The Art of Play

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The Art of Play contains activity-based lesson plans which help teachers think creatively about their teaching methods, classroom activities, and the creative process!All lesson materials are for educational purposes only and are copyrighted by the Springville Museum of Art...

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  • IThe Art of Play:Fostering Creativity & Innovationat the Springville Museum of Art

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    The Art of Play:Fostering Creativity & Innovation

    Contents

    Artworks & Artists List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VJames Christensen biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Imagination, Intuition, Innovation & Technology Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19CreativityCollage Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Creativity Can Be Developed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Alphabet Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Towers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29If Pigs Could Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Nursery Rhymes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Edible Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Line Understanding Line as an Element of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Collective Creativity: We all see something different . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Mountains of Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Bubble Extravaganza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55101 Things to do with an Alligator . . . or a Fish . . . or a Snail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Simple Experimental Watercolor Sketchbook Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Puppet Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Pleasant Paper Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Airplanes and Stomp Rockets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75How Would a Feather Move? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79You Can Dance Anything! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Introduction to Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Creating Imagery Through Art Taboo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85The Plays the Thing: Improvs Role in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Stories from the Abenaki Nation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95The Anonymous Art Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Playful Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Creativity from a Corpse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Chance Controlling Fate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Lets Play: Student Designed Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Fostering Creativity Through Choice-Based Artist Process, Artist Behavior, and Art Centers . . . . . . . 125TASK Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Interdisciplinary Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

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  • VThe Art of Play: Fostering Creativity & Innovation

    Artists & Artworks

    Karl G. Ackerman, The Blackbird that got into the Garden

    Carlos J. Andreson, Bois Chappono Poli, Paris

    Left,Robert T. Barrett, Camille, Seated

    Connie M. Borup, A Compromise of Freedom and Self-Control

    Ron Lee Brown, Potato Head

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    Marilee Beard Campbell, Black African

    Mary May Betsy Campbell, Autumn Bouquet

    Lou Jene M. Carter, Navajo Girl

    James C. Christensen, Fantasies of the Sea

    James C. Christensen, Rhinoceros

    James C Christensen, The Egg, the Owl, & the Fish

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    Kate Clark-Spencer, Kate and Anne

    Jeanne Clarke, Entertaining Favorite Ladies II

    Jeanne Clarke, The Earth is Full of Goodness of the Lord: Portrait of Rebecca

    Cyrus E. Dallin, Appeal to the Great Spirit

    Cyrus E. Dallin, Chief Washakie

    Cyrus E. Dallin, Sacajawea

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    Paul Howard Davis, House on the Avenues

    H. Lee Deffebach, George II

    Joseph V. DeSantis, Head of a Woman (Opus 41)

    Maynard Dixon, Road to the River, Mt. Caramel, Utah

    Helena Dunlap, Taos Indian Chief

    John Owen Erickson, Gethsemane: Self-Portrait

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    Louise Richards Farnsworth, Capitol from North Salt Lake

    Paulmar Torsten J. Fjellboe, Sunset at Black Rock

    Mabel Pearl Frazer, Sunrise, North Rim Grand Canyon

    Alvin L. Gittins, Card Player

    Alvin L. Gittins, Table-Top Still-Life

    Alvin L. Gittins, Vegetablescape

    Sharon Pearl Gray, A Well-Red Individual

  • XJohn Hafen, Mountain Brook

    John Hafen, Sunset, Great Salt Lake

    Kaziah May Hancock, One of a Kind (Self-Portrait)

    Marion Roundy Hyde, Six and Seven/Eighths

    Brian Kershisnik, Flight Practice with Instructor

    Robert L. Marshall, Money Plant (Lunaria)

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    David Wayne Meikle, Nevada Afternoon

    Esther Erika Paulsen, Purple Twilight, Logan Canyon, Utah

    Pilar Pobil-Smith, Portrait of a well-known Utah artist of French origin: Francis Zimbeaux

    Anton Jesse Rasmussen, One Eternal Round

    David Howell Rosenbaum, Children at Play in Mantua, Utah

    Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah

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    Marilyn McAllister Sehlmeier, Allegory

    Alexander Dimitrovich Selytin, Childhood Memories: Still-Life

    Joseph Henry Sharp, Playing the Game

    Frank Anthony Smith, Coleus

    Gary Ernest Smith, Riders in the Canyon

    Gary Smith, Youthful Games

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    LeConte Stewart, Steam and Snow

    Aleksei Vasilevich Trotsenko, Curious Onlookers

    Danquart A. Weggeland, Still-Life with Apples

    Images from other sources

    Anasazi Pottery 1

    Anasazi Pottery 2

    Anasazi Pottery 3

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    James C Christensen, Rhymes & Reasons 1, 2, & 3 Winslow Homer, Snap the Whip

    Vasily Kandinsky, Composition VI

    Paper Cut, Chinese 1

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    Paper Cut, Chinese 2

    Paper Cut, Chinese 3

    Paper Cut, Chinese 4

    Paper Cut, Polish

    Paper Cut, Polish Rooster

    Pennsylvania Farm Show Butter Sculpture 2010

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    Scott, Dragon Book Sculpture, Anonymous

    Scott, Tree Book Sculpture, Anonymous

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    The Art of Play: Fostering Creativity & Innovation

