYlnT0JSSRH5cEA/s1600/scan0005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Fdr_npBvVUFScOczyf5sQRr52yR-842wHsTqLkgFcMJznfT0rEXq-5XA-nOXGg_KG117rvS3ZALPg35emGNKMEGg0Z-FNhMr8Ehn0xnW9fV5wxaL77qUhfaBqkgJLVYlnT0JSSRH5cEA/s400/scan0005.jpg" title="Paint with the tip of the brush." width="300" /></a></div>
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<ul>
<li>When the painting is completed, press the wedge between clean paper towels and then carefully unfold it to reveal the pattern.</li>
<li>Have the children fold the circles, paint the designs, and unfold the paper to see the newly created patterns.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfpeaNYrmcDXqqjqPjaQS-MZg02x4-uMPC-_KXxECoyhPDjfpTsxzTV-6ZpQgOHpGxcl_M-xt68zdsvxZQXJ_Akel_tweCoLxvKY1AIKCftI-k_uZgMJc-OQs0s-u-xYgX5naVu3LnfGA/s1600/scan0006.jpga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfpeaNYrmcDXqqjqPjaQS-MZg02x4-uMPC-_KXxECoyhPDjfpTsxzTV-6ZpQgOHpGxcl_M-xt68zdsvxZQXJ_Akel_tweCoLxvKY1AIKCftI-k_uZgMJc-OQs0s-u-xYgX5naVu3LnfGA/s400/scan0006.jpga.jpg" title="Carefully unfold the paper to reveal the pattern." width="320" /></a></div>
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<i>Note: After the papers have dried, they can be flattened with an iron on a cool setting.</i></div>
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</i></div>
<div>
<b>NOTES</b></div>
<div>
<ul>
<li>When demonstrating, only paint a few lines on each side of the wedge and then open the folded paper for the children to get the idea. Doing an entire design would take too much time.</li>
<li>For the final pattern to be effective, it is important to carefully line up the edges of the circles when folding and creasing them.</li>
<li>Press out as much excess water as possible. If too much is left in the wedge, the color will continue to bleed while unfolding the paper.</li>
<li>The food colors can be mixed to create new colors.</li>
<li>To avoid splotches in the designs, emphasize that only the tip of the brush should be dipped into the food coloring and then tapped against the edge of the dish before painting on the paper.</li>
<li>Absorbent papers will pick up any colors that touch it, so be especially careful that fingers and the work surface are kept clean.</li>
</ul>
<b>LET'S TALK ABOUT OUR WORK</b></div>
<div>
<ul>
<li>Discuss the effect of repetition on the designs.</li>
<li>Ask the children to look for lines that form surprising patterns when repeated.</li>
<li>Discuss some uses for brush-dyed paper.</li>
</ul>
<b>What the children might say...</b></div>
<div>
<ul>
<li><i>The color is spreading much more than I want it to.</i></li>
<li><i>I dropped a big blob of red on my paper.</i></li>
<li><i>In one area of my paper, the color didn't go through.</i></li>
<li><i>These are beautiful. I'm going to make one at home.</i></li>
</ul>
<i><b>What you might say...</b></i></div>
<div>
<ul>
<li><i>If your colors seem to be spreading too much, try drying your wedge again. Be sure to dip only the tip of your brush into the food coloring and tap off any drips against the dish.</i></li>
<li><i>The blob of red cannot be erased, but you could work it into your design or even add a pattern on top of the red.</i></li>
<li><i>Remember that you need to go over all the lines two times on both sides of the wedge. When you unfold the paper, part of the design will probably be lighter than the rest. If necessary, s</i><i>mall repairs can be made with watercolor markers after the paper dries.</i></li>
<li><i>If you make brush-dyed paper at home, be sure that the paper you use is absorbent and won't fall apart when it is wet.</i></li>
</ul>
<div>
<a href="https://docs.google.com/document/d/1XxU6pwkoPF6fXUiq9JDC9hGm5E_ROFq49DYqvVUDXMg/edit">Click here to view this lesson in a printer-friendly format.</a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-7607736992697793312013-01-09T04:46:00.001-08:002021-02-01T11:05:40.765-08:00Drawing - Crayon Engraving with Oil Pastel<div class="separator" style="clear: both; text-align: center;">
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<i>After applying a thick coat of crayon to their papers and covering it with black paint, the children scratch in designs and embellish them with oil pastels. For ages 9 to 13. Plan 4 sessions.</i><i></i><br />
<a name='more'></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuvnqixo5fxexzb2Jk_IoBlpuC3xNkmt4_vEwsILkwpXbRTM2tFXYZX3W9DRyNY1d6k4K-8JeA2Nfmy4qqHt9pvfk6QF6EjMCi3iIU4p5GPrpRtBHIhDwQK40phLUtKqo4tiMgribasWa/s1600/scan0001.jpga.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuvnqixo5fxexzb2Jk_IoBlpuC3xNkmt4_vEwsILkwpXbRTM2tFXYZX3W9DRyNY1d6k4K-8JeA2Nfmy4qqHt9pvfk6QF6EjMCi3iIU4p5GPrpRtBHIhDwQK40phLUtKqo4tiMgribasWa/s400/scan0001.jpga.jpg" title="Age 9" width="400" /></a><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Understanding the engraving process</li>
<li>Working with line, color, pattern, and texture</li>
<li>Exploring uses of crayons and oil pastels</li>
</ul>
<b>LANGUAGE</b><br />
engraving, pattern, texture<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Sturdy paper with a glossy side, such as oak tag or poster board, cut into 8- by 10-inch pieces</li>
<li>Crayons (See note below.)</li>
<li>Black liquid tempera paint</li>
<li>Brushes</li>
<li>Liquid soap</li>
<li>Newsprint paper cut into 8- x 10-inch pieces</li>
<li>Pencils</li>
<li>White chalk</li>
<li>Tools for engraving, such as wooden stylus sticks, rounded toothpicks, nails, popsicle sticks, nail files, and small screwdrivers</li>
<li>Newspaper pads</li>
<li>Tissues or soft rags for wiping the crayoned papers</li>
</ul>
<i>Note: Choose crayons that have strong color and good wax content</i><span style="font-size: 12pt;">—</span><i>Crayola crayons were used in this lesson. The most brilliant colors work best. Black crayon should be avoided since it won't show up against the black tempera paint.</i><br />
<br />
<b>PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Cut the paper for the engravings into 8- x 10-inch pieces, planning one for each child plus a few extra for demonstration.</li>
<li>Add approximately one tablespoon of liquid soap to each pint of black paint. Test the paint to be sure it adheres to the crayoned surface and can be engraved without chipping.</li>
<li>Cover a paper with crayon before class for the demonstration.</li>
<li>Set out cut paper, crayons, newspaper pads, tissues, black paint, and brushes.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain to the children that an <i>engraving</i> is made by scratching a design into a surface to produce a picture. In this session, the children will put a thick layer of crayon on their papers and then apply a coat of black paint. In the next session, they will make engravings by scratching into the black paint, revealing the colors below.</li>
<li>Demonstrate how to prepare the paper by first placing it on a newspaper pad. Using a light colored crayon, mark off sections on the paper by either making a scribble design or creating a pattern, such as concentric circles or squares. Explain that the children should fill in the resulting shapes with a variety of bright colors, using a limited or full range of colors depending on the mood or effect desired. It is important to use strong pressure when applying the crayons to build up a thick layer of wax; the crayon must be applied evenly, leaving no paper peeking through. When the papers are completely covered, use a tissue to lightly brush away any little flecks of crayon on the surface.</li>
<li>On the paper that has been prepared for the demonstration show the children how to cover the crayon with a layer of black paint. Spread the paint gently and evenly across the surface, being sure all areas are covered with no puddles of paint left behind.</li>
<li>Have the children put their names on the back of their papers, apply the crayon, and then paint the surface with black paint.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxeiPiF8FGYAUDRsKYHWTWnQ9ZoDEPY34MyhCnzpt-K5iHK8y3LR91SMIy9gvTm82hY3v3dppmeP1F7D_DgtbzLqNaRPha1PJrs5FtbfbhVlkt9vH1v-7qOCqiVIYiQ38YkyyXhRN9zea/s1600/scan0001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxeiPiF8FGYAUDRsKYHWTWnQ9ZoDEPY34MyhCnzpt-K5iHK8y3LR91SMIy9gvTm82hY3v3dppmeP1F7D_DgtbzLqNaRPha1PJrs5FtbfbhVlkt9vH1v-7qOCqiVIYiQ38YkyyXhRN9zea/s400/scan0001.jpg" title="Spreading the black paint over the crayoned surface." width="295" /></a></div>
<b><br />
</b> <b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out the dried papers and the demonstration paper from the previous session.</li>
<li>Cut the newsprint paper into 8- x 10-inch pieces.</li>
<li>Set out the newsprint paper, pencils, and tools for engraving.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that in this session, the children will be making their engravings by using tools to scratch through the black paint, exposing the colors underneath.</li>
<li>Preliminary drawings should be made on newsprint paper using only basic outlines. For example, draw the shape of a tree, but not the individual leaves. Transfer the drawing by covering the back of the newsprint with white chalk and placing it, chalked side down, on the black tempera-coated paper. Go over the lines of the drawing with a pencil, leaving a white outline on the black surface. Use a tool to engrave the outlines into the black surface.</li>
<li>These engravings are most effective when there is an abundance of details filling the papers. Discuss the many <i>patterns</i> (designs made by repeating symbols), and <i>textures</i> (the visual feel of a surface) in everything around us, such as leaves on a tree, bricks in a building, stars in the sky, and waves in an ocean.</li>
<li>On the demonstration paper, show the children the variety of lines that can be achieved by using different tools. Thin lines can be made with the pointed tools and solid areas can be removed using the Popsicle sticks or small screw drivers.</li>
<li>Have the children plan their compositions, transfer them to the black tempera-coated paper, and begin engraving. Encourage them to work on all sections of the paper, gradually building up details and patterns to keep the final designs balanced.</li>
</ul>
<b>Third/Fourth Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out engraved papers and engraving tools.</li>
<li>Set out oil pastels and pads of newspaper.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In the following sessions, the children will complete their engravings and then enrich them with oil pastel colors.</li>
<li>Explain that oil pastels can be applied over some of the black tempera surfaces. Place the engraving on a pad of newspaper to make it easier to put on the oil pastel. It's important to work carefully so as not to cover the bright colors of the already engraved areas.</li>
<li>Have the children continue to add details, patterns, and textures to their drawings and then apply oil pastel to complete their engravings.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Hd3d8HfcNtSChk0OVKY3nqzJ4q7f_hjAnOks9qpB3LiTDQ27h9eoa7MKeJei6bDPZpxZEUe0451Q_dIJ2_vCY6YT8uheEyBPJM8FUfjHrUn-kUr42STSL3EY5fPZoSY2w3WhGGeJETZg/s1600/scan0002.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Hd3d8HfcNtSChk0OVKY3nqzJ4q7f_hjAnOks9qpB3LiTDQ27h9eoa7MKeJei6bDPZpxZEUe0451Q_dIJ2_vCY6YT8uheEyBPJM8FUfjHrUn-kUr42STSL3EY5fPZoSY2w3WhGGeJETZg/s320/scan0002.jpg" title="Adding oil pastel colors over some areas of black paint." width="309" /></a></div>
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<b>NOTES</b><br />
<ul>
<li>For this project to be successful, it is important that the papers are covered with lots of evenly coated wax. The tempera paint cannot be scratched off areas with insufficient wax.</li>
<li>Remember to have the children put their names on the back of their papers before applying the black paint.</li>
<li>Keeping the size of the paper small allows the children more time to fill the engravings with lots of patterns and textures.</li>
<li>When making the preliminary drawings on newsprint, remind the children to use only basic outlines, saving the details, patterns, and textures for their engravings.</li>
<li>Scratching off the black paint can be messy, so cleanup is easier if the work is done on sheets of newspaper.</li>
<li>Although this project is similar to using commercial scratch-art paper, having the children prepare their own papers gives them a better understanding of the engraving process.</li>
<li>In some instances, the picture may be further enhanced by engraving patterns and textures through the areas of oil pastel as seen in the sand on the beach in the picture below.</li>
</ul>
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<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Review the process that was used to make the engravings.</li>
<li>Discuss how the use of patterns and textures add interest to the engravings.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>My hand is getting tired from pressing the crayon so hard.</i></li>
<li><i>How can I get rid of a mistake?</i></li>
<li><i>I’m going to draw the bricks on my house after I add the oil pastel.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>If your hand is getting tired, stop to wiggle and stretch your fingers for a few minutes.</i></li>
<li><i>Since a mistake cannot be erased, you might try adding lots of patterns and textures around it to blend it into the design.</i></li>
<li><i>Adding the oil pastel before you draw your bricks will certainly be a lot easier than trying to color in each brick.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1H2pFrb4PED3CoMEsLBeTJV8hQDuOIq0cWKWE3CixzjU/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-68730704494377800612012-12-12T06:01:00.000-08:002020-08-01T14:02:01.462-07:00Clay - Animals<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6KjUrod4KqLGnl9YzvtMExzVTHwXHpNyxUUoYSd0y1FPFpWMCWCOZLZoVPD6FE62KOda994hracB8hTTF0Yh6HKSzJed2iru7OqllXOJNkwAQ9voDbSyuj2EDDpXf6Hp1HT48J9WnG95/s1600/finalgiraffe.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6KjUrod4KqLGnl9YzvtMExzVTHwXHpNyxUUoYSd0y1FPFpWMCWCOZLZoVPD6FE62KOda994hracB8hTTF0Yh6HKSzJed2iru7OqllXOJNkwAQ9voDbSyuj2EDDpXf6Hp1HT48J9WnG95/s400/finalgiraffe.jpg" title="Elephant. Age 5, Giraffe. Age 6" width="400" /></a><br />
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<div class="MsoNormal">
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</i> <i>The children learn to build three-dimensional animals with clay. For ages 3 to 9. Plan 2 to 3 sessions.</i><br />
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<img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxrN2JGa9jBayKaHHY6CBATPiA1YS1Ln2cZ-ttYCE4kYVuVzOMolLjYuS6rSJyeDjdtlYww-n_KCK_LTOSH4m-auPnS3cGDRgAQ8DIyfY6mThvcuI76Ibm1sb3BuJhcjxomJOzSwA4iuTq/s400/finalostrich.jpg" title="Ostrich. Age 7" width="345" /></a></div>
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<b><br />
</b> <b>KEY IDEAS</b></div>
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</div>
<ul>
<li>Learning to make three-dimensional sculptures</li>
<li>Working with clay</li>
<li>Applying underglazes</li>
</ul>
<b>LANGUAGE</b><br />
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three-dimensional, scratch-and-slip, bisque-ware, underglazes<br />
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<b> RESOURCES</b><br />
Click <a href="https://docs.google.com/document/preview?id=1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA">here</a> for more information on working with clay.<br />
<a href="http://docs.google.com/View?id=dtvp7gs_17f4nh55hh"></a><br />
<b> YOU WILL NEED</b></div>
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</div>
<ul>
<li>12- x 18-inch Masonite boards (one for each child) or canvas to cover the work surface</li>
<li>Clay, one small grapefruit-sized ball for each child plus a few extra</li>
<li>Clay needle tools or ten-penny nails (three-inch nails)</li>
<li>Containers with a small amount of slip or water</li>
<li>Opaque underglazes (non-toxic)</li>
<li>Clear glaze (non-toxic)</li>
<li>Brushes for applying underglazes and glazes</li>
<li>Trays for storing clay projects</li>
<li>Plastic wrap for gradually drying the clay projects</li>
<li>Pictures of animals (Choose animals with sturdy limbs.)</li>
</ul>
<b>THE PROJECT</b><br />
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<b> First Session<br />
Preparation</b></div>
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</div>
<ul>
<li>Check the clay several days before the lesson to be sure it has a good workable consistency.</li>
<li>Wedge the clay into small grapefruit-sized balls, planning one for each child plus a few extra.</li>
<li>Cover work area with individual Masonite boards or canvas.</li>
<li>Set out needle tools or ten-penny nails, containers of slip or water, and clay.</li>
<li>Have available the pictures of animals for discussion.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>In this session, the children will be using clay to make animals that are <i>three-dimensional</i> or viewable from all sides. Be sure that the children understand that it will take several weeks to complete this project since the clay must be dried slowly and fired in the kiln.</li>