    James C. Christensen

    James Christensen is an artist who captures our curiosity with a delightful combination of innocence and humor. My aim, says Christensen, always begins with a desire to connect with imagination. He adds, My work is an invitation to let your imagination run wild, explore, and make interpretations spontaneously. James Christensen, son of Sibyl and Harry Christensen, was born September 26, 1942, in Culver City, California. He grew up two blocks from the MGM studio; consequently, he and his friends often played in the back lot of the studio in Tarzans pond or on sets for movies such as Gone With the Wind. James loved to tell stories and use his imagination while playing and drawing. Christensen attended Santa Monica City College, UCLA, and BYU, where he received his Master of Arts. In the middle of his studies, he served a mission for the Church of Jesus Christ of Latter-day Saints (LDS) in Uruguay and became a member of the Mormon Mods, a performing group that toured Chile, Argentina, Brazil, and Paraguay. Christensen found the local art compelling, and its influence can be seen in many of his worksIn 1972, Christensen moved to American Fork, Utah, and became an associate art director for the New Era, a teen magazine published by the LDS Church. He was also a freelance illustrator but continually worked on his own painting. Christensen created fantasy images for his own amusement, but he only displayed what he thought other people would like. However, he soon discovered that others liked his imaginative, magical worlds as much as he did. Christensen was a faculty member of BYUs art department from 1976 to 1997. He traveled with students in Mexico, Europe, and in Madrid, Spain. He returns to Europe frequently, and his art often reflects his travels. Christensens work has appeared in many magazines including the American Illustration Annual and Japans Outstanding American Illustrators. He has won numerous awards including all the professional art honors the World Science Fiction Convention offers, and multiple Chesley Awards from the Association of Science Fiction and Fantasy Artists. (http://en.wikipedia.org/wiki/James_Christensen)

    James C. Christensen, Poofy Guy on a Short Leashused by permission

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    In addition to his paintings, prints, calendars and puzzles, Christensens work is available in books such as A Journey of the Imagination: The Art of James Christensen, Voyage of the Basset, and A Shakespeare Sketchbook. James also has a series of daily journals, which have ways to explore your own imagination and creativity. Christensens art is an integral part of a number of books including Parables, by Robert L. Miller and Robert L. Millet, and a new release, Lehis Dream, with Robert Millet. Weaving dreams, hopes, fears, and humor into the fabric of everyday life, Christensen has created many enchanting works of art. My paintings are meant to excite the imagination and invite the viewer to become a participant in the creative process, says Christensen. His artwork delights adults and children alike. James Christensen draws his images from experience, travel, and nature, which he combines with his own active imagination. While he does not always strive to communicate a serious meaning or moral lesson, his paintings often reflect situations that he has personally experienced and with which the viewer can also easily relate.

    James C. Christensen, Fantasies of the SeaSMA Collection

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    The Art of Play: Fostering Creativity & Innovation

    Imagination, Intuition, Innovation & Technology

    IMAGINATION QUOTESA mans mind, once stretched by a new idea, never goes back to its original dimensions.(Oliver Wendell Holmes)What is now proved was once imagined.(William Blake)Every great advance in science has issued from a new audacity of imagination.(John Dewey)I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.(Albert Einstein)The soul without imagination is like an observatory without a telescope.(Henry Ward Beecher)Its kind of fun to do the impossible.(Walt Disney)Ideas are like rabbits. You get a couple, learn how to handle them, and pretty soon you have a dozen.(John Steinbeck)Think left and think right and think low and think high. Oh, the thinks you can think up if only you try!(Dr. Seuss)Nothing comes from nothinginvention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory.(Sir Joshua Reynolds)Insanity is doing the same thing over and over and expecting different results.(Einstein)IMAGINATION AND INTUITION QUOTES

    We need to remember that we are created creative and can invent new scenarios as frequently as they are needed. (Maya Angelou)

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    We tried all the systems that had been tried before, then we tried our own systems and we tried some combinations that no one had ever thought of. Eventually, we flew. (Orville Wright)

    Original artistic invention demands that even the inventor be surprised. (Judith Schaechter)do not think there is any thrill that can go through the human heart like that felt by the inventor as he sees some creation of the brain unfolding to success... Such emotions make a man forget food, sleep, friends, love, everything. (Nikola Tesla) The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of ones own, in ones relation to the tool, the material and the colors. (Emil Nolde)The painting leads the painter, and it becomes an intuitive experience. (Ardath Davis)I believe in intuition and inspiration... At times I feel certain I am right while not knowing the reason. (Albert Einstein)The things that are acquired consciously permit us to express ourselves unconsciously with a certain richness. (Henri Matisse)The apprehension of... values is intuitive; but it is not a built-in intuition, not something with which one is born. Intuition in art is actually the result of... prolonged tuition. (Ben Shahn)

    INNOVATION and TECHNOLOGY Daniel Pink A Whole New Mind The information Age is nearing an end and we are entering the conceptual age. He argues that the dominance of the left-brain-driven world, where everything is sequential and logical, is giving way to a more right-brained endeavor that focuses on the creative, holistic skills.Richard Florida Rise of the Creative Class The future belongs to the creative. They will be the leaders, the earners, and the learners of the new age. It isnt about how many engineers a nation has; it is about how many artists and poets it produces. These are the individuals who can create the new meaning necessary in a conceptual world.Ellen Langer MindfulnessShe points out that from kindergarten on schooling usually focuses on goals rather than on the processes needed to achieve them. When children start a new activity with an outcome orientation,

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    questions of can I or what if I cant are likely to predominate, creating an anxious preoccupation with success or failure rather than drawing on the childs natural, exuberant desire to explore.PinkThe future belongs to the creative. The test and tremble model of school reform that is the current craze, which values a score over broader success, is unlikely to move us toward a more conceptual and creative society. Fareed Zakaria Newsweek January 2006Since there is much to the intellect that we cannot test well, such as creativity, curiosity, ambition, or a sense of adventure, the tests dont measure areas where America has an edge.

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    Workshop ideas by James ChristensenPhrases for sparking creative collages:SHE HAD A HARD TIME EXPLAINING HER DREAMS.

    THE MACHINE CHANGED THE WAY THEY THOUGHT ABOUT LIFE AND DEATH.

    HE HAD THE SOUL OF AN ARTIST, BUT SHE COULDNT SEE IT

    TURNING BACK WAS NEVER AN OPTION

    SHE COULDNT WAIT TO GET OUT OF THE SITUATION

    IT WAS THE PERFECT COMBINATION OF A MACHINE AND A LIVING THING.

    WHAT MADE YOU THINK THAT WAS A GOOD IDEA? HE SAID

    THEY WERE HER PRIDE AND JOY.

    ONCE ABOARD, THEY KNEW THEY WOULD NEVER RETURN

    SHE SURROUNDED HERSELF WITH THINGS SHE LOVED.

    EVEN THOUGH THEY KNEW BETTER, THEY COULDNT RESIST

    NO ONE HAD WARNED THEM JUST HOW DIFFERENT IT WOULD BE, BUT THEY DIDNT CARE.

    SHE REALIZED THAT NOTHING WOULD EVER BE THE SAME

    HE LIVED FOR DANGER.

    THEY WERE A PERFECT PAIR, EVERYONE SAID SO.

    The Art of Play: Fostering Creativity & Innovation

    Creativity Collage Titles

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    The Art of Play: Fostering Creativity & Innovation

    Creativity can be Developed

    One of the most valuable attributes an individual can possess is creativity. Creativity has often been associated with the ability to produce original artworks; but that is only one manifestation. The ability to problem-solve and think creatively can be learned and developed. Following are some general approaches to foster creativity by generating ideas:Fluency: Develop a large quantity of ideas. Use phrases such as: How many ways . ..? or List all the possible . . . Brainstorm, look for alternative solutions, list attributes or possibilities, ask a variety of appropriate questions, utilize synonyms, and accept the possibility of more than one right answer. After students have generated their own ideas use group dynamics to foster more ideas or solutions.In art: create several sketches or thumbnails; use a realistic, abstract and non-objective approach; try impossible solutions and techniques (i.e., adding water to oil pastels); transform an ordinary object into a monument, symbol or logo; give an object an imaginary function or characteristic (i.e., a rainbow that snows); imagine the image in varying styles, timeframes, cultures, and media; project how various artists would portray it; view it from varying viewpoints (i.e., a child, an adult, a foreigner).Flexibility: Develop a wide variety of ideas. Use phrases such as How/What else . . .? or What other kind . . .? View ideas in different ways or shift from one thought category to another. Reconsider the viewpoint by minifying or magnifying the problem, adapt the idea to alternative situations or timeframes, and interpret the information in a variety of ways. Consider different perspectives or viewpoints; create preposterous hybrids or cross links (i.e., a skateboard and an alligator) In art: change the image (add another object, magnify part of the image, multiply or repeat an object, reverse the object, erase or dissolve part of the image, substitute one object for another, exaggerate, minimize or distort the image, show

    Edie Roberson, Canyonlands Tour (1981) Educational Fair Use

    Bruce H. Smith, Amanda (1981) SMA

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    more that one viewpoint at the same time such as the top and side, fragment or split the image, change the background, setting or center of interest); design your artwork as a triptych with a before and after image; change it to another art form (i.e., print to sculpture).Originality: Develop individualistic, unique, unusual, different or new ideas. Use phrases such as What unusual way . . ? or Come up with your very own . . . Reverse the question/answer process, relate unconnected information, compare unlike objects, and promote stream of thought, daydreaming or unconscious thinking; transfer aspects from one item to another; note characteristics and then list the opposites; believe you are creative; be alert to problems, spot challenges and design solutions; transform ideas into action; use humor; foster curiosity and questioning attitude; get outside the box. In art: transfer the object to a different setting, subject matter, or media; combine two or more media or approaches (such as realistic and abstract); rearrange old ideas into new relationships; appropriate ideas from art history and put into contemporary settings or take a current issue and put it back into history, use visual puns, oxymorons or unusual combinations (i.e., hot dog, military intelligence, floating walrus); transform one object into another (metamorphosis); imbue inanimate objects or animals with human characteristics; doodle; make photocopies of the image, cut them up and rearrange them; abstract the image; change it to an impossible setting; emphasize different elements or principles. Elaboration: Enrich existing ideas. Use phrases such as What else . . .? or Give all the details . . . Refine, expand with details, embellish, enhance a common object or idea by adding interesting details or extending its dimensions or setting. Expand on a concept by telling who, what, when, where, why or how. Forecast all possibilities or outcomes. Describe it to someone who is not present. Use web design to expand options or promote completeness.In art: intensify or add detail; expand the image into a three-dimensional form; portray it in photorealistic manner; write elaborate artists statements or didactic labels; make connections with other artworks.

    Wayne Kimball, The Artist Mounted on Horseback (1984) BYU MOA

    Jeanne L-L Clarke, The Earth is Full of the Goodness of the Lord: Portrait of Rebecca (1985)

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    The Art of Play: Fostering Creativity & Innovation

    Alphabet Animals

    Kindergarten Literacy & Visual Art LessonBy Louise NickelsonOBJECTIVESStudents will practice drawing & writing skills and then use those skills to create a drawing that reinforces letter identification and sounds. Students will learn to plan and to make their drawing fill the whole page.UTAH STATE COREKindergarten Intended Learning Outcomes 5. Understand and use basic concepts and skills. a. Develop phonological and phonemic awareness. e. Demonstrate problem-solving skills. 6. Communicate clearly in oral, artistic, written, and nonverbal form. f. Use visual art, dance, drama, and music to communicate.MATERIALS Paper Pencils Crayons

    LESSONHave students choose a letter they are learning and then choose an object, thing, animal, or person whose name begins with that sound. Tell them they will use the shape of the letter to make the thing they are drawing. You could draw a quick sample on the board, such as this example:Give the students paper and pencils and let them try out an idea on the paper. Tell the students to make their drawing fill the whole page. When they have tried out an idea, have the students draw it lightly on another piece of paper and then add color, using crayons. You may want them to make a border using a straightedge.Have students show their drawings to the class and have everyone say the letter, its sound, and the name of the object. Display the drawings where the students can see them and be reminded of the letters and their sounds. D is for Dog