<li>While showing the pictures of the animals to the children, discuss the unique characteristics that help to identify each one, such as an elephant’s trunk, an alligator’s mouth, and a tiger’s stripes. Explain that animals with sturdy legs and appendages are better suited for making with clay.</li>
<li>Most young children approach clay by flattening it out. To help them understand the concept of three-dimensional forms, I break off a lump of clay and set it on the table. Next I break off four smaller pieces for the legs. Leaving the lump on the table, I attach two legs on each side of it. Then I say, "Now my animal can go for a walk." With giggles and protests, the children argue, "No, no! He's lying on his stomach. He can't walk." I put the legs on top of the lump. They respond, "No, no! He still can't walk. He's on his back." I then lift the lump of clay up from the table and attach the legs underneath. They agree, "Now my animal can walk."</li>
<li>Show the children how to attach pieces of clay using the <i>scratch-and-slip</i> <i>method</i> by scratching the surfaces to be joined, applying a small amount of slip or water, and pressing the two pieces together. With the animals in standing positions, it is easier to continue building them, but be sure the children understand that the clay is soft and they should press gently when they make additions.</li>
<li>Have the children create their animals, encouraging them to lift the clay from the table and turn the animals as they work so they will be three-dimensional.</li>
</ul>
<i>Note: Make an air-release hole in the bottom of any piece which is more than 1½ inches thick. Dry the animals very slowly under plastic wrap, loosening the wrap gradually. When completely dry, bisque fire the clay pieces in a kiln. </i><br />
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<b> Second Session </b></div>
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<b>Preparation</b></div>
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<ul>
<li>Set out bisque-fired animals.</li>
<li>Set out brushes and a variety of underglazes.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>Tell the children that since the clay pieces have been fired in a kiln, they are now referred to as <i>bisque-ware</i> and are very fragile. Emphasize that they must be handled carefully.</li>
<li>Explain to the children that they will be applying <i>underglazes</i>, which are paints for clay, to their animals.</li>
<li>Demonstrate how quickly the underglazes dry when applied to the bisque-ware. The children need to dip their brushes often to avoid scrubbing and to cover all areas. They should gently dab into any cracks or rough areas on the clay surface.</li>
<li>Show the children that they can apply designs, such as tiger’s stripes, directly on top of the dried underglazes. Explain that the last color painted is the one that will show.</li>
<li>Have the children paint their animals with underglazes, reminding them to handle the bisque-ware very carefully.</li>
</ul>
<i>Note: Let the animals dry overnight before applying a coat of clear glaze. This is best done by an adult because any glaze on the bottom of the clay will cause it to stick to the kiln shelf in the glaze-firing. This would also eliminate the need for a third session. If you choose to have the six- to nine-year-old children apply the glaze themselves, it is best to re-fire the underglazed pieces first.</i><br />
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<b><br />
</b> <b>Third Session<br />
Preparation</b><br />
<ul>
<li>Set out clear glaze and brushes.</li>
<li>Set out re-fired underglazed animals.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain to the children that they will be applying glaze to their animals to make them shinier and stronger. Tell them that the clear glaze will cover up the underglaze colors temporarily. When the clay is fired in the kiln again, the glaze will melt and turn clear, allowing the colors to show through.</li>
<li>Show the children how the clear glaze looks transparent when it is first applied and still wet, but dries very quickly and becomes opaque. The number of coats needed varies according to the glaze instructions, but usually one coat is sufficient.</li>
<li>Warn the children to avoid getting glaze on the bottom of the animals’ feet because it will stick to the kiln shelf during firing. If any glaze does get on the bottom, wipe it off with a damp cloth before firing in the kiln.</li>
<li>Have the children apply the glaze to their animals, reminding them that the clay is very fragile and should be handled as little as possible.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAldhd2TlkIXSM4HMq0Rmx06AUgUsfxLVGuQRF4I80srXO53_JLJHDJQaVxVkPzDbNQ-_99CqDxn6dvDw7AvngwIz8BiPz7QGkYjLyg3WEvpTd5TPc-vKcw5VIMv6UmfVFIVuhO8BVH9Dz/s1600/scan0005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAldhd2TlkIXSM4HMq0Rmx06AUgUsfxLVGuQRF4I80srXO53_JLJHDJQaVxVkPzDbNQ-_99CqDxn6dvDw7AvngwIz8BiPz7QGkYjLyg3WEvpTd5TPc-vKcw5VIMv6UmfVFIVuhO8BVH9Dz/s320/scan0005.jpg" title="Applying the clear glaze, while handling the bisque-ware as little as possible." width="273" /></a></div>
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<b>NOTES</b></div>
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<ul>
<li>A trip to the zoo will create excitement for the project and add vitality to the clay animals.</li>
<li>When working with three- and four-year-old children, moisten the clay more than usual, since they do not have as much strength in their hands. I also don’t introduce the scratch-and-slip method to join pieces of clay to this age. Using very moist clay is usually enough to hold the pieces together if the clay is dried slowly.</li>
<li>Some children will still work with their clay in a two-dimensional “cookie cutter” fashion. If this happens, lift their flattened clay from the table and turn it around so they can see how thin it is from the side view.</li>
<li>For small projects, water works as well as slip and is not as messy. Emphasize that only a dab of water is needed, otherwise the clay will become too wet.</li>
<li>Keep reminding the children how easily bisque-fired clay can be broken.</li>
<li>Opaque, rather than transparent, underglazes are best to use with young children. Mistakes are easily covered up and designs can be painted directly on top of the bottom color.</li>
<li>If too much underglaze is put on bisque-ware it tends to chip off after being fired in the kiln. Be careful that no more than two or three coats are applied.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
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<ul>
<li>Are the animals sturdy and able to stand without support?</li>
<li>Are they viewable from all sides?</li>
<li>Discuss the individual characteristics of each animal that help to identify it.</li>
</ul>
<b>What the children might say...</b><br />
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<ul>
<li><i>My animal keeps falling over.</i></li>
<li><i>I want to make a bird.</i></li>
<li><i>The neck of my giraffe keeps falling over.</i></li>
<li><i>I was putting the head on my elephant and he got squashed.</i></li>
<li><i>I made a very fat elephant!</i></li>
</ul>
<b>What you might say...</b><br />
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<ul>
<li><i>Since wet clay is soft, it is important that your make the animal’s legs sturdy enough to hold the weight of the body.</i></li>
<li><i>A bird’s legs are very thin and will break easily. Perhaps you could make the bird sitting down.</i></li>
<li><i>We can support the giraffe’s long neck with an extra lump of clay or a box until the clay hardens a little.</i></li>
<li><i>Remember that wet clay is soft and you must push gently when you make your additions. You can try to squeeze your elephants legs back into shape or attach new ones.</i></li>
<li><i>When clay pieces are very thick, I will put an air hole in the bottom to keep them from breaking in the kiln. The hole will not show when your animal is standing up.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1mv-et2Wf3x9AxLVVC7Gid4LTePbHTZofabgvMJ4geAg/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn25w4HaauJa8C1hR_OqtyHTVbIfVo4Yq5zvFMOFQWXyzTXvyzRLoZvmDt15SbXZPdcSigIf6SngVA4k3tJWBGozEdy7FQiLDIHaFPCMLPs7OfBMagqt3kfwIxNbTb8Nysud6ppuUXLeNG/s1600/finalreindeer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn25w4HaauJa8C1hR_OqtyHTVbIfVo4Yq5zvFMOFQWXyzTXvyzRLoZvmDt15SbXZPdcSigIf6SngVA4k3tJWBGozEdy7FQiLDIHaFPCMLPs7OfBMagqt3kfwIxNbTb8Nysud6ppuUXLeNG/s400/finalreindeer.jpg" title="Reindeer. Age 8" width="350" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5ZzvLqDQ994E_vpiEWkx0AzNYi6Z5f4dprGEYOIgBMFVVlwPWsSH_Clb4eulLbqc5X5gEPUq6Gf5AwonruER0Eyf5kYboD7o_JpJNYFGQ7Erz3fVfrmtUx30XbtcYwDJzrxn0VS13LPt/s1600/finalbird.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5ZzvLqDQ994E_vpiEWkx0AzNYi6Z5f4dprGEYOIgBMFVVlwPWsSH_Clb4eulLbqc5X5gEPUq6Gf5AwonruER0Eyf5kYboD7o_JpJNYFGQ7Erz3fVfrmtUx30XbtcYwDJzrxn0VS13LPt/s400/finalbird.jpg" title="Elephant. Age 5, Bird. Age 5" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0cG8iLEc8e-lxz7gJk07RbZBh7G9j8oNjlEoatvjq9LLT7qTho3JCKXiLF-VxOn2mWghhlOoRQAhyphenhyphenCIDDrpmGojhmM3tT3NxcUn9Fn-qL9hk4xAvw8C1vxbXLdhK2G85UHsrYxAJqrJW/s1600/finaltiger.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0cG8iLEc8e-lxz7gJk07RbZBh7G9j8oNjlEoatvjq9LLT7qTho3JCKXiLF-VxOn2mWghhlOoRQAhyphenhyphenCIDDrpmGojhmM3tT3NxcUn9Fn-qL9hk4xAvw8C1vxbXLdhK2G85UHsrYxAJqrJW/s400/finaltiger.jpg" title="Tiger. Age 6" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUSW5xjBJjQ7e6AScB2Jskat6kCKSJfwHdoP4r2ozPIHu-pTsbeJrHg2OCaCCklYkxDM8_MJC9tNm7ryUeyDQwqWQefGa43ePZsY8ocg9TkX5hy7bWM2S2KlnrKY2FMn_7M5enl0VWAr0w/s1600/scan0007.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUSW5xjBJjQ7e6AScB2Jskat6kCKSJfwHdoP4r2ozPIHu-pTsbeJrHg2OCaCCklYkxDM8_MJC9tNm7ryUeyDQwqWQefGa43ePZsY8ocg9TkX5hy7bWM2S2KlnrKY2FMn_7M5enl0VWAr0w/s400/scan0007.jpg" title="Alligator. Age 8" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-49075545708436743412012-11-28T05:55:00.000-08:002020-08-03T10:40:52.339-07:00Papier Mâché - Finger Puppets<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOi-nCdHIqlBFImH4dKhxKRTHL0Oxfb4DpQp_ETZHp9cWj7bqi4E5WrJUfnjYTh8d1LBVlawhvNAaRVPOe_UvtLkxS9OJT53BbkdtjpUPTA7MaNwbAqU3scf-3A37cxVGOzaBRN0dktCcE/s1600/finalwizard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOi-nCdHIqlBFImH4dKhxKRTHL0Oxfb4DpQp_ETZHp9cWj7bqi4E5WrJUfnjYTh8d1LBVlawhvNAaRVPOe_UvtLkxS9OJT53BbkdtjpUPTA7MaNwbAqU3scf-3A37cxVGOzaBRN0dktCcE/s400/finalwizard.jpg" title="Wizard. Age 8" width="336" /></a></div>
<i><br />
</i> <i>The children use papier-mâché pulp to create tiny-sized puppets for their fingers. For ages 6 to 9. Plan 3 sessions.</i><br />
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<i><br />
</i> <b>KEY IDEAS</b><br />
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</div>
<ul>
<li>Working with papier mâché pulp</li>
<li>Creating three-dimensional forms</li>
<li>Developing small motor skills</li>
</ul>
<b>LANGUAGE</b><br />
<div class="MsoNormal">
papier mâché pulp, three-dimensional, puppet dress<br />
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<b> YOU WILL NEED</b></div>
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</div>
<ul>
<li>Papier mâché pulp<span style="font-size: 9pt;">—</span>one small lemon-sized ball for each child (see recipe below)</li>
<li>Newspapers for making pulp and covering work area</li>
<li>Wheat paste<span style="font-size: 9pt;">—</span>non-toxic (I use PlayBox Wheat Paste.)</li>
<li>Blender for making pulp</li>
<li>Non-hardening modeling clay for stands to support puppet heads while working</li>
<li>Tempera paints</li>
<li>Small paint brushes</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Scraps of fabric cut into pieces 2½ by 4½ inches for puppet dresses </li>
<li>Access to a sewing machine to sew the dresses</li>
<li>Adornments such as yarn, ribbon, and cotton balls </li>
<li>White craft glue</li>
<li>Brushes for applying the glue</li>
<li>Scissors</li>
<li>Paper clips and small pieces of scrap paper</li>
<li>Water-based polyurethane</li>
<li>Nontoxic black permanent markers (Faber-Castell markers are odorless), watercolor markers and paper for drawing completed puppets (optional)</li>
</ul>
<i>Note: To prepare papier mâché pulp, rip newspapers into roughly one-inch pieces, cover with water, bring to a boil, and simmer for an hour. Turn off the heat and let sit overnight. Put wet newspaper and water into a blender in small batches to make a mash. Squeeze out excess water. Mix wheat paste to a very thick consistency. With your hands, blend enough of the wheat paste into the newspaper to produce pulp the consistency of stiff mashed potatoes. Press the pulp between your fingers to work out any lumps. Two full sheets of newspaper, approximately 23 x 27 inches, will make enough pulp for three to four puppet heads with hats. The pulp can be stored in a refrigerator for several days.</i><br />
<div class="MsoNormal">
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<b> THE PROJECT<br />
First Session<br />
Preparation</b></div>
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<ul>
<li>Prepare papier mâché pulp and set out one small lemon-sized ball for each child, plus extra.</li>
<li>Cover work area with newspaper.</li>
<li>Set out the modeling clay.</li>
<li>Write the children’s names on small pieces of paper for name tags.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>Explain to the children that, in the next several sessions, they will be making puppets for their fingers. In this session, they will be forming the puppet heads using <i>papier mâché pulp</i> which is a combination of newspapers and paste that has been mixed in a blender. The clay-like pulp becomes very hard when it dries.</li>
<li>First, demonstrate how to make a stand for building the puppet head. Using the modeling clay, roll a six-inch coil that is slightly thicker than the index finger on which the puppet will be worn. Turn one end of the coil upwards to form a “finger”, or stand, to build the puppet on. Wrap the opposite end around the base of the coil for support.</li>
<li>Make a puppet head by rolling a small ball of pulp and pressing it onto the stand, creating a hole about one inch deep. This will form the finger hole for the puppet.</li>
</ul>
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<ul>
<li>Working with the head on the stand, pinch the pulp to form a <i>three-dimensional </i>nose that stands out from the head. Explain to the children that they can make additions such as hats with the pulp, but they need to be attached while the pulp is still wet. Hair can either be made with the pulp or yarn can be glued on after the pulp dries. </li>
<li>When the heads are completed, smooth the pulp. Explain that once the pulp dries, it cannot be changed.</li>
<li>Have the children make the stands slightly larger than their index fingers, build the puppet heads, smooth the pulp, and place their name tags on the stands.</li>
</ul>
<i>Note: Dry the puppet heads on the stands to keep the finger holes from shrinking.</i><br />
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<b>Second Session </b><br />
<b> Preparation</b></div>
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<ul>
<li>Set out the dried puppet heads on their stands.</li>
<li>Set out tempera paints, containers of water, sponges, and small brushes.</li>
<li>Display an array of cut fabrics for the puppet dresses.</li>
<li>Set out paper clips and name tags.</li>
</ul>
<b>How to Begin</b><br />
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</div>
<ul>
<li>In this session, the children will be painting the finger puppets and choosing fabric for the dresses. Explain that the part of the puppet that hides the user’s finger is referred to as the <i>puppet dress</i>.</li>
<li>Demonstrate how to paint the rough surface of papier mâché by gently dabbing the paint into the cracks. Using a base color such as the skin, the children should paint the front of the puppet head first so that it can dry enough to put on the facial features later. Then they should paint the back of the head. (Children who are using yarn for the hair should still paint the whole head with a skin color.) While waiting for the first layer of paint to dry, the children can choose which of the cut-fabric pieces they’d like to use for their puppet dresses and attach their names to the fabric with paper clips.</li>
<li>The children should then return to their puppet heads to paint on the details. Explain that to paint the tiny facial features on the small heads, they should dip only the tips of the brushes into the paint.</li>
<li>Have the children paint the puppet heads and choose their fabric.</li>
</ul>
<i>Note: Use a sewing machine to sew the longer side of each puppet dress together to form a tube. Have an adult apply a coating of polyurethane on the dried heads.</i><br />
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<b>Third Session<br />
Preparation</b></div>
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<ul>
<li>Set out the puppet heads with the stands, dresses, and adornments for decorating.</li>
<li>Set out white glue, brushes for glue, and scissors.</li>
<li>Cover work area to be used for gluing with newspaper.</li>
<li>If doing optional drawings, set out black permanent markers, colored watercolor markers, and paper.</li>