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    EXTENSIONHave the students create an action to go with their drawing or a short dance sequence. Have the class or small groups learn the actions/dance sequences and share them with the class.VARIATION FOR OLDER STUDENTSStudents will create an alphabet book for younger students in the school or in a preschool.Have each child in the class choose one letter from the alphabet and an item that starts with that letter. Students will use the letter to create a drawing of that item. Give the students planning paper and have them fold the paper in half one direction and then the other, so they have 4 planning spaces. In each space, students should make a sketch of a possible drawing: each sketch must be slightly different from the last one. Students will choose their favorite sketch and create that drawing on a new sheet of paper. Students must include a written section. This can be as simple as B is for Bumble Bee, or you can have the students make a rhyming or alliterative phrase such as The busy bumble bee buzzed at Benny.Make a list on the board or on a sheet of paper of the requirements for the drawing. For example, The paper must say what the letter name is and what the item is. The writing should be neat and easy to read. The letter shape must show (perhaps the students can outline the letter shape, so it stays visible through the drawing.). The drawing should fill the whole page. The coloring should be neat, with the lines going in the same direction (students may not always want to use color this way, but its a good skill to have).You may choose to include other literacy skills such as writing a complete sentence, or art skills such as mixing colors (and yes, you can do this with crayons).Students who finish early may be allowed to choose another letter, if you have fewer than 26 children in your class, or may be allowed to create a back or front cover for the book. The book may be put together as an accordion, which can then be displayed as a whole, if desired, or can be assembled and bound with a spiral binding. Have the class present the book to the kindergarten or other class, if possible.

    Z is for Zombie by Ella, age 5

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    The Art of Play: Fostering Creativity & Innovation

    Towers

    Visual Art & Science Lesson for KindergartenBy Vicki GehringOBJECTIVE Students will learn about balance by experimenting with blocks and creating a paper tower collage of shapes they have drawn and cut out.UTAH STATE CORE Standard: PerceivingMATERIALSa long piece of colored butcher paper approx. 18 x 72toy blocks of various shapesdrawing paperpencils, crayons or paint, a wide tip black markerscissorsglue, masking tapeLESSONGive each student a toy block and play a stacking game in which each student puts his or her block on top of another students block to build a tower. Have the students come up in their sitting order, but discuss what will happen if a student adds a block that the next students block cant balance on. Have the students figure out what they can do to keep building the tower.(Make the discussion of balance as complicated or as detailed as the students understanding will take it.) Have the students identify the geometric names of the shapes of the blocks.ART PROJECT Tape the colored butcher paper vertically on a wall. Tell the students that they are going to create a shape tower, by drawing and cutting out their own shapes and gluing them on this paper. Have all the students draw a geometric shape of their choice on their individual drawing paper. (Make sure they draw a large shape.)Outline each students shape with the black marker, and then have them color and cut out their shape. Use this opportunity to teach them to color in their whole shape. Let them write their name on their drawing.

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    Using the same process, have the students one at a time come up to glue their shape on top of the previous students shape discussing whether or not they think it looks like the tower will stay balanced. Use this opportunity to teach the students about applying glue.ASSESSMENT Discuss with the students what they have learned about balance. See if each student can name the shape they drew. Optional: Discuss the difference between the shape of the blocks and their drawings, i.e., a square vs. a cube, or 2-D vs. 3-D. Discuss the difference between physical balance and visual balance.

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    The Art of Play: Fostering Creativity & Innovation

    If Pigs Could Fly. . .

    Visual Arts, Creativity & Literacy Lesson for Elementary GradesBy Louise NickelsonOBJECTIVESStudents will explore the world of fantasy through listening to a story, choosing an idea, and creating an artwork based on a chosen fantasy. Students will learn about a contemporary Fantasy artist James Christensen. Students will write (with help, if needed) a statement, will create a border for their artwork, will link visual and verbal ideas, will plan their artwork, will use art-making skills and art media. Students will display their art and discuss each others artworks & ideas.UTAH STATE CORE STANDARDSI have included specific Standards for the 3rd grade, but the lesson fits similar Standards from the other elementary grades.From 3rd Grade Visual Arts Rainbow ChartExplore, Contextualize: Discover, look at, investigate, experience and form ideasResearch, Create: Study, explore, seek, be creative, imagine, and produceFrom Language ArtsStandard 1 (Oral Language): Students develop language for the purpose of effectively communicating through listening, speaking, viewing, and presenting. Objective 1: Develop language through listening and speaking. Objective 2: Develop language through viewing media and presenting. Objective 3: Recognize and use features of narrative and informational text. Objective 6: Write in different forms and genres. b. Produce traditional and imaginative stories, narrative and formula poetry. MATERIALSTuesday by David Wiesnerimages of James Christensens paintings from the CDPaperPencils and/or pens Crayons and other colored media

    James C. Christensen, If Pigs Could Fly used by permission

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    LESSONRead and show students the book Tuesday, by David Wiesner. Discuss the book by asking questions such as the following:Do you miss the story having more words?Why?How often have you seen frogs on flying lily pads? Have you ever heard the phrase If pigs could fly? What are some things that will never happen? Explain that art based on magical, unrealistic ideas is called Fantasy Art. Show the class some of James Christensens art from the CD and have students identify what is not real about the scenes depicted. Have students think of some magical event or person to use as the subject of an artwork.PROJECTFirst, have students plan their artworkeven very young students will benefit from this step. They can take a piece of paper and fold it in half one direction and in half the other. (Youngest students may be asked to only make 2 sketches.) In each section, students will make a sketch of an idea for their artwork. Each sketch must be slightly different from the previous one. Once they have four sketches, students can choose their favorite and begin their artwork.The first step is to draw a border around the paper using a rulereach edge of the border will be one ruler width. If the students draw the lines lightly, they can erase the corner lines that overlap.The second step is to lightly sketch their chosen design on the large sheet of paper. Remind the students to fill the whole space between the borders.Third, students will color in their drawings. Have students check their drawings to make sure they are finished.The last step is to write their title in the bottom border or on a separate piece of paper. Students can write the title on the back of their planning paper so they know whether to make the words smaller or larger. Some students may need help with the writing.Give the students a chance to share their artworks with the class, and then display the artworks in the hall or other available space in the school.ASSESSMENT

    Have the students turn in their planning sheet with their finished artwork. Give them completion points or assign points based on grade-level appropriate criteria. Make sure students know what those criteria are before they begin the assignment. For example, 1. The artwork must have a ruler-width border on all four sides. 2. The drawing fills the whole page within the borders. 3. The whole

    Illustration from Tuesday, by David WiesnerSmall image used for education purposes only,

    Educational Fair Use

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    drawing should be colored in. 4. The title is neatly written and easy to read. Help the students meet the criteria by side coaching during the project i.e. commenting on positive aspects of the artworks or titles, asking about how they are planning on meeting specific criteria, etc.

    EXTENSIONS FOR OLDER GRADESDivide students into small groups and have each group create a simple story and then identify a sequence of events for telling the story. Each student can produce the artwork for one or two pages. As a group, they should identify what words or phrases would help make the story clear. These can be written as separate pages (as in the David Wiesner book). The pages will be easier to make into books if the inside margin is a bit larger than the other margins; or, just make sure the side borders are big enough that the amount covered by the binding doesnt obscure text or drawings.Have the students assemble the pages into books and use the books at a reading center, in your classroom reading time, with younger students, or put them in the library. If the books turn out particularly well, you can laminate them before assembling, or allow the class to vote on the one or two books they most want to keep for a long time and just laminate those.Add appropriate criteria for the book such as the following:The book has large enough inner margins so all the images and words are readable when the book is compiled.The story is understandable and easy to follow.The words help the reader follow the story.The artworks have a logical flow.You can also choose just a couple of general criteria and rate the books asWonderful! (4 pts) Good! (3 pts) Needs Help! (2 pts) Not Finished! (1 pt)

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  • 35

    The Art of Play: Fostering Creativity & Innovation

    Nursery Rhymes

    Elementary Visual Art & Literacy LessonBy Louise NickelsonOBJECTIVESStudents will use basic shapes to draw more complicated objects. Students will use pattern to add interest to their drawings. Students will explore color and/or color blending. Students will preplan artworks. Students will link art & literacy.UTAH STATE COREStandard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.MATERIALSImages from the CD of James Christensens 3 Rhymes and Reasons illustrationsA list of nursery rhymesPaperPencilsColored pencils or other colored mediaBlack pens (optional)LESSONThis lesson will take two class periods.Show the class the images of Christensens artworks. See if the class can identify what nursery rhymes the drawings illustrate. If they dont know, read them several and have them decide among the choices. Ask them to repeat any nursery rhymes they know. Ask the class to identify what makes Christensens illustrations interesting. Ask them what elements & principles are most evident. Ask the students to think about ways the illustrations are playful. Explain that they are going to create an illustration for a nursery rhyme and use pattern and detail to make the drawing interesting.

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    Provide a list of nursery rhymes and have students choose one rhyme to illustrate. You can include specific art criteria (these generally are skills with cross-curricular applications). Make a list of the criteria for the drawing and post it where students can see it. See ASSESSMENT for examples of criteria.Students will then plan their drawing using a folded planning page with 4 spaces. Students will also need to plan where and how big to make the writingthey can use the back of their planning page. Once students have planned their drawing, they should make a very light sketch on the paper. They can include the text now or wait until their drawing is finished. Day 2Remind the students, or show them, if they have not done this before, how to blend colors and give them a few minutes to practice. You can easily show this on an overhead projector. Students can use the back of their planning paper to try out a few blended colors. Also remind the students of the criteria for the illustration, including that 1 section must have pattern (or whatever number you have decided on). If desired, the students can use a black pen to go over their drawing and then fill it in with color. Exhibit the drawings in the school media center or some other appropriate place.ASSESSMENTFor the youngest students, give credit for completion. It is helpful to have some criteria for what a completed drawing is, so that you have a response for students who are done but who havent completed the assignment.The following is a list of possible criteria: 4 planning sketches a neat border the drawing fills the pageOlder students can use the criteria as a checklist to assess their artworks while they work.VARIATIONHave the students make up their own nursery rhyme and then illustrate it.EXTENSIONHave the students act out their nursery rhymes in small groups. Each group can choose one of the group members nursery rhymes, practice saying it, and figure out how to act it out. Give the students a few minutes to practice and then have the groups take turns performing for the class.

    Detail from Rhymes and Reasonsillustration, James Christensen

    3 or more blended colors the nursery rhyme is included the nursery rhyme is easy to read 2 or more areas of the drawing have pattern

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    The Art of Play: Fostering Creativity & Innovation

    Edible Art

    ElementarySecondary Visual Arts LessonBy Elicia GrayTITLE OF ARTWORKS & ARTISTS Still-Life with Apples (1911), Danquart Anthon Weggeland; Money Plant (Lunaira) (1982), Robert Leroy Marshall; Childhood Memories: Still-Life, (2000) Alexander Dimitrovich Selytin; Table Top Still-Life,(1953) Alvin L. Gittins; Vegetablescape (1964), Alvin L. Gittins; Entertaining: Favorite Ladies II (1992), OBJECTIVES Students will examine the artworks of Weggeland, Marshall, Selytin, Gittins, and Clarke.Students will compare and contrast different content in still life works of art.Students will prepare, create and consume edible works of art.Students will discuss the aesthetic potential of food.Students will have a textural experience in a Haunted Treasure Cave.Students will identify similarities and differences between real food and depictions of food.Students will taste several different dishes and decide if appearance and flavor can affect aesthetic value.Students will compose a haiku in response to their edible art experience.STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.MATERIALSArtworks listed above, food art images (see following links), flour, water eggs, salt, olive oil, pasta roller (or rolling pin and wax paper), small cookie cutters, paper plates, plastic knives, food coloring, assorted fruits and vegetables.