</ul>
<b>How to Begin</b><br />
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</div>
<ul>
<li>In this session, the children will be gluing on the puppet dresses and adding adornments.</li>
<li>Show the children how to attach their puppet dresses. Apply white glue around the inside rim of the head and then attach the dress, gathering as necessary to make it fit. Put the head back on the stand to dry. This will press the fabric tightly against the rim of the head so the hole will not become too small.</li>
<li>After attaching the dresses, the children can glue on adornments to decorate their puppets.</li>
<li>Have the children who finish early draw their puppets with black markers and color them with watercolor markers, duplicating the puppets as closely as possible.</li>
</ul>
<b>NOTES</b><br />
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<ul>
<li>Newspapers that are printed with vegetable inks make more flexible pulp.</li>
<li>Newspapers tear easily when ripped vertically.</li>
<li>Thickened white liquid glue can be substituted for the wheat paste, but because of its stickiness, it is more difficult to work with. </li>
<li>The paste in the papier mâché is usually sufficient to hold the additions made with pulp. When adding larger parts on the sides of the heads where there is no support, such as the ears and trunk on the elephant below, use some additional white glue.</li>
<li>If a piece of pulp falls off after drying, it can be reattached with white glue.</li>
<li>Since the dresses are glued to the inside rim of the puppet heads, use light-weight cotton fabric to keep from overfilling the finger holes.</li>
<li>The extra preparation for this project is rewarded by the joy that the children take in their puppets.</li>
</ul>
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<b>LET’S TALK ABOUT OUR WORK</b><br />
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<ul>
<li>Have the children introduce their puppets by telling something about them.</li>
<li>This is a wonderful opportunity for a spontaneous puppet show.</li>
</ul>
<b>What the children might say...</b><br />
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<ul>
<li><i>This stuff is gross.</i></li>
<li><i>I can’t make noses. This one is way too big.</i></li>
<li><i>I need a big hat for my wizard.</i></li>
<li><i>Why do I need to paint the whole head when I am going to glue on yarn later? </i></li>
</ul>
<b>What you might say...</b><br />
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<ul>
<li><i>Papier mâché pulp is only newspaper and glue and washes off easily when you are finished working. You will be surprised at all the wonderful things that you can make with it.</i></li>
<li><i>Since the puppet heads are so small, sometimes it is easier to pinch the pulp to make a nose.</i></li>
<li><i>If your puppet needs a hat, it is best to make it with the pulp and attach it while the pulp is still wet.</i></li>
<li><i>You need to paint the whole head because the yarn might not completely cover the back of the head.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1MXwIuJIapa4dxk7OhYhYcLcfOIYSLK9Q1YVoYWd7wYw/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgiRIbSnNVAlxau3_meyyU8g_hyGDyzH2U-kjNVqbdWO1awi-6cFe0lW44W0HBFtymB-rz3jHG4rolC69J9UgmhpFsIke-rEjBW2QqRbWw7i8cRhnYgbfPmM7NqlfG9gyJbpJA0cVX5qO/s1600/finalclown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgiRIbSnNVAlxau3_meyyU8g_hyGDyzH2U-kjNVqbdWO1awi-6cFe0lW44W0HBFtymB-rz3jHG4rolC69J9UgmhpFsIke-rEjBW2QqRbWw7i8cRhnYgbfPmM7NqlfG9gyJbpJA0cVX5qO/s400/finalclown.jpg" title="Clown. Age 6" width="345" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-k7Tm8lYDb6WA3MsbuHW6MBV6uQCSz8hfrnYKnK3F7D5ldeTzsBkeHJ2sn_DbiojbZ5RLzoGtj8imyf3YpfPKfdZ5PNOn-LE9luPIyYCowYJfZGcaFse2fFqMWjzYvcwIxPFvubpJ1by/s1600/scan0007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-k7Tm8lYDb6WA3MsbuHW6MBV6uQCSz8hfrnYKnK3F7D5ldeTzsBkeHJ2sn_DbiojbZ5RLzoGtj8imyf3YpfPKfdZ5PNOn-LE9luPIyYCowYJfZGcaFse2fFqMWjzYvcwIxPFvubpJ1by/s400/scan0007.jpg" title="Baseball Player. Age 8" width="341" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-90439954313592594252012-11-14T05:32:00.000-08:002020-08-03T10:58:17.953-07:00Printing - Linocuts<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqdZC5unMs9SvTi9LtCXt7tPpcOaHqLU2p5DiOl-Ms64UsPv_T4G3urCyBDJpSCfEy8-d-0AfqxWi4y-kzMJQk7MUNL4UcU2aGKFyzInGIpomDJY0AmZb90e_cCW0u9N7piY9FgjCc4dj/s1600/final3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqdZC5unMs9SvTi9LtCXt7tPpcOaHqLU2p5DiOl-Ms64UsPv_T4G3urCyBDJpSCfEy8-d-0AfqxWi4y-kzMJQk7MUNL4UcU2aGKFyzInGIpomDJY0AmZb90e_cCW0u9N7piY9FgjCc4dj/s400/final3.jpg" title="Age 10" width="400" /></a></div>
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<i>The children carve designs into linoleum to make relief prints. For ages 9 to 13. Plan 4 sessions.</i><i></i><br />
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<b> KEY IDEAS</b></div>
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<ul>
<li>Learning about relief printing</li>
<li>Making many prints from a single plate</li>
<li>Understanding and using printing terms</li>
</ul>
<b>LANGUAGE</b><br />
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relief printing, printing plate, brayer, ink tray<br />
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<b> YOU WILL NEED</b></div>
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<ul>
<li>Linoleum for printing–approximately 5- x 7-inch piece for each child</li>
<li>Tracing paper cut the size of the linoleum pieces</li>
<li>Pencils with blunt points</li>
<li>Carbon paper</li>
<li>Black permanent-ink markers</li>
<li><a href="https://docs.google.com/document/d/1rVBwrfoKWUYVHqfozuPL0twhy3QnV2pXnPjm9JY_fTE/edit">Linoleum carving tools </a>(including small and large v-gouges, small and large u-gouges, and square gouges)</li>
<li><a href="https://docs.google.com/document/d/1r8-LX0uwr5BAAPWlx5oFqDJ4dQDePV9U7rdlesuy2us/edit">Bench hooks</a> – one for each child</li>
<li>Soft rubber <a href="https://docs.google.com/document/d/1wZEsm5eRdYDuhi48PYtHqHDSJq94Tq075yiu7Kgupj4/edit">brayers</a></li>
<li>Newsprint paper</li>
<li>Crayons</li>
<li>Black water-based printing ink </li>
<li>Sheets of glass or Plexiglas to be used as ink trays</li>
<li>Printing paper</li>
<li>Colored construction paper and other absorbent papers </li>
<li>Newspapers</li>
<li>Magazines from newspapers</li>
</ul>
<i>Note: Various types of linoleum for printing are available in art supply stores. Unmounted grey linoleum is less expensive and was used in this lesson. </i><br />
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<b> THE PROJECT<br />
First Session<br />
Preparation</b></div>
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<ul>
<li>Set out one piece of linoleum for each child plus a piece for demonstration.</li>
<li>Set out tracing paper, carbon paper, pencils, and markers.</li>
<li>Set out a bench hook and one of each type of carving tool for demonstration.</li>
<li>Prepare an area to demonstrate the printing process by covering the work surface with newspaper and setting out an ink tray, a brayer, printing ink, and printing paper.</li>
</ul>
<b>How to Begin</b><br />
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<ul>
<li>In the next several sessions, the children will be carving designs into pieces of linoleum to make <i>printing plates</i> that will be used to transfer the designs onto paper any number of times. </li>
<li>Explain that when printing ink is rolled onto the printing plate, the areas that are carved out will not get ink on them, so when the print is made, the cut away areas will be the same color as the paper; the rest of the areas will be the color of the printing ink. This process is called <i>relief printing</i>.</li>
<li>Demonstrate how to carve into the linoleum with the cutting tools. Position the bench hook on the table with one end wrapped against the edge of the table. Place the piece of linoleum on the bench hook. Be sure that the support hand which is not being used for cutting is placed behind the cutting tool. With the other hand, hold the tool horizontally with a slight angle and <b><i>carve away from yourself</i></b>. Avoid gouging straight down into the linoleum which takes much more strength and is unnecessary. Remember that the parts that are cut away will not print.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI_nCgMpQk59w-rkBiHRRekGm3oDpemIiZP36zIA0c8P1y4QlJiUZAtiEzsEV3-UOMlzixr6tBfDPrI3yRsUv1nUEJsUo_-6NtaqA6VO7ZXZgB778T4J5WmaapeKham8Ni2AkhGhnJM2xn/s1600/scan0007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI_nCgMpQk59w-rkBiHRRekGm3oDpemIiZP36zIA0c8P1y4QlJiUZAtiEzsEV3-UOMlzixr6tBfDPrI3yRsUv1nUEJsUo_-6NtaqA6VO7ZXZgB778T4J5WmaapeKham8Ni2AkhGhnJM2xn/s400/scan0007.jpg" title="Carving the linoleum with the support hand behind the tool." width="280" /></a></div>
<ul>
<li>Show the children the type of cut that each tool will make in the linoleum: the small v-gouge cuts thin lines; the small u-gouge cuts thick lines; and the large gougers are used to take out areas of linoleum or to create textures. Point out that in order for a line to print, areas must be taken away from both sides of it. This can be done using the small v-gouge, cutting along the edges of the line before gouging out the surrounding areas.</li>
<li>Using the piece of linoleum from the demonstration, show the children the printing process. Place about an inch of printing ink onto the sheet of glass, or <i>ink tray</i>. Explain that a <i>brayer</i> is a roller used to transfer ink from the ink tray to the printing plate. Roll the brayer over the ink in several directions. The children often want to spread the ink over the whole tray, so be sure they understand that the intention is to have the ink evenly distributed on the brayer. Roll the inked brayer over the printing plate several times. Refill the brayer by rolling it across the ink tray again. Then roll the brayer over the printing plate in another direction. Repeat this several times until enough ink has been transferred from the ink tray and is evenly distributed on the printing plate.</li>
<li>Show the children how to pull a print. Place the printing plate on a clean surface with the inked side up. Lay a piece of printing paper on top of the plate. Holding the paper in place with one hand, use the other hand to rub firmly with the soft part of the finger tips. Be sure to rub the entire surface. Tell the children that an important characteristic of a quality print is its sharp, crisp edges. They should rub around all the edges very carefully.</li>
<li>Holding one side of the print with one hand, carefully lift up the other side to see if enough ink has been transferred to the paper. If not, let the paper drop and continue rubbing. When finished, carefully pull the paper from the printing plate.</li>
</ul>
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<ul>
<li>Have the children make their drawings on tracing paper, keeping the subjects simple and avoiding fine details that might break off too easily when carving. Show them how to transfer their drawings to the linoleum, using a piece of carbon paper placed between the drawing and the linoleum. Using a blunt pointed pencil, go over the lines with firm pressure. To avoid smearing the carbon paper lines on the linoleum while doing the carving, go over them with black permanent markers.</li>
</ul>
</div>
<ul></ul>
<i>Note: The final prints will be mirror-images of the drawings. If this is undesirable, as with numbers or letters, the children should flip their drawings over before transferring them to the linoleum.</i><br />
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<b>Second/Third Session</b></div>
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<b>Preparation</b></div>
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<ul>
<li>Set out printing plates, bench hooks, and carving tools.</li>
<li>Set out a few extra pieces of linoleum.</li>
<li>Set out newsprint paper and crayons.</li>
</ul>
<b>How to Begin</b><br />
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</div>
<ul>
<li>In these two sessions, the children will be using the carving tools to cut their designs into the linoleum.</li>
<li>Review the safe use of the tools and the bench hook. Have the children try some practice cuts on the extra pieces of linoleum so they can get a feel for how much pressure needs to be applied.</li>
<li>Before making the prints, demonstrate how to make crayon rubbings of the carved printing plates to see if details need to be added or changed. Place a piece of newsprint paper over the printing plate and, using the side of a crayon, gently rub across the complete surface. </li>
<li>Have the children carve their designs into the linoleum, encouraging them to include patterns and textures, and then make rubbings to test that their designs are complete.</li>
</ul>
<b>Fourth Session</b><br />
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<b> Preparation</b></div>
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<ul>
<li>Prepare one or more printing stations. Each station should be covered with newspaper and include a magazine, an ink tray, a brayer, printing ink, and printing paper.</li>
<li>Set aside a clean area for rubbing and pulling the prints.</li>
<li>Plan space to dry the prints as they are pulled.</li>
<li>Set out the prepared printing plates and printing paper.</li>
</ul>
<b>How to Begin</b><br />
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</div>
<ul>
<li>Tell the children that they will be using their printing plates to make as many prints as time allows.</li>
<li>Review the printing process, emphasizing the importance of evenly distributing the ink on the brayer and rubbing carefully around the whole print, including the edges. Tell the children to place their printing plates on a magazine when applying the ink. As the children finish they should turn the magazine page so that the next person will have a clean work surface.</li>
<li>Explain that you will be refill the ink on the ink trays when necessary because using too much ink will clog the lines on the printing plates.</li>
<li>Have the children spend the rest of the session making as many prints as time allows.</li>
</ul>
<i>Note: After pulling at least one good, clear print on the white paper, the children enjoy printing on a variety of colored papers. Mounting three of each print made on different colors of paper makes a stunning display.</i><br />
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<b>NOTES</b></div>
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<ul>
<li>Bench hooks are necessary safety features when children use linoleum cutting tools. The ones from art supply stores are metal, but they are very simple to make from <a href="https://docs.google.com/document/d/1QO2_OtVitts8cmyqYLNF8RyMz3bQXI68sj9poDbN59Y/edit">wood</a>–be sure to sand the wood well to avoid splinters.</li>
<li>In order for the children to understand the printing process, it is important for them to see it done. Using the demonstration linoleum allows the children to see the variety of effects that each tool will make.</li>
<li>Because linoleum hardens with age, it should be used within a year after it is ordered.<i> </i>If the linoleum has become too hard, warm it on a hot plate or in an oven to make it easier to carve.</li>
<li>A proper amount of ink on the ink tray will sound tacky when rolling the brayer across it. If the sound is smooth or slimy, there is too much ink.</li>
<li>Although any color of printing ink can be used, the contrast of black ink usually makes the most striking prints.</li>
<li>If time permits, show the children how a finished print is numbered. The number of the impression is placed over the total number of prints made. For example, the first print pulled out of five prints would be 1/5; the second print pulled would be 2/5 and so on. This is written in pencil on one side under the print. The artist’s name appears on the other side under the print, also in pencil.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
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<ul>
<li>Is the ink distributed evenly on each print?</li>
<li>Are the edges of the prints sharp and crisp?</li>
<li>Discuss the effects created by the different colors of paper.</li>
</ul>
<b>What the children might say...</b><br />
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<li><i>I accidentally chopped off a piece of my flower.</i></li>
<li><i>I like the way the gouged areas make a texture in the background.</i></li>
<li><i>My print came out very light.</i></li>
<li><i>Can I use a different color of ink for my next print?</i></li>
</ul>
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<b>What you might say...</b></div>
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<ul>
<li><i>If a piece of linoleum is accidentally cut off, let's see if we can turn the mistake into part of your design.</i></li>
<li><i>When you gouge out large areas of linoleum, some of the lines will usually show in your print. I agree that it adds a nice overall texture to your picture.</i></li>
<li><i>If your print came out too light, it is usually because you need more ink on your printing plate or you need to rub longer. Often the second time you apply ink to the printing plate the image will be stronger.</i></li>
<li><i>In this session, we will only use the black ink because, in order to change the color of ink that you use for printing, we need to wash the printing plate and let it dry overnight. However, you can print on any number of colors of paper to achieve different effects.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1BfgjrViIbJO1BG8xYtvi7fqs8zsY3o6WglrCnQ2V3b8/edit">Click here to view this lesson in a printer friendly format.</a><br />
<ul></ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRxSbObNx8K0UHfpNqxQ4SPEwBe4fXn12-HNAKZK6-CwNj8LE8jjbp6BSWAVfHWMaYmZaCxar7vYnCPijkWulstHcW564Sn-DMuOOW-xjEPIk8Dq1xa1KAb7sJDAk1rKXdisN7cywW0alI/s1600/final1.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRxSbObNx8K0UHfpNqxQ4SPEwBe4fXn12-HNAKZK6-CwNj8LE8jjbp6BSWAVfHWMaYmZaCxar7vYnCPijkWulstHcW564Sn-DMuOOW-xjEPIk8Dq1xa1KAb7sJDAk1rKXdisN7cywW0alI/s400/final1.jpg" title="Age 13" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-83005862917322165412012-10-31T05:21:00.000-07:002020-08-03T11:19:22.145-07:00In the Style of - Raoul Dufy<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGC6gnmz_74uchBa2HijF3SVMVUxicZWcC0H9MaSvrw30p5N4ZaR1dEJa9TCtcXCuhA8nSe5gi-1FAx8E1JYKw5nqc4xND9kUXigsGb5i9di0eboDEZ75iVsYEQON3yAjJl0XMs8XEEAU2/s1600/scan0001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGC6gnmz_74uchBa2HijF3SVMVUxicZWcC0H9MaSvrw30p5N4ZaR1dEJa9TCtcXCuhA8nSe5gi-1FAx8E1JYKw5nqc4xND9kUXigsGb5i9di0eboDEZ75iVsYEQON3yAjJl0XMs8XEEAU2/s400/scan0001.jpg" title="A Sculpture in The Park. Age 6" width="400" /></a></div>
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<i>After learning about the life and works of Raoul Dufy, the children make paintings using his style. For ages 3 to 6. Plan 2 sessions.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRqC-DpvYPEdaGwod0run6vWyiPEqLIAPz2IUJahbVJEfkhv8UAmKGyzM4h-s2-HNaMwtw6cK4l3viFPVSxUXOmmI4szzRDOCy-g_RIMagtLPolEaQrWDhDkzfWxyU8FvYTcb-4t4KaYkl/s1600/scan0004.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRqC-DpvYPEdaGwod0run6vWyiPEqLIAPz2IUJahbVJEfkhv8UAmKGyzM4h-s2-HNaMwtw6cK4l3viFPVSxUXOmmI4szzRDOCy-g_RIMagtLPolEaQrWDhDkzfWxyU8FvYTcb-4t4KaYkl/s400/scan0004.jpg" title="Flying in The Sky. Age 4" width="400" /></a><br />
<i><br />
</i> <b>KEY IDEAS</b><br />
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<ul>
<li>Learning about Raoul Dufy and his work</li>
<li>Painting in the style of Dufy</li>
<li>Mixing primary colors to make secondary colors</li>
</ul>
<b>LANGUAGE</b><o:p></o:p><br />
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reproduction, outline, pattern, primary colors, secondary colors<o:p></o:p></div>
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<b>RESOURCES</b><o:p></o:p></div>
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Look <a href="http://en.wikipedia.org/wiki/Raoul_Dufy">here</a> for more information about Raoul Dufy. Click <a href="https://docs.google.com/document/d/1bdrHC5bd_3cAJDHfChdqm-un10eSlkTJRYHyEL2g4Ss/edit?usp=sharing">here</a> and scroll down for four examples of Dufy's paintings during his Fauvist period (1905-1909). <br />
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<b>BACKGROUND</b><o:p></o:p></div>
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<b>The Life of Raoul Dufy</b><o:p></o:p></div>
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The French painter Raoul Dufy is known for his brightly colored and highly decorated scenes depicting the pleasurable aspects of everyday life. The <i>joie de vivre</i> (joy of life) expressed in his paintings helped to popularize modern art.<o:p></o:p></div>
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Born in<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:city w:st="on">Le Havre</st1:city><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>in<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:state w:st="on">Normandy</st1:state>,<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:country -region="-region" w:st="on">France</st1:country><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>in 1877, Dufy was the oldest of nine children. He left school at the age of fourteen, taking a job to help support his family. Showing a rare talent for drawing, he attended evening classes in a local art school so he could continue his job during the day.<o:p></o:p></div>
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In 1900, Dufy won a grant to study art in<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:city w:st="on">Paris</st1:city> and was exposed to several important styles of painting. He was first influenced by the Impressionists who were concerned with painting the effects of reflected light. After seeing a painting by Matisse in an art gallery, he converted to Fauvism with its emphasis on bright colors and bold contours. In 1909, his contact with Cezanne led him to experiment with Cubism, flattening space and emphasizing form.<o:p></o:p></div>
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By 1920, Dufy established his own personal style of painting, using clear colors and lines. He ignored the traditional ideas of perspective by using bright colors in the distance, often making them into decorative patterns. <o:p></o:p></div>
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He was seventy-five when he died in<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:place w:st="on"><st1:city w:st="on"><st1:place w:st="on"><st1:city w:st="on">Forcalquier</st1:city></st1:place></st1:city>,<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><st1:country -region="-region" w:st="on"><st1:country -region="-region" w:st="on">France</st1:country></st1:country></st1:place><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>in 1953.<o:p></o:p></div>
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<b>YOU WILL NEED</b><o:p></o:p></div>
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<ul>
<li>Manila paper or colored construction paper (approximately 12 x 14 inches)</li>
<li>Liquid tempera paints including black</li>
<li>Small containers for paints</li>
<li>Paint brushes</li>
<li>Containers of water to rinse brushes between colors</li>
<li>Small jars and stirrers for mixing colors</li>
<li>Sponges to dry brushes after rinsing</li>
<li>Examples of Dufy’s paintings from his Fauvist period</li>
</ul>
<b>THE PROJECT</b><o:p></o:p><br />
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<b>First Session<o:p></o:p></b></div>
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<b>Preparation</b><o:p></o:p></div>
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<ul>
<li>Become familiar with the life and paintings of Raoul Dufy.</li>
<li>Set out paper, small dishes of black tempera paint, and brushes.</li>
<li>Gather examples of Dufy’s paintings.</li>
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<b>How to Begin</b><o:p></o:p><br />
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<li>Tell the children about Raoul Dufy and share the examples of his paintings, making sure that the children understand that the examples are only<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><i>reproductions</i>, or pictures, of the actual paintings. Explain that, in this session, the children will be making paintings using Dufy’s style.</li>
<li>Point out the characteristics of Dufy’s paintings: clear and bright colors; bold<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><i>outlines</i><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>or lines around the shapes; decorative<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><i>patterns</i><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>or designs; and pleasurable everyday scenes.</li>
<li>Discuss with the children the familiar places that they enjoy visiting, such as the park, zoo, or beach. Point out the simple shapes and patterns that Dufy uses to fill his scenes, like the boats in “<a href="https://www.wikiart.org/en/raoul-dufy/boats-at-martigues-1908">Boats at Martigues</a>,” and the designs in “<a href="https://www.wikiart.org/en/raoul-dufy/the-basin-of-deauville-1935#!#supersized-artistPaintings-270104">The Basin of Deauville</a>.”</li>
<li>Have the children use brushes dipped in the black paint to fill their papers with shapes and patterns related to their chosen scenes. Be sure they understand to not fill in the black shapes because colored paints will be added in the next session. </li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiMslt88qbGZz_qqtKSQ23Gr1h8h_KV6L6HmaBN1KxLfM397NiW4PIH2Mg7FYU0fQuseq1P26uPGfwd-8TMFJ3yGxpKPuxFdZg4vSXDQw6DvTHznP3g0izBWCzAYz_mdBpV7f2TQuMoNXj/s1600/scan0009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiMslt88qbGZz_qqtKSQ23Gr1h8h_KV6L6HmaBN1KxLfM397NiW4PIH2Mg7FYU0fQuseq1P26uPGfwd-8TMFJ3yGxpKPuxFdZg4vSXDQw6DvTHznP3g0izBWCzAYz_mdBpV7f2TQuMoNXj/s400/scan0009.jpg" title="Using black paint to make the outlines." width="265" /></a></div>
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<b>Second Session</b><o:p></o:p><br />
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<b>Preparation</b><o:p></o:p></div>
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<ul>
<li>Set out the colored tempera paints, brushes, containers of water, and sponges.</li>
<li>Set out jars and stirrers for mixing colors.</li>
<li>Set out the dried paintings from the previous session.</li>
</ul>
<b>How to Begin</b><o:p></o:p><br />
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<ul>
<li>Review the clear, bright colors that Dufy used in his paintings. In this session, the children will be working together to mix colors for sharing while completing their paintings.</li>
<li>Explain that red, yellow, and blue are called<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><i>primary colors</i><span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span>because no colors can be mixed to make them. When two primary colors are added together, they create<span class="apple-converted-space"><span style="font-size: 13.5pt;"> </span></span><i>secondary colors</i>. To demonstrate this, give jars and stirrers to several of the children. In each jar, pour in a primary color and then add another primary color; for example, yellow to red, red to blue, and blue to yellow. Have the children mix the colors to create the secondary colors.</li>
<li>Put some of each primary and secondary color into small containers for sharing. </li>
<li>Explain that the children should fill their whole paper with colors, being careful to avoid covering the black lines, allowing them to show as much as possible.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXqYYliHaoM6Q_KiT5DdMJ9ISJtyhRV-Z3RelZg3spQpTWjzNlIQlOKEjrUhaTfanj6kPRWPhqejhov_iEk-B_FfCyNH-VKbyKVI0MKu9w5WWHUZAD9646U5Eey-W5m8oW0i0b304EqG8/s1600/scan0002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXqYYliHaoM6Q_KiT5DdMJ9ISJtyhRV-Z3RelZg3spQpTWjzNlIQlOKEjrUhaTfanj6kPRWPhqejhov_iEk-B_FfCyNH-VKbyKVI0MKu9w5WWHUZAD9646U5Eey-W5m8oW0i0b304EqG8/s400/scan0002.jpg" title="Painting colors around the black lines." width="256" /></a></div>
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<b>NOTES</b><br />
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<ul>
<li>Children are delighted by the bright colors, simplified shapes, and cheerful everyday scenes that Dufy used during his Fauvist period (1905-1909).</li>
<li>The five- and six-year-old children will enjoy seeing the effects of adding white paint to the colors.</li>
<li>Remind the children to paint around the black lines, letting them show as much as possible.</li>
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<b><o:p> </o:p>LET’S TALK ABOUT OUR WORK</b><o:p></o:p><br />
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<ul>
<li>Are the papers filled with bright colors and clear outlines?</li>
<li>Have the children point out the primary and secondary colors in their paintings.</li>
<li>Review how the different colors in the children’s paintings were made.</li>
</ul>
<b>What the children might say…</b><o:p></o:p><br />
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<ul>
<li><i>I don’t know what to put in my painting.</i></li>
<li><i>My paint keeps going over the black lines.</i></li>
<li><i>I like painting with so many pretty colors.</i></li>
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<b>What you might say...</b><o:p></o:p><br />
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<ul>
<li><i>When deciding what you’d like to paint, think about where you enjoy going and some of the things you see there.</i></li>
<li><i>In his paintings, Raoul Dufy often goes over the edges of the black lines with his paint. Just try to not cover them up completely.</i></li>
<li><i>Raoul Dufy tried to make everyday life more enjoyable by using bright and cheerful colors.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1X1V4Al1qKvsX-3QcCUzzi2en4yZp1vZNnUBCMg8E2gE/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-41186252319537511772012-10-17T05:36:00.000-07:002020-08-05T08:03:49.902-07:00Painting - Stuffed Fish<div class="separator" style="clear: both; text-align: center;">
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<i><br />
</i> <i>The children cut out and paint mirror-images of fish, and then make them three-dimensional by stuffing them with wadded newspaper. For ages 6 to 9. Plan 3 to 4 sessions.</i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Drawing large enough to fill the paper </li>
<li>Working with mirror-images</li>
<li>Painting wet paint over dry paint</li>
</ul>
<b>LANGUAGE</b><br />
contour line, mirror-image, three-dimensional<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Brown craft paper–two pieces approximately 18” x 24” for each child</li>
<li>Pencils</li>
<li>Scissors</li>
<li>Liquid tempera paints</li>
<li>Brushes</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Paper clips</li>
<li>Staplers and staples</li>
<li>Glue sticks</li>
<li>Newspaper for stuffing</li>
<li>Fishing line for hanging fish</li>
<li>White craft glue (optional)</li>
<li>Pictures of fish</li>
</ul>
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>For each child, align two pieces of brown craft paper and attach them with several staples around the edges to make it easier for the children to cut double images.</li>
<li>Set out attached papers, pencils, and scissors.</li>
<li>Have available pictures of fish.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Share the pictures of fish, pointing out the shapes of the bodies, fins, and tails. Explain to the children that, in this session, they will each be cutting out two sides of a fish and then painting them in the next session. After the paintings dry, they will be stapled together and stuffed with newspaper to make them <i>three-dimensional</i>, or viewable from all sides. </li>
<li>On one side of their attached papers, have the children draw the <i>contour lines</i>, or outlines, of a fish including its tail and fins. Emphasize that they need to fill their papers with the drawings so the fish will be large enough to stuff.</li>
<li>After the drawings are completed, mark both sides of the fish that face out with an "x" to designate the sides that are to be painted. </li>
<li>Have the children cut out the fish, reminding them to be sure they are cutting through both sheets of paper. When they are finished, they should have two cutouts that are <i>mirror-images, </i>or images with the right and left reversed. </li>
</ul>
<i>Note: Store the two sides of each fish held together by paper clips, making sure the sides to be painted are marked with an “x.”</i><br />
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<b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>In order to demonstrate the process of applying wet paint over dry paint, paint a piece of paper and let it dry.</li>
<li>Set out fish cutouts, tempera paints, brushes, containers of water, and sponges.</li>
<li>Have available pictures of fish.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Once again, share the pictures of fish, this time pointing out the colors, patterns, scales, and eyes. Explain that, in this session, the children will be painting their fish cutouts. They can use the designs of a particular fish or create their own.</li>
<li>On the demonstration paper, show the children how wet paint can be applied directly over dry paint to make adding details easier. The brush should be dipped often to avoid scrubbing on the paper and dried carefully after rinsing to avoid too much water that will re-wet the paint underneath, causing it to mix with the new color. </li>
<li>Have the children paint the first layer of color on one of their fish cutouts with the x-side facing up and set it aside. Then paint the mirror-image on their second cutout with the x-side facing up and set it aside. </li>
<li>If the first cutout has dried, paint on the patterns and details. Then paint the same patterns and details on the second cutout. </li>
</ul>
<i>Note: Depending on the length of the session and the size of the fish, two sessions might be needed to paint both cutouts.</i><br />
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<b>Last Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out dried fish cutouts and newspaper sheets cut in half.</li>