    Danquart A. Weggeland, Still-Life with Apples (1911)

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    ACTIVITY 1. Display the artworks by Weggeland, Marshall, Selytin, Gittins, and Clarke. Ask students to identify what the artworks have in common. What do each of these artworks portay? What is a still life?2. Show an assortment of food art images (see links below). What is the medium used in all of these artworks? (answers may include vegetables, toast, jelly beans, and so forth) Can these pictures be considered art even though they are not paintings? Do these pictures have anything in common with the artworks by Weggeland, Marshall, Selytin, Gittins, and Clarke? Have students rate the paintings and the food pictures on a rating scale. Put the words High Art on one side and Low Art on the other, and then have students define what each of these terms means to them. Where do each of the pictures or artworks rank? Do the paintings rank higher or lower than the works made out of food? Why? When viewers approach an artwork, is it necessary to know the medium in order to fully appreciate the artwork?3. Can the rest of our senses affect our ability to have an aesthetic experience? Invite students to enter a Haunted Treasure Cave in a dark corner of the classroom. Students may experience the cave with all of their senses except sight. In advance, the teacher can prepare items such as monkey brains (slimy spaghetti), eyeballs (peeled grapes), raw flesh (tuna fish), and the like. The teacher may also choose any number of delicious or odorous smells to incorporate into the cave. Students will be given only moments to touch, smell, or taste, the items in the cave. Teachers may choose to blindfold students in order to help them more fully concentrate on senses other than sight.4. Invite students to discuss the things they encountered in the cave. Is it possible that our other senses affect how beautiful we deem items to be? Would a cookie still be delicious if it smelled like tuna fish? Would we view still-life paintings differently if we could actually smell the things being depicted? How would the addition of smells or taste affect the feeling of the artworks of Weggeland, Marshall, Selytin, Gittins, and Clarke?5. Ask students to imagine that they will add the other four senses to an artwork of their choosing. Imagine how it would smell, taste, sound, and feel. Then ask students to write a haiku poem that summarizes their ideas. A haiku is normally written in three lines, with five

    Alexander Dimitrovich Selytin, Childhood Memories: Still-Life (2000)

    Heron Food Art by Sakurako KitsaCCSA 2.0 License

    www.flickr.com/photos/kitsa_sakurako/

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    syllables in the first line, seven syllables in the second line, and five syllables in the third line.a. Here is a teacher example in response to Entertaining: Favorite Ladies II.Polite smiles. Chit-chat.Tangy sweet bowls of fragrance.Delicious beauty.6. Explain that students are going to create their own edible works of art. Prepare the pasta dough in advance (see recipe below) and have the students help you roll out long flat sheets of pasta with the pasta machine or the rolling pins. Invite students to create their own edible sculptures out of the sheets of dough. Students can cut them into pieces, use the tiny cookie cutters or contort them into abstract shapes. Encourage students to pay attention to how the dough feels and smells. You may also choose to add food coloring to your dough while sending it through the pasta machine. When students have finished their sculptures, boil the artworks and look at them closely before eating them. How did they change in the water? Are they bigger or smaller? Are they a different texture than before? Students may sprinkle salt and cheese or sauce on top of their pasta and eat it. Does it taste different than pasta they have had at home? What are the similarities? How is it different?7. Encourage students to look at every-day activities in a different way. Is it possible that we have art all around us every time we eat? How can students look for aesthetic experiences throughout their day?

    ASSESSMENT The teacher should carefully review the written haiku looking for quality content and completion. The teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. Discussion is an important part of this lesson, and therefore, teachers must create a simple checklist with each students name on it, placing checkmarks beside students who have contributed or commented. At the end of each discussion period, evaluate the list to make sure that each student has had a turn to participate or comment. EXTENSIONUse other materials to create aesthetic food, like candy, vegetables, or even toast. What kinds of villages or environments could students build out of food? Also, discuss times of the year when food tends to become more artistic. (gingerbread houses, scary food at Halloween, Thanksgiving food traditions, and so forth) RESOURCES http://www.noupe.com/inspiration/food-design-at-its-best-40-extraordinary-examples-of-edible-art.htmlhttp://greenopolis.com/goblog/green-groove/edible-fruit-and-veggie-art-will-make-you-laugh

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    Homemade pasta:Makes 1 lb.2 c. flour2 eggs1-3 T. waterpinch of saltdrizzle of olive oil (optional)Mix flour, salt and olive oil in a small bowl. Use a fork to whisk the eggs into the flour mixture. Add one tablespoon of water at a time until the dough comes together when you press it with your hands, but is not very sticky to the touch. If its too sticky, add more flour. Knead the dough 10-12 times. It will be stiff and hard to knead, but thats okay. Divide the dough into 4 round, flat pieces and wrap each piece with plastic wrap. Let it sit at room temperature for 30 minutes (or put in the fridge for longer time). Work with one piece at a time to roll out the dough (using pasta maker or rolling pin) to desired thickness. You can let it rest again if you want, 30 min to an hour (I believe the pasta is less delicate/easy to break if you do this), but I usually cut it and cook it immediately. Cook for 2-4 minutes in pot of rapidly boiling water. You can also dry your noodles if you desire. To do so, lay them flat on lightly floured kitchen towels for 4-5 hours or overnight until completely dry and brittle. Then store in an airtight container.

    As you can see from the photos, even very young children can do this lesson.

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    The Art of Play: Fostering Creativity & Innovation

    Line - Understanding Line as an Element of ArtElementary Visual Art Lessons by Mary Ann LarsenIntroductionLine the most basic of all the elements of Art is explored here in four individual activities for elementary school students ranging from grades 3 6. As an introduction, utilize simple demonstration techniques with markers to model the concept of line in several forms and variations: An open line shows variety as it can be thick, emphatic, bold, and rich, or it can be thin and limp. Straight lines and straight lines with angles are called geometric lines; swirling, curvy, or sinuous lines are called organic lines. Lines can be broken, they can repeat in parallel lines and they can create patterns. Give students time to practice with line variation, using markers or pencils. Let them be inventive!UTAH ELEMENTARY STATE CORE