<li>Set out staplers, paper clips, and glue sticks.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be completing their fish by stapling the sides together and stuffing them with newspaper. </li>
<li>Demonstrate how to construct the fish. Line up and hold the two fish cutouts together with paper clips, keeping the painted sides facing out. Staple halfway around the edges of the body, excluding the fins, and stuff the fish with single pieces of newspaper, lightly wadded. Continue to stuff and staple the edges until the fish is completely closed. If the tail is large enough, stuffed it as well. If too small for stuffing, glue the two sides of the tail, as well as the fins, together.</li>
<li>Have the children stuff their fish, reminding them to use lightly-wadded, single sheets of newspaper so that their fish will not become too heavy.</li>
</ul>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7LtcxRnhV5bQK8gJ8i_eShF3k1Fg8eOaKOtgXM43pw5ziYM6tASSwNEGlVvh3HtMN5MpaA8dbSHILpoc3sGXM7H3u6JYbt9-AxOl6kKwoLQpZnNqeryFOVRN4Sm0WR8SUZrM9pdu1Q-4/s1600/scan0002.jpg1.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7LtcxRnhV5bQK8gJ8i_eShF3k1Fg8eOaKOtgXM43pw5ziYM6tASSwNEGlVvh3HtMN5MpaA8dbSHILpoc3sGXM7H3u6JYbt9-AxOl6kKwoLQpZnNqeryFOVRN4Sm0WR8SUZrM9pdu1Q-4/s400/scan0002.jpg1.jpg" title="Stuffing the fish with wadded newspaper" width="400" /></a><br />
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<i>Note: Hang the fish by poking a hole at the balance point of the fish and tying fishing line to it. A small dab of white glue on the knots will keep them from coming untied.</i><br />
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<b>NOTES</b><br />
<ul>
<li>This is a good project to coordinate with classroom work on marine life.</li>
<li>The children need to fill the paper with their drawings so that the fish will be big enough to stuff. </li>
<li>Once the fish are cut out, knowing which side to paint can be very confusing, so be sure to clearly mark the outward facing sides with an "x." </li>
<li>The thick, opaque quality of liquid tempera paint makes it easy and satisfying for children to use. It also works well when applying wet paint over dry paint.</li>
<li>Plan to help the younger children with the stapling.</li>
<li>To keep the fish light weight, be sure to use single sheets of newspaper, lightly wadded.</li>
<li>The hanging fish make an impressive display as they seem to be “swimming” in the air.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Point out the difference between two-dimensional work, such as painting on the paper, and making it three-dimensional by adding the wadded newspaper.</li>
<li>Discuss the characteristics that describe fish.</li>
<li>Point out the many interpretations in the shapes, colors, and patterns on the children’s fish.</li>
</ul>
<b>What the children might say…</b><br />
<ul>
<li><i>I want to design my own fish.</i></li>
<li><i>I can’t draw so big. I think I only want a small fish.</i></li>
<li><i>Uh oh! I only cut out one fish.</i></li>
<li><i>I can’t get my fish to close up. The newspaper keeps getting in the way.</i></li>
<li><i>Wow! The room looks like a giant aquarium!</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>When drawing your fish, you need to include the parts which will help us to recognize that it is a fish. Then you can design your very own fish.</i></li>
<li><i>A small fish will be hard to stuff, so you need to draw as large as you can. A good way to start is by drawing a big shape for the body and then adding the tail and fins.</i></li>
<li><i>As you cut out your fish, keep checking to be sure that you are cutting through both pieces of paper. If you've only cut out one fish, trace its shape on your second paper, making sure that the x-marked sides are facing out. Then cut out the second side for your fish.</i></li>
<li><i>Be careful to not over stuff your fish. It doesn't take much newspaper to make the fish three-dimensional.</i></li>
<li><i>Everyone is enjoying the wonderful variety of fish that you created.</i></li>
</ul>
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<br />Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-74496018301042433102012-10-03T05:34:00.000-07:002020-08-05T08:11:56.575-07:00Drawing - Illustrating Poems<div class="separator" style="clear: both; text-align: center;">
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THE CHICKEN AND THE HULA HOOP</div>
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The chicken in the chicken coop</div>
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is playing with a hula hoop.</div>
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Who went and left a hula hoop</div>
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in the chicken coop today?</div>
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She’s twisting and she’s twirling,</div>
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there’s a cloud of feathers swirling,</div>
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and the hula hoop is whirling</div>
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as she swivels and she sways.</div>
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A hula hoop misplaced in haste</div>
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is strangely to this chicken’s taste,</div>
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who has, it’s true, no real waist</div>
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and rather wobbly legs.</div>
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But when you see how she can whir</div>
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so fast her middle starts to blur,</div>
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I’m fairly sure that you’ll concur:</div>
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we’re having scrambled eggs!<br />
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<span style="font-size: x-small;"> </span><span style="background-color: white; color: #333333; font-family: "georgia" , serif; line-height: 19.5px; text-align: left;"><span style="font-size: xx-small;">©</span></span><span style="font-size: x-small;"> </span><span style="font-size: x-small;">Emily Voigt </span><span style="font-size: x-small;"> </span></div>
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<i>The children listen to poems read aloud and then make drawings to illustrate them. For ages 6 to 13. Plan 1 session.</i><br />
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THE PROBLEM WITH BAND-AIDS</div>
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I'm covered in Band-aids, just covered in 'em.</div>
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There are so many on me, you can't see my skin.</div>
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See, the problem must be I'm a bit of a wimp.</div>
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The smallest of boo-boos compels me to limp.</div>
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I'm a crier, a whiner, a ninny, a grump,</div>
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completely defeated by bruises and bumps.</div>
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Whenever I'm ailing, say, skinned, stubbed, or sore,</div>
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I just stick on a Band-aid, 'cause that's what they're for!</div>
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Well, it's getting absurd, people call me a chicken.</div>
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<!--StartFragment-->But the thing about Band-aids<span style="font-family: "cambria"; font-size: 12.0pt;">—</span>it hurts to unstick 'em.</div>
<div style="text-align: center;">
<span style="background-color: white; color: #333333; font-family: "georgia" , serif; line-height: 19.5px; text-align: left;"><span style="font-size: xx-small;">©</span></span><span style="font-size: x-small; text-align: justify;"> </span><span style="font-size: x-small; text-align: justify;">Emily Voigt </span></div>
<b>KEY IDEAS </b><br />
<ul>
<li>Appreciating poetry </li>
<li>Listening for details </li>
<li>Illustrating narratives </li>
</ul>
<b>LANGUAGE </b><br />
poem, illustrate<br />
<br />
<b>RESOURCES </b><br />
Poems such as those written by Ogden Nash, Jack Perlutsky, and Ken Nesbitt are fun to read aloud and delight the children. The poems in this lesson were written by my daughter <a href="http://emilyvoigt.com/">Emily Voigt</a>.<br />
<br />
<b>YOU WILL NEED </b><br />
<ul>
<li>Drawing paper–approximately 9 x 12 inches </li>
<li>Drawing pencils or thin-line, non-toxic permanent markers (Faber-Castell markers are odorless)</li>
<li>Poems for reading–plan about 20 minutes to read, discuss, and illustrate each poem.</li>
</ul>
<b>THE PROJECT</b><b> </b><br />
<b>Preparation</b><br />
<ul>
<li>Set out pencils or markers and paper. </li>
<li>Have enough poems available to fill the session. </li>
<li>Become familiar with the poems so you can read them with ease.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that <i>poems</i> are the sounds and meanings of words which are combined to create ideas and feelings. </li>
<li>In this session, you will be reading poems aloud and then discussing them with the children. After a second reading, the children will <i>illustrate</i> or draw what they hear is happening in the poems. </li>
<li>Read the first poem slowly and with animation, enunciating each word carefully. Discuss with the children the characters and actions that take place and explain the meanings of any unfamiliar words. </li>
<li>Read the poem again, emphasizing the characters and actions. </li>
<li>Have the children draw pictures illustrating what is happening in the poem. </li>
<li>Collect the drawings before introducing the next poem and repeat the same procedure for each one. </li>
</ul>
<b>NOTES</b><br />
<ul>
<li>Choose children's poems that are fun to listen to and easy to read aloud. Become familiar with reading the poems before the session.</li>
<li>Begin the discussions by having the children talk about their first impressions of what is happening in the poems. </li>
<li>Defining unfamiliar words in the poems provides a good opportunity to build the children’s vocabulary. </li>
<li>Give the children a better understanding of the poems before they start to draw by waiting until after the second reading of each poem to hand out the pencils and papers. </li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Do the drawings show that the children understand what is happening in the poems?</li>
<li>Point out the different ways that the children interpreted the poems. </li>
<li>Have the children talk about the parts of the poems that they chose to illustrate in their drawings. </li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>I don't know what the Big Thing is. (See the poem at the end of this lesson.)</i></li>
<li><i>But chickens can't play with hula hoops.</i></li>
<li><i>Just listening to the words makes me laugh.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>The Big Thing is whatever you imagine in your mind while you listen to the poem being read.</i></li>
<li><i>Putting together impossible ideas is part of what makes these poems so much fun.</i></li>
<li><i>When writing poems, the sounds of the words are as important as their meanings.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1R1rk1SjyDUDrZRSbDjqfCxYt_t7K0A3aFTFydfZeIbY/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HLj1x4vr1vwzESecgT29OAnOXhYqqLXhlISQuO0BzQ78EB7kMIi6pA65YlY_DlFbsQ3-WTFQHtsYuNf00P3pMSIbiAETiL8Fe847rfyOnNauG-aze6QsyqX5VDr_6hx-FFRPiqE2Arhq/s1600/scan0007.jpgauto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HLj1x4vr1vwzESecgT29OAnOXhYqqLXhlISQuO0BzQ78EB7kMIi6pA65YlY_DlFbsQ3-WTFQHtsYuNf00P3pMSIbiAETiL8Fe847rfyOnNauG-aze6QsyqX5VDr_6hx-FFRPiqE2Arhq/s400/scan0007.jpgauto.jpg" title="Age 8" width="256" /></a></div>
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TREE HOUSE</div>
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I've been building a tree house outside in my yard.</div>
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It's a project I'm finding especially hard</div>
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'cause my parents aren't willing to lend their support<span class="Apple-style-span" style="font-family: "cambria"; font-size: 16px;">—</span></div>
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they insist that I mustn't, they say I'll get hurt.</div>
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My cavorting in trees they refuse to condone</div>
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while right here on the ground I'm quite accident prone.</div>
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So I bought my own lumber, snuck out on the sly, </div>
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and I'm starting to build my own tree house up high.</div>
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I must be oh so quiet and careful and cautious.</div>
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If my parents find out...just the thought makes me nauseous!</div>
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Too much noise I've discovered my hammering makes,</div>
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so in place of the nails, I've been using scotch tape.</div>
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<span style="background-color: white; color: #333333; font-family: "georgia" , serif; line-height: 19.5px; text-align: left;"><span style="font-size: xx-small;">© E</span></span><span style="font-size: x-small; text-align: justify;">mily Voigt </span></div>
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<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7mzXJT8yLpaBj43Wa02dPMD2sidb-18tzq-kDJimfAkvty0FE3DneoQ-DXiNyPnV-IBnDOvFNWAslaeHQ86OzS_IS463EBvge1FOOWnG2CYRLxlJr6yqVwoH_aainxmkLyF3-ca44jZF/s1600/scan0006.jpgauto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7mzXJT8yLpaBj43Wa02dPMD2sidb-18tzq-kDJimfAkvty0FE3DneoQ-DXiNyPnV-IBnDOvFNWAslaeHQ86OzS_IS463EBvge1FOOWnG2CYRLxlJr6yqVwoH_aainxmkLyF3-ca44jZF/s400/scan0006.jpgauto.jpg" title="Age 7" width="305" /></a></div>
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THE BIG THING</div>
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This thing is big.</div>
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It's bigger than big.</div>
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It's the biggest big thing that I've seen.</div>
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What is it doing?</div>
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What can it be doing</div>
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out there on my pink trampoline?</div>
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<br /></div>
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This very big thing,</div>
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this gargantuan thing,</div>
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saw my pink trampoline and it pounced.</div>
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Now it's standing out there,</div>
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looking up in the air,</div>
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and waiting, just waiting, to bounce.</div>
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<span style="background-color: white; color: #333333; font-family: "georgia" , serif; line-height: 19.5px; text-align: left;"><span style="font-size: xx-small;">© E</span></span><span style="font-size: x-small; text-align: justify;">mily Voigt </span></div>
Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-8082260188559169782012-09-19T05:13:00.000-07:002020-08-05T08:40:16.807-07:00Clay - Radiant Suns<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0uTFlRD0R1pz8p_mt7tNO0HfeRbcrOmJ9Ih7HGPnP-I3KkVgfaAuYJwfwNc2OYhLGrZw0Sg7wobX21gd4yJL7VRR-krQDJ0gotEibLWUPRGbf8whNJHDLS4qTBFHXo59bNx55QYPHGA3w/s1600/final+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0uTFlRD0R1pz8p_mt7tNO0HfeRbcrOmJ9Ih7HGPnP-I3KkVgfaAuYJwfwNc2OYhLGrZw0Sg7wobX21gd4yJL7VRR-krQDJ0gotEibLWUPRGbf8whNJHDLS4qTBFHXo59bNx55QYPHGA3w/s400/final+1.jpg" title="Age 8" width="400" /></a></div>
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<i>The children use clay to create colorful suns after learning about the ones made in Metepec, Mexico. For ages 3 to 9. Plan 2 sessions.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SxG_31ehWzynsD2Q9IdUXTT38uUkywkER4Oq14c6JobMnuJI6_QK3Kb0AuWB4wwCXaytlOnoQpHYyz1mQmDkp0vCQx7-id3GS0f_C3jlN-756xWGD93foajkIjF2OUd6aidiaf8VBZmp/s1600/final4.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SxG_31ehWzynsD2Q9IdUXTT38uUkywkER4Oq14c6JobMnuJI6_QK3Kb0AuWB4wwCXaytlOnoQpHYyz1mQmDkp0vCQx7-id3GS0f_C3jlN-756xWGD93foajkIjF2OUd6aidiaf8VBZmp/s400/final4.jpg" title="Age 5" width="400" /></a><br />
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<br />
<b>KEY IDEAS</b><br />
<ul>
<li><span style="font-family: inherit;">Learning about a Mexican folk art</span></li>
<li><span style="font-family: inherit;">Building with clay</span></li>
<li>Working with three-dimensional form</li>
<li>Applying underglazes</li>
</ul>
<b>LANGUAGE</b><br />
three-dimensional, scratch-and-slip method, bisque ware, underglaze<br />