    Standard 1 Making : The student will explore and refine the application of media, techniques, and artistic processes. In this standard the student learns to use new tools and materials and expands skills in the creation of art.Standard 2 Perceiving Art: The student will analyze, reflect on, and apply the structures of art. In this standard the student uses meaningful works of art to recognize the elements and principles and applies them in personal work.Standard 3 Expressing: The student will choose and evaluate artistic subject matter, themes, symbols, ideas, meanings, and purposes. In this standard the student investigates artistic content and begins aesthetic inquiry through observation, discussion, and the creation of art works.Standard 4 Contextualizing: The student will interpret and apply visual arts in relation to cultures, history, and all learning. In this standard the students will place their artwork and the artworks of others within the context of civilization, other areas of learning, and life skills.Also, visit the Utah State Office of Education Fine Art Guide Book for grade level objectives on Line.http://www.schools.utah.gov/curr/FineArt/Core_Curriculum/Elementary/NewCore2007.htm

    Frank (Tony Smith), Coleus

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    Activity One Fine Art ConnectionMaterials and Resources The following images are included on the CD and display examples of Line Variation, or you can find them online using the urls at the end of the lessons.Bonnie G. Phillips, Whole Wheat on Tuna Tony Smith, ColeusJeanne L-L Clarke, The Earth is Full of the Goodness of the Lord: Portrait of RebeccaKarl G. Ackerman, The Blackbird that got into the GardenAnton J. Rasmussen, One Eternal RoundHave students observe Bridget Rileys work of art, Cataract on Wikipedia http://en.wikipedia.org/wiki/File:Riley,_Cataract_3.jpgOr a much larger image at:http://hapstancedepart.files.wordpress.com/2011/01/bridget-riley-cataract-3-1967.png ProcedureAllow time for students to observe deeply the details of the works of art on the digital screen. They can click on the magnifying tool for super magnification, or show them the images from the CD. Have the students make small sketches in a three-inch square of some of the designs and line variations they observe. Also, have students contribute positive opinions and statements about the works of art during group critiques.Use the following questions to help build critical thinking skills: What kinds of designs were made up of a series of repetition of line?In which work of art did you observe several lines of color consisting of a sequence of dots? What other shapes or colors could the artist have used?One work of art consisted of lines that appeared tubular, like circuitry. Who was the artist?What was the work of art?What did the lines remind you of?What would you change?Which lines suggest movement?What would you do to change the direction of the movement?Which painting is mostly made up of lines that consist of small shapes encased in color?Which color themes do you see in this painting? Anton Rasmussen, One Eternal Round

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    How does the artist use color?What colors would you change and why?Which of the paintings consists mostly of lines representing color values?How does the artist contrast the rock formations with the sky? Tell about the contrasts.ASSESSMENTHave students use a Venn diagram to compare and contrast any of the two paintings.Activity Two Name Plates and Line Design Studies5th and 6th graders

    OBJECTIVESStudents study line variation and designs in works of art and other resources to create their own designs on their name plates.MATERIALSStrips of white drawing paper 3x 12Sets of 2 block letters Works of Art listed in Activity OneA variety of examples using line variation and designs (See list of resources for general graphic and line designs).PROCEDUREOn strips of white paper have students measure, center, and trace their names using 2 inch block letters.Have students make studies of line variation and line designs in works of art that they have observed, and use that knowledge to create their own designs using pencil.Students fill in the interior shapes of their letters using a variety of line designs. When finished, students may want to add some color, using colored pencils.Optional Warm-up ExerciseAfter making a study of observed art consisting of a variety of line designs, students may do a small preliminary warm-up on a half sheet of drawing paper. Students center and trace four rectangles on a piece

  • 44

    of paper. Using some of the designs that they have observed, along with the own ingenuity, students practice some of the graphics in the little rectangles before proceeding with their Name Plates. Activity Three - Line and Ancient Anasazi Pottery Designs(This lesson ideally integrates with 4th grade social studies curriculum.)OBJECTIVEIn this activity, students study line variation observed in ancient Anasazi pottery designs from approximately 1000 years ago. Students create replica designs consisting of motifs that they studied in their observations.MATERIALSHave a selection of images available for the students to look at. There are a few images of Anazasi design on the CD. Other resources to use are the graphics and books on the following list. The Caroline Arnold book is the most ideal for gathering historical facts about the Anasazi people that students can use in the classroom. The Ancient Cliff Dwellers of Mesa Verde, Caroline Arnold, Clarion Books, 1992.Southwest Indian Design: Stained Glass Coloring Book, Carol Krez, Dover Publications, 1997.Southwest Indian Giftwrap Paper, Muncie Hendler, Dover Publications, 1995.Southwest Indian Designs:CD and Book, Dover Publications, 1992.Southwest Indians Designs, Madeline Orban-Szontagh, Dover Publications, 1992. PencilsThin black markersDrawing paper, 8 X 5 PROCEDUREUsing drawing paper and pencils, students sketch out Ancient Anasazi pottery designs they have observed in their studies. Be sure that they can comment on the array of line variation they have discovered and decided to include in their sketches. The variations they find will include angular and straight geometric lines, curvy organic lines, thick lines, thin lines and repeating patterns of lines. See photos of student work that follows.

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    Student examples

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    Activity Four Creating Stencil Shapes with Line Variation and Designs 5th and 6th graders In this activity, the line designs almost take on the form of texture in this simple pencil and paper format.ObjectiveStudents create stencils as positive and negative spaces which contain interesting line designs and a variety of line.MaterialsSquares of 5 drawing paperPencilsThin markersA selection of sources showing line designs and line variety, (see general resources).ProcedureAfter researching line using a selection of graphics and other sources, students create stencil shapes on small squares of drawing paper. They fill the positive shape or the negative space with interesting and varied line designs, see student work photos:

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    VARIATIONSEgyptian Art Motifs - The following art design stencils were created by 6th graders while studying Ancient Egyptian Civilizations. The same technique was used with student- created- stencils and line designs in positive and negative spaces. See the following student work photos:

    Assessment Rubrics Accomplished Developing BeginningFinished project shows variation in line thick, thin, geometric, organic

    Finished project reflects research and shows ingenuityFinished work shows quality workmanship