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<b>RESOURCES</b><br />
Click <a href="https://docs.google.com/document/d/1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA/edit">here</a> to view additional information about working with clay in a printer-friendly format. Click <a href="https://docs.google.com/document/d/1neyIMEBpFfHbd3r0yi50I2T6YiQzUi6F48XaWIXSMA8/edit">here</a> and scroll down to see five examples of clay suns from Metepec, Mexico.<br />
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<b>BACKGROUND</b><br />
The colorful clay suns from Metepec, Mexico are used for decoration, expressing warmth and life-giving energy. They are made three-dimensional by pressing round slabs of clay over molds and adding pieces of clay to form the facial features. Sometimes slits of clay are cut out for the mouths and eyes. Coils are attached along the edges of the slab to make the rays. After firing the suns in a kiln, they are either left in the bisque-fired state or painted with bright, colorful designs. <br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Clay–one grapefruit-sized ball for each child plus a few extra</li>
<li>12- x 18-inch Masonite boards (one for each child) or canvas to cover the work surface</li>
<li>Clay needle tools or ten-penny nails </li>
<li>Containers with a small amount of slip or water</li>
<li>Newspaper for making the suns three-dimensional</li>
<li>Opaque underglazes (non-toxic) </li>
<li>Brushes for applying underglazes</li>
<li>Plastic wrap and trays for gradually drying the clay </li>
<li>Clear glaze (non-toxic)</li>
<li>Fishing line </li>
<li>White craft glue</li>
<li>Pictures of clay suns from Metepec, Mexico </li>
</ul>
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Check the clay several days ahead to be sure it has a good workable consistency. </li>
<li>Wedge the clay into small grapefruit-size balls, planning one for each child plus a few extra.</li>
<li>Cover work area with individual Masonite boards or canvas.</li>
<li>Set out newspaper, needle tools or ten-penny nails, containers of water, and clay.</li>
<li>Have available the pictures of Metepec suns.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Share the examples of the Metepec suns, pointing out the shapes, rays, facial features, and decorative designs. Explain to the children that they will be using clay to make their own colorful suns.</li>
<li>Demonstrate how to make a sun by breaking off a large piece of clay and pressing it into a flat, round shape with the palm of your hand or a rolling pin. To give the sun a domed or <i>three-dimensional</i> effect, lay the slab over a small wad of newspaper. </li>
<li>Make the rays by rolling thick coils and attaching them to the slab with the <i>scratch-and-slip method</i>, scratching the surfaces to be joined, applying a small amount of slip or water, and pressing the two pieces together. For strength, limit the rays to no more than a few inches long. Attach them by placing them at least one-half inch over the edge of the slab rather than butting them up against the slab. Another way to make the rays would be to pinch them directly from around the edges of the slab.</li>
<li>To make facial features, scratch and slip pieces of clay to the slab. Although eyes and mouths can be cut out, encourage the children to make the noses three-dimensional to give the suns depth. </li>
<li>Have the children create their suns, making sturdy rays that are well attached.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhlBDfKjyjE34ktFeSM0ACOXwA-aB6ZDBEfWidX7WCXltNLxtOFmOafP9amwBRnODeKFPksclB7ElW1TpEyG3wv8zackAj95vQRdJe5znza_DmxdVvV4TiawPwdm9OFgecnLIpDiKXLjA/s1600/scan0007.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhlBDfKjyjE34ktFeSM0ACOXwA-aB6ZDBEfWidX7WCXltNLxtOFmOafP9amwBRnODeKFPksclB7ElW1TpEyG3wv8zackAj95vQRdJe5znza_DmxdVvV4TiawPwdm9OFgecnLIpDiKXLjA/s400/scan0007.jpg" title="Attaching the rays one-half inch over the edge of the slab." width="400" /></a></div>
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<i>Note: While the clay is still wet, make two holes in the top of the body of the sun, </i><i>not the rays, </i><i>for hanging. Then dry the clay very slowly under plastic wrap, loosening the wrap gradually. When the clay has dried completely, bisque fire the suns in a kiln</i><br />
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<b>Second Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out bisque-fired suns.</li>
<li>Set out brushes and a variety of underglazes.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be using <i>underglazes</i>, or paint for clay, to create colorful designs on their suns. </li>
<li>Demonstrate how quickly the underglazes dry when applied to<i> bisque ware</i>, or clay that has been fired for the first time in a kiln. The children will need to dip their brushes often to avoid scrubbing and to cover all areas. They should carefully dab into any cracks or rough areas on the clay surface.</li>
<li>Show the children that they can apply designs directly on top of the dried underglazes. Be sure they understand that the last color painted is the one that will show.</li>
<li>Before giving the children their clay pieces, warn them that bisque ware is fragile and must be handled carefully. It is best for the children to avoid lifting the suns, leaving them on the work surface as they paint them. Explain that the undersides of the suns will not be seen and therefore do not to be painted. </li>
<li>Have the children decorate their suns, encouraging them to create their own ideas using bright colors and lots of designs.</li>
</ul>
<i>Note: Let the underglazed pieces dry overnight and then apply a coat of clear glaze. Let them dry again before glaze-firing them in a kiln. Thread sturdy fishing line through the holes and tie it to form a loop for hanging. A small dab of white craft glue will keep the knot tied.</i><br />
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<b>NOTES</b><br />
<ul>
<li>Explain to the children that this project will take several weeks to complete because of the drying and firing time involved.</li>
<li>I don’t introduce the scratch-and-slip method when working with three-year-old children. Using very moist clay is usually enough to hold the pieces together if you dry the clay slowly.</li>
<li>For ease of handling, limit the size of the completed suns to six inches in diameter.</li>
<li>Be sure that the areas where the rays are attached to the suns are not pressed too thin which will cause the clay to crack as it dries. </li>
<li>The rays are very fragile. If they are too long, cut them shorter or fold them over each other in a decorative way for support.</li>
<li>Don’t forget to cut the holes for hanging while the clay is still wet.</li>
<li>Since it is very difficult to repair, keep reminding the children how easily bisque ware can be broken.</li>
<li>Opaque, rather than transparent, underglazes are best to use with young children. Mistakes are easily covered up and designs can be painted directly on top of the bottom colors. </li>
<li>The suns could also be painted with tempera paint and a protective coating of water-based polyurethane.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Discuss the variety of designs on the suns.</li>
<li>In what ways are the suns similar to the ones made in Metapec, Mexico?</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtFizbZR7TeVMlUGn4YcPEjwCy7dgudWLYZ1D3wWoQE_fCekKXlmOhq9ngykBVDKTU8sxpKTJPzGJ6RLMCYm82xGPsosxJi4Qj6WNIad1sJMOx6-vYe-MhSQeF9C89RlBRFL0bKQkFTpL7/s1600/finalbb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtFizbZR7TeVMlUGn4YcPEjwCy7dgudWLYZ1D3wWoQE_fCekKXlmOhq9ngykBVDKTU8sxpKTJPzGJ6RLMCYm82xGPsosxJi4Qj6WNIad1sJMOx6-vYe-MhSQeF9C89RlBRFL0bKQkFTpL7/s400/finalbb.jpg" title="The clay suns make a cheerful display." width="400" /></a></div>
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<b>What the children might say...</b><br />
<ul>
<li><i>I don’t know how to start with this big piece of clay.</i></li>
<li><i>How much newspaper should I use under my sun?</i></li>
<li><i>My rays keep breaking and won’t stay on.</i></li>
<li><i>I have to pick up my sun so I can reach all the areas I need to paint.</i></li>
<li><i>I accidentally dripped some blue paint where I don’t want it.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>You can start by breaking off a large chunk of your clay to make the round section of your sun.</i></li>
<li><i>A small ball of wadded newspaper will be enough to make your sun three-dimensional.</i></li>
<li><i>Don't forget to make the rays thick so they will not break and attach them on top of, instead of next to, the edge of the sun.</i></li>
<li><i>Bisque-fired clay is very easily broken so it is best to turn the suns on the table instead of picking them up while painting them. </i></li>
<li><i>The last color of underglaze that you use is the one which will show, so mistakes and drips can be covered up.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1t1OqIkbCvRDLESvrp_TlptSJoE-M5Y-_cKDZioqUBFM/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpuPq9WKeD19pORcU81POroFe_uNpFkrNqm82otkRLIOHejIdZzcYip0YxxnZW5DGfc3EPMKiHgA4Szd5OIZ9hHE3H86Genc5sSl4zO9-Ah70eyqR42PmY88CoOrE6bmU1uUrlx0CGD_G/s1600/final7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpuPq9WKeD19pORcU81POroFe_uNpFkrNqm82otkRLIOHejIdZzcYip0YxxnZW5DGfc3EPMKiHgA4Szd5OIZ9hHE3H86Genc5sSl4zO9-Ah70eyqR42PmY88CoOrE6bmU1uUrlx0CGD_G/s400/final7.jpg" title="Age 6" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHEMVgAdpEOSjYQnFuMrtYTzmHjl8loE4sWCEgEO9_WtSLmf0rF_jc3fN8mQUO-XPpEbeOZSOtU935_2cJxOxXUIhKRT3ogO4HCM2fs49Sr_bf9cIdc-6X_OQMKzzLpSbnThSCFE-KDQxc/s1600/final+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHEMVgAdpEOSjYQnFuMrtYTzmHjl8loE4sWCEgEO9_WtSLmf0rF_jc3fN8mQUO-XPpEbeOZSOtU935_2cJxOxXUIhKRT3ogO4HCM2fs49Sr_bf9cIdc-6X_OQMKzzLpSbnThSCFE-KDQxc/s400/final+3.jpg" title="Age 5" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGcK0or-Z9_MfI5dcqQXNe3-hPIG0cTuf2HPNIDRroIs6UMvOretjMW_0KD4lozeUf5r5Jh6Y9XU0tlFIAj-Clp8H4hKVQnlclXg5zO8zzTaJWhy3R-vN5m3TYfeh-EptDr8VdS3sNXQaw/s1600/final+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="365" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGcK0or-Z9_MfI5dcqQXNe3-hPIG0cTuf2HPNIDRroIs6UMvOretjMW_0KD4lozeUf5r5Jh6Y9XU0tlFIAj-Clp8H4hKVQnlclXg5zO8zzTaJWhy3R-vN5m3TYfeh-EptDr8VdS3sNXQaw/s400/final+2.jpg" title="Age 7" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBNoFW_jNIEIVSdrYNyXrjEms61kM3aAryLJzXcIBNKvrJ_FWhPfeasceIjaPSPKrthicuYpMNsZJ6woldyKffl14GEuKv03I1kJVDDCyTHkYvPjYm4eauVz9Zp4EjUPLBMSIJD7lqF8Xz/s1600/final5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBNoFW_jNIEIVSdrYNyXrjEms61kM3aAryLJzXcIBNKvrJ_FWhPfeasceIjaPSPKrthicuYpMNsZJ6woldyKffl14GEuKv03I1kJVDDCyTHkYvPjYm4eauVz9Zp4EjUPLBMSIJD7lqF8Xz/s400/final5.jpg" title="Age 3" width="400" /></a></div>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-65574542094413883772012-09-05T05:08:00.000-07:002020-08-05T10:37:46.938-07:00Papier Mâché - Handmade Boxes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDxPYoY_DH2IVutiUxVdNV0XByMpeihUgv7GwNkiC-mcL2UF2br07Ns3KbxjP5jnaUeTKCho3ZNxNOZu8Pi-Thm0VAvp4u4cnxDOaL1qyMQ1hT-7SitqSxA8F8HQ4ZjO2nKHOezDPSY7b/s1600/finalssun.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDxPYoY_DH2IVutiUxVdNV0XByMpeihUgv7GwNkiC-mcL2UF2br07Ns3KbxjP5jnaUeTKCho3ZNxNOZu8Pi-Thm0VAvp4u4cnxDOaL1qyMQ1hT-7SitqSxA8F8HQ4ZjO2nKHOezDPSY7b/s400/finalssun.jpg" title="Age 11" width="400" /></a></div>
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<i>The children construct boxes with lids, and then design them with themes using papier mâché and paint. For ages 9 to 13. Plan 6 sessions.</i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Constructing boxes with lids</li>
<li>Building with papier mâché </li>
<li>Designing with themes</li>
<li>Working with three-dimensional form</li>
</ul>
<b>LANGUAGE</b><br />
papier mâché, pulp, score, theme<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Sturdy cardboard that can be cut with scissors</li>
<li>Masking tape</li>
<li>Scissors</li>
<li>Rulers</li>
<li>Pencils</li>
<li>White craft glue </li>
<li>Inexpensive brushes for glue</li>
<li>Newspaper</li>
<li>Wheat paste<span style="font-size: 9pt;">—</span>non-toxic (I use PlayBox wheat Paste.)</li>
<li>Bowls for wheat paste </li>
<li>Papier mâché pulp<span style="font-size: 9pt;">—</span>golf-ball-sized quantity for each child (See recipe below.)</li>
<li>Odds and ends for decorations, such as paper towel tubes, string, and water-based, air-drying clay </li>
<li>Tempera paints</li>
<li>Paint brushes</li>
<li>Small jars with lids for saving mixed colors of paint</li>
<li>Containers of water for rinsing brushes</li>
<li>Sponges for drying brushes</li>
<li>Clay needle tool or craft knife for scoring cardboard</li>
<li>Water-based polyurethane</li>
<li>Non-stick surface for drying boxes, such as wax paper or twisted pieces of aluminium foil</li>
</ul>
<i>Note: Papier mâché pulp works well for three-dimensional designs on the boxes. Two full sheets of newspaper, approximately 23 x 27 inches, will make enough pulp for about four golf-size balls. To prepare, rip newspaper into small pieces, cover with water, bring to a boil, and simmer for an hour. Turn off heat and let sit overnight. Put wet newspaper and some of the water into a blender to make a mash. Squeeze out excess water. Mix some wheat paste to a very thick consistency. With your hands, blend enough of the wheat paste into the newspaper mash to produce pulp the consistency of stiff mashed potatoes. </i><br />
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<b>THE PROJECT</b><br />
<b>First/Second Sessions </b><br />
<b>Preparation</b><br />
<ul>
<li>Pour glue into small bowls, planning one for every two children.</li>
<li>Set out pencils, rulers, scissors, and bowls of glue with brushes.</li>
<li>Set out pieces of cardboard and masking tape. </li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain to the children that they will be making boxes with lids and then covering them with <i>papier mâché</i>, a process using newspaper and paste that dries very hard and can be painted. In the next two sessions, the children will be constructing the boxes and lids.</li>
<li>Demonstrate how to make the box. On a piece of cardboard, draw the base and adjacent sides, making sure all the sides are of equal height. </li>
</ul>
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<ul>
<li>Use scissors to cut out the shape. Turning the scissors to cut the corners is difficult when working with stiff cardboard. Show the children how to cut from the edge of the cardboard into the corners of the shape.</li>
</ul>
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<ul>
<li>Use a clay needle tool or craft knife to <i>score</i> the box along the lines where it will be folded. This is done by running the sharp edge along the lines, cutting into, but not all the way through, the cardboard. Fold the sides away from the scored lines, and hold in place with tape. </li>
</ul>
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<ul>
<li>To make a lid, lay the box upside down on a piece of cardboard and trace around the edges. Before lifting the cardboard to cut out the shape, make an "x" in the middle of it to clearly mark the side which will go inside the box. </li>
</ul>
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<ul>
<li>To keep the lid from sliding off the box, make an insert by cutting another piece of cardboard that is about one-half inch smaller on all sides. (If the cardboard is thin, cut two pieces and glue them together.) Center and glue the insert to the x-marked side of the lid. Test to be sure that the lid with the insert fits comfortably on the box. </li>
</ul>
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<ul>
<li>Have the children construct the boxes and lids, and then cover the entire surface with a thin layer of white glue. This will prevent warping when the paste-soaked newspaper is put on the cardboard.</li>
</ul>
<i>Note: Dry the boxes on a non-stick surface such as waxed paper or twisted pieces of aluminum foil.</i><br />
<br />
<b>Third Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Mix the wheat paste to a cream-like consistency and put into bowls, planning one for every two children.</li>
<li>Tear lots of newspaper into roughly 1- x 3-inch strips. </li>
<li>Cover the work area with newspaper.</li>
<li>Set out the boxes with their lids, wheat paste, and newspaper strips.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>In this session, the children will be covering the surface of the boxes and lids with papier mâché.</li>
<li>To apply the papier mâché, dip the newspaper strips into the prepared paste and pull the wet paper between two fingers to remove the excess paste. Lay the dampened strips on the box, following its form carefully while overlapping and smoothing the edges. </li>
<li>Have the children apply at least two layers of papier mâché to the boxes and lids, including the inside sections. When finished, the surfaces should be smoothed as much as possible before letting the forms dry.</li>
</ul>
<b>Fourth Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Prepare papier mâché pulp.</li>
<li>Cover the work area with newspapers.</li>
<li>Set out the dried boxes, pulp, odds and ends, paste, newspaper strips, tape, scissors, and glue.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that, in this session, the children will be decorating their boxes using odds and ends and papier mâché <i>pulp</i>, a clay-like medium made from newspaper and paste that has been boiled and mashed in a blender.</li>
<li>Have the children each choose a <i>theme</i>, or unifying idea, for decorating their boxes. They will need to consider the lids and all four sides of the boxes when planning their designs.</li>
<li>Explain that papier mâché pulp works well when making three-dimensional additions, such as lid handles. For linear decorations, glue on string or coils made from water-based, air-drying clay. </li>
<li>Caution the children that any items that need to be taped to the boxes should be put on before the paste-soaked newspaper is applied, because the tape will not hold once the box becomes wet. All additions, including pulp and any tape used, need to be covered with a final layer of papier mâché.</li>
<li>After the children complete the additions, have them smooth the surface as much as possible before letting the boxes dry.</li>
</ul>
<b>Fifth/Sixth Sessions<br />
Preparation</b><br />
<ul>
<li>Set out dried boxes and lids. </li>
<li>Set out tempera paints, brushes, containers of water, sponges, and small jars with lids.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that, in this session, the children will be covering the boxes and lids with a base layer of paint, and in the next session, they will be adding the details.</li>
<li>Warn the children that when mixing their colors, they should make enough to cover the specific sections of the boxes<span style="font-size: 9pt;">—</span>some colors, especially light shades, may need two layers of paint to cover the newsprint. The mixed colors can be stored in small jars and shared with other children. It’s also good to keep these colors for repairing mistakes that may occur.</li>
<li>Have the children mix their colors and then cover the entire surface of their boxes and lids with the first color of paint.</li>
<li>Dry the boxes and lids between sessions and then have the children paint on the details.</li>
</ul>
<i>Note: When the painting is completed and the boxes have dried, have an adult apply a protective coating of water-based polyurethane.</i><br />
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<b>NOTES</b><br />
<ul>
<li>Newspapers that are printed with vegetable inks are more flexible. Torn, rather than cut, edges will blend easier. Newspapers tear easily when ripped vertically.</li>
<li>To keep the boxes from becoming too large and time-consuming, limit any dimension of the boxes to no more than six inches before decorations are added.</li>
<li>Some children will not need to use papier mâché pulp, while others will need extra. Preparing one ball about the size of a golf ball per child is usually enough. </li>
<li>This project can be done in four sessions using pre-made boxes. However, when asked if they preferred making their own boxes instead of using pre-made ones, the children unanimously answered, "Yes."</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Discuss the details that describe the themes of the boxes.</li>
<li>Are the boxes viewable from all sides?</li>
<li>Do the designs on the lids coordinate with those on the boxes?</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>How can I change the shape of my box if I want the bottom to be round?</i></li>
<li><i>I want to have my box standing on soccer shoes.</i></li>
<li><i>The newspaper is still showing through the paint on my box.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>You can tape on additional pieces of cardboard to change the bottom shape of your box.</i></li>
<li><i>Papier mâché pulp is like paper-clay, so it will work well for making shoes for your box. </i></li>
<li><i>Some colors of paint, like yellow and white, will need two layers to cover the newspaper. Once you have completed the first coat, your box should be dry enough to add a second coat.</i></li>
</ul>
<a href="https://docs.google.com/document/d/1WsMtcaRGNdXbqe2K4tLzg6dxvmtfcpBD_Fls24a7U7s/edit">Click here to view this lesson in a printer-friendly format.</a><br />
<i> </i><br />
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<i> </i>Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-39550649902972759152012-08-22T05:12:00.000-07:002020-08-05T10:53:35.976-07:00In the Style of - Paul Cezanne<div class="separator" style="clear: both; text-align: center;">
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<i>After learning about the life and works of Paul Cezanne, the children make still-life paintings using his style. For ages 9 to 13. Plan 3 sessions.</i><i></i><br />
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<b>KEY IDEAS</b><br />
<ul>
<li>Learning about Paul Cezanne and his still-life paintings</li>
<li>Working in the style of Cezanne</li>
<li>Introducing the beginnings of modern art</li>
</ul>
<b>LANGUAGE</b><br />
still-life paintings, contour lines, planes<br />
<br />
<b>RESOURCES</b><br />
Look <a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne">here</a> for more information about Paul Cezanne. Click <a href="https://docs.google.com/document/d/1a912BgZZqJkaUQj0XiYT56Ahy7lNu-rfYCW_nOG8G2s/edit?usp=sharing">here</a> and scroll down to see four examples of Cezanne's still-life paintings. <br />
<br />
<b>BACKGROUND</b><br />
<b>The Life of Paul Cezanne</b><br />
Paul Cezanne was one of the most influential artists of the 19th century. As a forerunner of modern art, his work bridged the Impressionist style of painting the effects of light and the Cubist style of seeing objects in planes of color. An inspiration to artists like Picasso, Braque, and Matisse, his achievements in painting would be varied and perfected by many generations of painters to follow. <br />
<br />
Born in 1839 in Aix-en-Provence (<i>ex-on-provense</i>) in southern France, Cezanne grew up with two younger sisters, Marie and Rose. He loved to swim, write poetry, play the cornet, and roam the countryside. At ten years old he was already studying art, but his father, a wealthy banker, encouraged him to become a lawyer. Cezanne attended law school for two years before deciding he really wanted to be a painter.<br />
<br />
At 23, he moved to Paris to further his study of art. Working with the Impressionists, he began using lighter and brighter colors, but he was less interested in their use of reflected light and began to explore structures in nature, using different colors to show different planes in objects. For example, in his still-life paintings, apples are not just red – they are red, orange, yellow, and green. <br />
<br />
Cezanne believed that artists have the right to change the shapes of objects and rearrange them on the canvas, or even tilt a table top, in a way that could not exist in nature. He said, “I am the beginning of the way I have discovered,” understanding that his style of painting was a first step in the development of modern art in the 20th century.<br />
<br />
Cezanne died in 1906 at the age of 67.<br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Manila paper or colored construction paper (approximately 10 x 12 inches)</li>
<li>Drawing pencils</li>
<li>Liquid tempera paints</li>
<li>Paint brushes</li>
<li>Containers of water to rinse brushes between colors</li>
<li>Sponges to dry brushes after rinsing</li>
<li>Individual trays for mixing colors<span style="font-size: 9pt;">—</span>styrofoam trays from the grocery store work well.</li>
<li>Still-life arrangement</li>
<li>Examples of Cezanne’s still-life paintings</li>
</ul>
<br />
<b>THE PROJECT</b><br />
<b>First Session</b><br />
<b>Preparation</b><br />
<ul>
<li>Become familiar with the life and paintings of Paul Cezanne.</li>
<li>Make a still-life arrangement of fruit that can be easily seen by all the children.</li>
<li>Set out paper and drawing pencils.</li>
<li>Gather examples of Cezanne’s still-life paintings.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Tell the children about the life and works of Paul Cezanne while sharing the examples of his paintings. Explain that they will be using Cezanne’s style to make <i>still-life paintings</i>, or paintings of inanimate objects. In this session, they will use pencils to draw the objects on their papers, making arrangements that they will paint in the next session. </li>
<li>Looking carefully at the still-life arrangement, discuss how Cezanne chose which objects he wanted to include and then positioned them wherever he wanted in his paintings; used different colors within each object to show its <i>planes</i>, or flat surfaces; gave unnatural slants to the table tops; and made brushstrokes that follow the movement of the drapery to show its folds.</li>
<li>Have the children lightly sketch their arrangements on the paper, choosing which objects to include and where to place them. They should draw only the <i>contour lines</i>, or outside edges, of the objects. Explain that any pencil-drawn details will disappear when the paint is added in the next session.</li>
</ul>
<i>Note: Store the fruit in a refrigerator until the next session.</i><br />
<ul></ul>
<b>Second/Third Session<br />
Preparation</b><br />
<ul>
<li>Set out the still-life arrangement and drawings from the previous session.</li>
<li>Set out paints, brushes, containers of water, mixing trays, and sponges.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain that, in this session, the children will be painting their still-life arrangements. Before they begin, review the basic points of Cezanne’s style. </li>
<li>Show the children how to lift dollops or puddles of paint onto the mixing trays with their brushes before mixing the colors together. This will avoid watery colors that have been scrubbed onto the paper due to mixing too little paint to cover the area. </li>
</ul>
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<ul>
<li>Demonstrate how to paint the drapery by using brush strokes that follow the movement of the folds. Lines of a darker color of paint can be blended in where the shadows fall.</li>
<li>When children paint the background, they often cover over the objects in the paintings. They can avoid this by leaving a small, unpainted section around each object. </li>
<li>Have the children paint their arrangements, encouraging them to define planes on the objects with color and to fill their whole paper including the background with paint.</li>
</ul>
<b>NOTES</b><br />
<ul>
<li>Even though the children will decide on the placement of the objects in their paintings, be sure to set up the still-life arrangement the same in each session.</li>
<li>Apples, oranges, and pears work well in the arrangement because their shapes are familiar to children and they will keep well in a refrigerator between sessions.</li>
</ul>
<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Have the children discuss the characteristics of Cezanne’s paintings that led to modern art.</li>
<li>Point out where the children used colors to define the different planes in the objects.</li>
<li>Discuss with the children how they felt while using Cezanne’s style of painting.</li>
</ul>
<b>What the children might say…</b><br />
<ul>
<li><i>Do I have to include the basket?</i></li>
<li><i>The cloth in my painting looks flat.</i></li>
<li><i>I like the color of my paper, so do I have to paint the background?</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>Like Cezanne, you can decide which items to include in your painting and where to place them. </i></li>
<li><i>Don’t forget that you can paint the folds in your drape by blending in a darker color where the shadows fall.</i></li>
<li><i>In order to give your painting an even texture and a finished look, you will need to cover your whole paper with at least one layer of paint. </i></li>
</ul>
<a href="https://docs.google.com/document/d/1XhNAeks-4eMhx_IGaxcWeJM3N7u5aPqx_gvpXAbXeg0/edit"><i> </i>Click here to view this lesson in a printer-friendly format.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUHOyVfuwDMJAh8T5-i0CBAiox-9BmSrhI-KxikUV-H1IKwfdck2MyPKhfuudv6XZ1rE_HVcgDOBYY8ZusKljhEtgCT7zioBp65YwoblX4HSub2R_6G1R1Rm4zK8Fg4Jp73Zm-Vox1uRd/s1600/scan0002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUHOyVfuwDMJAh8T5-i0CBAiox-9BmSrhI-KxikUV-H1IKwfdck2MyPKhfuudv6XZ1rE_HVcgDOBYY8ZusKljhEtgCT7zioBp65YwoblX4HSub2R_6G1R1Rm4zK8Fg4Jp73Zm-Vox1uRd/s400/scan0002.jpg" title="Age 10" width="400" /></a></div>
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</i>Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-17109154697895027892012-08-08T04:40:00.000-07:002020-08-06T07:31:42.126-07:00Cut Paper - All-School Mural<div class="separator" style="clear: both; text-align: center;">
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<i>The children use paper and glue to depict their individual classrooms for an all-school mural. For all ages. Plan 1 to 2 sessions.</i><i></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lxTSJ1yuLZe3czPy9XIJbfe56vgO-TYEr7oeBeujRZXEeFvyT-CRl1ylOcz_eoqy5w6LVJoXsdEqEP-bUzLIumQRfu5Y2xMEg78BN6vo6EQsoKdPTNSfMxM5xfit46kV6uYC8UOMXrxo/s1600/class4.jpga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lxTSJ1yuLZe3czPy9XIJbfe56vgO-TYEr7oeBeujRZXEeFvyT-CRl1ylOcz_eoqy5w6LVJoXsdEqEP-bUzLIumQRfu5Y2xMEg78BN6vo6EQsoKdPTNSfMxM5xfit46kV6uYC8UOMXrxo/s400/class4.jpga.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Classroom for 9- to 11-year-old children</td></tr>
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<b>KEY IDEAS</b><br />
<ul>
<li>Cutting and gluing paper</li>
<li>Creating balanced designs</li>
<li>Working together to create a group mural</li>
</ul>
<b>LANGUAGE</b><br />
mural, balance <br />
<br />
<b>YOU WILL NEED</b><br />
<ul>
<li>Colored construction paper</li>
<li>Scissors</li>
<li>Glue sticks</li>
<li>Slightly dampened sponges</li>
<li>Display area </li>
<li>Reusable adhesive putty (for wall display)</li>
<li>Stapler and straight pins (for bulletin board display) </li>
<li>Scrap paper bin with leftover paper from past projects (optional)</li>
</ul>
<b>THE PROJECT</b><br />
<b>Preparation</b><br />
<ul>
<li>Divide the area for the display into classroom sections, making sure that each section is large enough to contain the children's figures.</li>
<li>If attaching the figures directly to the wall (as shown in this lesson), you will need lots of adhesive putty. Another approach would be to cut paper for each classroom the size of the allotted sections. Have the children glue their figures onto the papers, which can then be attached to the wall using less adhesive putty. </li>
<li>If putting the display on a bulletin board, the children can attach their figures using straight pins. When all the figures are in position, replace the straight pins with staples.</li>
<li>Set out scissors, glue, construction paper, dampened sponges, and optional scrap paper bin.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain to the children that they will be working together to make a<i> mural</i> which is a large display attached to a wall (or bulletin board). Using paper and glue, they will make items that define their classrooms, such as fellow students, teachers, books, bookshelves, chalkboards, charts, fishbowls, plants–anything that will make their classroom recognizable. </li>
<li>Show the children the section of the mural designated for their classroom. Explain that the figures they make should be large enough to be seen in the mural, and yet small enough to allow all of the figures for their classroom to fit into the space.</li>
<li>Tell the children that they will be sharing the colored paper on their tables. Each child should start by choosing one color of paper. When finished cutting from it, he or she should return the paper to the middle of the table for someone else to use, and then choose another color. Assure the children that there is more of each color if needed. (A scrap paper bin is fun to search through for special and unusual colors.)</li>
<li>Remind the children of the proper way to hold and use scissors. The thumb goes in the small hole and two or three fingers go in the larger hole. With the blade of the scissors opened wide, place the paper deep into the opening, taking advantage of the whole blade while cutting. For a circular shape, use one hand to slowly close the scissors while using the other hand to gradually turn the paper. Continue opening and closing the scissors while turning the paper until a circle is completed.</li>
<li>Show the children how to attach two pieces of paper with glue, emphasizing that the glue should be applied to the smaller paper and pressed onto the larger paper. Warn the children that it doesn’t take much glue to attach the pieces. They can use the dampened sponges to wipe sticky fingers.</li>
<li>Discuss with the children the unique characteristics of their classroom and decide together which figures they will each be contributing to the mural.</li>
<li>After the figures are finished, have the children arrange them on the wall in a pleasing, or <i>balanced</i>, manner using small pieces of adhesive putty; or glue them to a sheet of paper to be hung on the wall with adhesive putty; or attach them to a bulletin board with straight pins that will later be replaced with staples.</li>
</ul>
<i>Note: It's a good idea to dd a small label to each classroom identifying the room number, grade level, or ages of the children.</i><br />
<ul></ul>
<b>NOTES</b><br />
<ul>
<li>This is a good project to do at the beginning of the school year. Working together to decorate the school, the children become familiar with their classmates and the art room.</li>
<li>The display seen in this lesson was attached directly to a large wall in the art room, intriguing everyone who entered the room.</li>
<li>Very small pieces of the adhesive putty actually work better than larger pieces when attaching the figures to the wall. Be sure to test that the putty will not peel the paint or leave marks on the wall.</li>
<li>When working on a bulletin board, attaching the figures with straight pins allows the figures to be moved around until a balanced design is achieved. When the design is completed, the pins should be replaced with staples.</li>
<li>If possible, use the same layout as the school to make the display more personal.</li>
<li>Watch that the children's work does not become too large to fit into the allotted sections.</li>
<li>For the younger children, this was a one-session project. The older children used a second session to make the schoolhouse walls, stairs, doors, and school office (shown below).<b> </b></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64Fp5JtNdyjDv1RtYI0H3yzOWZMlQ5zUPbP50hsGCPdvwFoot1lgaHo-ohLytDL0gHRSy4XSiozWJiZqcOqQaBntr2dyJEGbVrp_WhdsUnP-484xuqtV_ut32Gu1SJc7XiW9wFWN8PE3f/s1600/office.jpga.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64Fp5JtNdyjDv1RtYI0H3yzOWZMlQ5zUPbP50hsGCPdvwFoot1lgaHo-ohLytDL0gHRSy4XSiozWJiZqcOqQaBntr2dyJEGbVrp_WhdsUnP-484xuqtV_ut32Gu1SJc7XiW9wFWN8PE3f/s320/office.jpga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The school office</td></tr>
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<b>LET’S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Review what makes this artwork a mural.</li>
<li>Discuss the characteristics that make the classrooms recognizable.</li>
<li>Do the figures in the classrooms fill the sections in a balanced way?</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>I want to make our pet gerbil, and so does Alex. Our classroom only has one gerbil!</i></li>
<li><i>I’m having trouble cutting this paper.</i></li>
<li><i>My fingers are all sticky from the glue.</i></li>
<li><i>Every time I come to the art room, I like to look at our mural.</i></li>
</ul>
<b>What you might say...</b><br />
<ul>
<li><i>You and Alex could work together to make the pet gerbil and its cage.</i></li>
<li><i>When cutting your paper, be sure that your thumb is in the small hole and your fingers are in the large hole.</i></li>
<li><i>You can wipe sticky fingers on the dampened sponges.</i></li>
<li><i>I agree. I discover new and interesting things each time I look at it.</i></li>
</ul>
<a href="https://docs.google.com/document/d/17z6OYFKKYugy3veCm11m-WrEtF6L0KYHaG-lHr9Wn1o/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjtlFdzgTSmL6GQfVHysB3oyurgGxjdMM7gP_eL9JBQxTlsNs6bDzA1Ba6uncsjPQxI7osM3ZklZfMm4YYCMRGPMZuWmeoW7YBkzI1mlaSHLqrN8ioAFuB9Ba9w3OPxfiEcjhYpZniivys/s1600/class1.jpga.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjtlFdzgTSmL6GQfVHysB3oyurgGxjdMM7gP_eL9JBQxTlsNs6bDzA1Ba6uncsjPQxI7osM3ZklZfMm4YYCMRGPMZuWmeoW7YBkzI1mlaSHLqrN8ioAFuB9Ba9w3OPxfiEcjhYpZniivys/s320/class1.jpga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Classroom for 3- to 5-year-old children</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafFabrVDjRUN3yh2k7uQdsDzU-YwEnkodvylEkJ8_iAfugrHduwySLvF0dE6nKr-QrM6L-p7lZm0A3kRCKsC83Cw2NQ5UGrc1ho7VwKjWduAlOlMAqKQmCWY_l__ugZy-yl8axlDjL9Fl/s1600/class3.jpga.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafFabrVDjRUN3yh2k7uQdsDzU-YwEnkodvylEkJ8_iAfugrHduwySLvF0dE6nKr-QrM6L-p7lZm0A3kRCKsC83Cw2NQ5UGrc1ho7VwKjWduAlOlMAqKQmCWY_l__ugZy-yl8axlDjL9Fl/s320/class3.jpga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Classroom for 6- to 8-year-old children</td></tr>
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Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.comtag:blogger.com,1999:blog-3397553852720076163.post-77654943899259678862012-06-27T04:45:00.001-07:002023-01-13T13:30:17.956-08:00Clay - Pinch Pots & Colored Clay<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDk9dLrSH96c6A1TYa9wflLhX3QpgA2KBTM1Zl95pEMvPlqWeDdllLn8CoF6ZvUiy4XPG4J-fCajn3UCr2aszr7RpTItSKn0KGwdTz8Uf9YthFLhp90b5IG3-SdmujcPZzcC0SlWZmHoSd/s1600/scan0001.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDk9dLrSH96c6A1TYa9wflLhX3QpgA2KBTM1Zl95pEMvPlqWeDdllLn8CoF6ZvUiy4XPG4J-fCajn3UCr2aszr7RpTItSKn0KGwdTz8Uf9YthFLhp90b5IG3-SdmujcPZzcC0SlWZmHoSd/s400/scan0001.jpg" title="Age 7" width="400" /></a></div>
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<i>The children make pinch pots and decorate them with colored clay using one of two methods: adding it to the already pinched pots as shown above; or adding it to the balls of clay before the pots are pinched as shown in the second photo. For ages 6 to 9. Plan 1 session.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM6bJay_CIhuKMdmzMLgC9srjLSceSv2E19u1xOolKGu_x86iJACvXOJLi-bp7VAOjy8fH1rhDelb-KsvOeXskR16BCnnEi5ay8TXFxQn7SpUaENiPCVANoxfXAX3EOPzyRS80CxDMJuN-/s1600/scan0006.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM6bJay_CIhuKMdmzMLgC9srjLSceSv2E19u1xOolKGu_x86iJACvXOJLi-bp7VAOjy8fH1rhDelb-KsvOeXskR16BCnnEi5ay8TXFxQn7SpUaENiPCVANoxfXAX3EOPzyRS80CxDMJuN-/s400/scan0006.jpg" title="Age 8" width="400" /></a></div>
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<b>KEY IDEAS</b><br />
<ul>
<li>Using the pinch method to make pottery</li>
<li>Decorating pots with colored clay</li>
<li>Working with three-dimensional form</li>
</ul>
<b>LANGUAGE</b><br />
pinch pot, organic, lip<br />
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<b>YOU WILL NEED</b><br />
<ul>
<li>Balls of clay sized to fit comfortably in each child’s hand (see note below)</li>
<li>Clay slip<span style="font-size: 12pt;">—</span>clay mixed with water to the consistency of thick cream</li>
<li>Brush for applying the slip</li>
<li>Opaque underglazes for coloring the clay </li>
<li>Clear glaze</li>
<li>Brush for clear glaze</li>
<li>Plastic bags and trays for drying the projects</li>
</ul>
<i>Note: In order to control the clay while pinching their pots, the balls of clay must be sized to fit comfortably into the palms of the children’s hands</i><span style="font-size: 12pt;">—</span><i>they will be surprisingly small. The clay should be slightly wetter than usual to prevent cracks from forming as the clay is stretched. Decorations can then be added without having to scratch and slip the clay.</i><br />
<br />
<b>RESOURCE</b><br />
Click <a href="https://docs.google.com/document/d/1ikwk8FqKIEGM858FELbNQlrrIRD7QlhMLAbqvbM10mA/edit?pli=1">here</a> for more information on working with clay.<br />
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<b>BACKGROUND</b><br />
Two methods of decorating pottery with colored clay are presented in this lesson. In both, coils and shapes are made with the colored clay, but in one they are attached after the pot has been pinched, as seen in the first photo above, and in the other, they are attached to the ball of clay before the pot is pinched, as seen in the second photo. In the latter method, the colored clay is melded into the surface of the pot, resulting in a more organic design. The first method is good for all ages, but the older children enjoy the challenge and surprises of the second method.<br />
<br />
<b>THE PROJECT</b><br />
<b>Preparation</b><br />
<ul>
<li>Set out balls of clay for making the pinch pots, planning one for each child plus extra.</li>
<li>Making the colored clay is a trial and error process because of the variation in the consistency of clay and the intensity of color in underglazes. To start, make a pocket in a large chunk of clay and fill it with underglaze. Then close up the pocket and blend the clay carefully, kneading it until the color is evenly distributed. This is a messy process and the clay will be very wet. Leave it unwrapped to air-dry until it returns to a workable consistency. Since the clay does not turn white until it is fired in a kiln, the depth of color will not be immediately apparent. You will need to test fire a sample of each color in a kiln to be sure enough underglaze has been added<span style="font-size: 12pt;">—</span>the darker colors of underglaze usually result in stronger colors. </li>
<li>Make three or four colors of clay and then roll them into one-inch-sized balls. Set out the balls on trays that are clearly labeled with each color. Plan two balls of colored clay for each child plus extra.</li>
<li>Have available a needle tool or sharpened pencil.</li>
<li>Have trays and plastic ready for drying pots.</li>
</ul>
<b>How to Begin</b><br />
<ul>
<li>Explain to the children that they will be pinching clay to make <i>pinch pots</i> and then decorating them with colored clay. Tell the children that the colors have been added to the clay, and after the clay is fired in the kiln, the pots will be white and the colored clay used for decorating will be the same as the ones labeled on each tray. </li>
</ul>
<i><b>Making pinch pots and coils</b></i><br />
<ul>
<li>Demonstrate how to make a pinch pot by rolling a ball of clay between your palms to make it round. Explain that one hand (usually the less dominant one) will hold the clay, while the dominate hand does the pinching. Place the ball of clay on the less dominate hand opened flat so that the fingers will not be in the way while pinching the clay. </li>
<li>Using only the thumb of the other hand, press it into the center of the ball until it is about one-half inch from the bottom. Emphasize that only the thumb will go inside the pot. Pull out your thumb and show the children the hole made in the pot.</li>
<li>Make the hole larger by pinching its sides. With your hand in the air, show the children how to pinch with the fleshy parts of their fingers and thumbs rather than the tips, which will cause the clay to break off. Place your thumb all the way to the bottom of the hole and, with two fingers on the outside, pinch gently. Rotate the pot about one-quarter-inch after each pinch. Working slowly and concentrating on the feel of the clay, continue this movement of pinch and turn, pinch and turn, all the way to the original starting point on the ball of clay. Show the children how the hole has grown.</li>
<li>Repeat the pinching process slowly to avoid stretching the clay too quickly. Emphasize that once a pinch is made in the clay, it must be repeated all the way around to the starting point to maintain the pot's roundness.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFF7qmo8G9hDYjX8M2fN9RUDcD-peWMatE3bfuyp1TMV_ECvO4yws0bK8c-nS0YniN5kPqkBp8VjkvaJeD3qhaPPpnBivN0BEEFxY4FdNGrCxw-6Dvk5AxzuYknhdBo5L1Wul7p9bWMZo/s1600/pinchpotimages.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFF7qmo8G9hDYjX8M2fN9RUDcD-peWMatE3bfuyp1TMV_ECvO4yws0bK8c-nS0YniN5kPqkBp8VjkvaJeD3qhaPPpnBivN0BEEFxY4FdNGrCxw-6Dvk5AxzuYknhdBo5L1Wul7p9bWMZo/s400/pinchpotimages.jpg" title="http://artswork.asu.edu" width="115" /></a></div>
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<ul>
<li>Demonstrate how to roll a coil of clay by breaking off a small chunk of clay and rolling it between your hands to form a snake-like shape. Put the “snake” on a flat surface. Starting with your fingertips, roll the clay down to the bottom of the palm of your hand and back to your fingertips. Repeat this motion moving up and down the coil, gradually increasing pressure until the coil is about one-quarter-inch in diameter.</li>
<li>Explain that the <i>lip</i>, or top edge, of the pot is important to give the pot a finished look. This can be done by smoothing the edge or attaching a final coil to the top.<i><b> </b></i></li>
</ul>
<i><b>Decorating with colored clay on already pinched pots</b></i><br />
<ul>
<li>Discuss ways that the children might use the colored clay to decorate their pots, such as handles, lips, designs added to the sides of the pots, or making the pots grow taller.</li>
<li>Have the children pinch their pots; choose two colors of clay; and then decorate their pots.<i><b> </b></i></li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQYtODf2J3FmDItIQxtzt7qmqwQNVJVgh-b32EslDKqITH1g4HeLCPEYCiUeQsxsKWT-TLlnaTO5v9stirjEIHdbEM8uJJA7UtPLqs2s8YaOyEQ-tJzXo6Pu-Z1U_Hn0tRHmJYkdeHCLN/s1600/final2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQYtODf2J3FmDItIQxtzt7qmqwQNVJVgh-b32EslDKqITH1g4HeLCPEYCiUeQsxsKWT-TLlnaTO5v9stirjEIHdbEM8uJJA7UtPLqs2s8YaOyEQ-tJzXo6Pu-Z1U_Hn0tRHmJYkdeHCLN/s400/final2.jpg" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Decorating the pinch pot with colored clay.</td></tr>
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<i><b>Decorating the ball of clay before pinching the pots</b></i><br />
<ul>
<li>Explain that by decorating the ball of clay before the pot is pinched, the colored clay melds into the surface of the pots, giving them a more <i>organic</i>, or natural, appearance.</li>
<li>Have each child choose two colors of clay to use for decoration; press coils and shapes made with the colored clay onto the surface of the clay balls; and then pinch the pots.</li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgccjG2HFiOm8hjufTObjIErbZV2ChDNsAOnNWGvK3GqWD5jI5Aq-jyIdNS2yBMsv7ZW5LW_tDss_uXeg7vbBV-_qlUbl-napQzb61FQY_3Kh0TDirDpbco1u-Dwu4tnmEptQyseLWw0koq/s1600/final1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgccjG2HFiOm8hjufTObjIErbZV2ChDNsAOnNWGvK3GqWD5jI5Aq-jyIdNS2yBMsv7ZW5LW_tDss_uXeg7vbBV-_qlUbl-napQzb61FQY_3Kh0TDirDpbco1u-Dwu4tnmEptQyseLWw0koq/s400/final1.jpg" width="293" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Decorating the ball of clay before pinching the pot.</td></tr>
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<i>Note: Dry the pots slowly on trays, loosely covered with plastic, and then bisque-fire them in a kiln. Apply a coat of clear glaze and let them dry again before glaze-firing them. </i><br />
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<b>NOTES</b><br />
<ul>
<li>Children often want to paint their coils with different colors, but painting individual coils is tedious and difficult. While looking for an easier way to have multicolored coils, I became intrigued with the idea of colored clay.</li>
<li>Unless the children are experienced with working with clay, it would be too confusing to offer both methods at the same time. It is better to offer each method in a separate session.</li>
<li>Mixing underglazes into the clay will be very messy. You will need to wash your hands and clean the work surface often to keep the colors from becoming muddy. Plan to make only enough colored clay for the decorations.</li>
<li>Since the children will hold the clay in their hands while pinching the pots, it is not necessary to cover the work surface. Coils can be rolled on a hard surface without sticking.</li>
<li>Handling the colored clay sometimes leaves finger marks on the insides of the pots that will become apparent only after the pots are fired in the kiln. Avoid these marks by brushing a layer of clay slip on the insides of the pots just before they become leather-hard.</li>
</ul>
<b>LET'S TALK ABOUT OUR WORK</b><br />
<ul>
<li>Review the process of pinching a pot.</li>
<li>Discuss the variety of ways that the colored clay was used.</li>
<li>Compare the differences between working with colored clay and painting with underglazes.</li>
</ul>
<b>What the children might say...</b><br />
<ul>
<li><i>This clay looks gray not yellow.</i></li>
<li><i>I got my pieces of colored clay mixed up and now I can’t tell which color is which.</i></li>
<li><i>Why aren’t we going to paint the colors on our pots?</i></li>
<li><i>Can I make my pinch pot with the pink clay?</i></li>
</ul>
<b>What you might say... </b><br />
<ul>
<li><i>Even though all of the clay looks gray now, the different colors that have been added to the clay will show after the pots are fired in the kiln.</i></li>
<li><i>If you look carefully at your clay, you will see that the shades of gray are different depending on the color of underglaze that was added. Compare the shade of your clay to the clay on the labeled trays to determine what color it will be after being fired in the kiln.</i></li>
<li><i>Coils are hard to paint individually, so putting the colors directly into the clay makes it easier to have different colors of coils next to each other. </i></li>
<li><i>The clay we are using to make the pinch pots will be white after it is fired in the kiln. We only have enough colored clay to decorate the pots, but you can add lots of pink designs.</i></li>
</ul>
<i></i><a href="https://docs.google.com/document/d/1-wNfwfzYB7Wi1i080z9PHmBe1K_dmLjOKh9cwcXhZdI/edit">Click here to view this lesson in a printer-friendly format.</a><br />
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Colored clay added to the already pinched pots:</div>
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Colored clay added to the balls of clay before pinching the pots:</div>
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<i> </i>Julie Voigthttp://www.blogger.com/profile/05893360232619038546noreply@blogger.com