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    RESOURCESAnasazi Pottery photographs http://www.flickr.com/photos/12150532@N04/4457056698/in/photostream/ used by permission of the photographerAncient AnasaziThe Ancient Cliff Dwellers of Mesa Verde, Caroline Arnold, Clarion Books, 1992.Southwest Indian Design: Stained Glass Coloring Book, Carol Krez, Dover Publications, 1997.Southwest Indian Giftwrap Paper, Muncie Hendler, Dover Publications, 1995.Southwest Indian Designs:CD and Book, Dover Publications, 1992.Southwest Indians Designs, Madeline Orban-Szontagh, Dover Publications, 1992.http://www.anasazimystery.com/

    Fine Art http://smofa.org/collections/browse.html?x=art&art_id=567&name=Whole_Wheat_on_Tuna http://smofa.org/collections/browse.html?x=art&art_id=450&name=Coleus http://smofa.org/collections/browse.html?x=art&art_id=709&name=The_Earth_is_Full_of_Goodness_of_the_Lord:_Portrait_of_Rebecca http://smofa.org/collections/browse.html?x=art&art_id=1768&name=The_Blackbird_that_got_into_the_Garden http://smofa.org/collections/browse.html?x=art&art_id=2132&name=One_Eternal_RoundGeneral Graphics and Line Designs eNasco Rubbing Plate Sets, Organic Shapes and leaves.Roylco Rubbing Plate Sets: Organics.Fabric swatches showing lines designs and variation.Zentangle: Fabric Arts, Quilting. Embroidery. By Suzanne McNeil. www.d-originals.com

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    The Art of Play: Fostering Creativity & Innovation

    Collective Creativity: We all see something different

    Elementary Visual Art Lessonby Vicki GehringOBJECTIVEStudents will create a graffiti wall and invite all to use their imaginations by looking for the hidden images and by adding their own art to the wall.This is a good lesson to do before a unit that is going to require cooperation or collaborative work.MATERIALSwww.youtueb.com/watch?v=mWKCyr3PUsc (if you have problems pulling up the video, search youtube for Students mural keeps South Salt Lake graffiti in check) This is a 3 minute video on creating a mural to solve a graffiti problem.http://www.facebook.com/facesofyouth?sk=info, (click on the picture of the paper mural), a large piece of white butcher paper (2-1/2 x 5 or cut to fit whatever large table is available), crayons, black markers, string, tape, scratch paper, a line chartGraffiti: dictionary definition A crude drawing or inscription on a wall or other surface that can be seen by the public. However, today there are two kinds of graffiti: that which is defacing and that which is art. (The youtube video addresses both)Teacher prep: Create a poster explaining that students are to look for hidden images and outline them with the black marker, and that they may use the open spaces and draw their own pictures.LESSONAsk the students if they know what graffiti is. Have a discussion about the pros and cons of graffiti. Show the youtube video of the wall mural. Discuss whether or not this could be categorized as graffiti. Ask the students why or why not, and what the difference is between the two kinds of graffiti. Talk about how the mural is the work of a group of people and tell the students that that kind of art is called collaborative art. Explain that they are going to create a graffiti mural by working together as a class to create the first part of the mural and then by letting other students draw on the mural.Show the picture of the collaborative mural on the facebook site.PROJECTTape the large piece of butcher paper on the table.Have each student choose a different color crayon and on their scratch paper experiment by drawing different kinds of lines. Show them the line chart, but let them know they can make up their own kinds of lines.

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    Since the mural should have as many different lines as possible, after they have experimented with the lines, let the students look at each others lines and figure out which lines should be used to have the greatest variety on the mural.Starting with those students who have picked the lightest color crayons, have them start drawing their line on the mural paper . Each student can draw their line three times across the paper, and it can go in any direction they want . Have the students with the darker crayons go last .

    Hang the mural in the hall along with black markers attached to strings and the poster explaining the project . Let the students from your class be the first to look for hidden images, then leave the poster up long enough for other students in the school to participate in the project .

    *Note: Watch the progress of the mural to decide when it is looking finished. Dont leave it up until it starts getting messy .

    ASSESSMENTDiscuss how the students felt about working together to create the graffiti wall and how they felt about letting other students draw on their work .Discuss the advantages and disadvantages of working together .Let the students give suggestions about how the project could have been done differently .(different use of media, different process, etc .)

    *If the students have created this mural in preparation for another collaborative project, have the students discuss how they can use what they learned from this project to help them with the next one .

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    The Art of Play: Fostering Creativity & Innovation

    Mountains of Sound

    Music, Visual Art, & Math Lesson Grades 5-6 by Lynna KendallOBJECTIVE Students will identify dynamics (levels of sound) while listening to recorded music. Students will also review the mathematic terms: y axis and x axis.UTAH STATE CORE OBJECTIVES 5th grade music, standard 3, Listening, Elements of music with definitions: dynamics, degrees of loud and soft.3rd grade visual art, Color Wheel: warm and cool colors5th Grade Math Objective 2, specify locations in a coordinate plane.MATERIALSDefinitions for music dynamics: create a small poster or placard for each abbreviation.Pianissimo (pp) very soft, piano (p) soft, mezzo piano (mp) medium soft, mezzo forte (mf) medium loud, forte (f) loud, fortissimo (ff) very loud.Markers, colored pencils or crayons in cool colors (blue, green and violet) and warm colors (red, orange and yellow)Graph paper or Mountains of Sound graph handout (vertical graph lines can be moved to adapt for any music)Recording of music with dynamic variances (I used Fireflies by Owl City www.youtube.com/watch?v=psuRGfAaju4) Images of artworks showing warm and cool color schemes, see the CD or SOURCES.ACTIVITYExplain the music dynamics definitions and show the placard for each definition.Ask students to think of a sound that would represent each definition.Create a body percussion sound (snapping, shuffling foot, clapping, stomping, etc) for each definition.Review each abbreviation pointing or showing the placards and have students demonstrate the dynamic level using the agreed upon body percussion.

    Louise R. Farnsworth, Capitol from North Salt Lake

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    Listen to the recorded music and ask the students to silently identify the dynamics used in the song. As a class decide on the beginning level, either mp or mf for Fireflies.Play the song again and turn the students into a human dynamic graph.Students stand and with a horizontal hand to show the dynamic of the music. Teacher models the dynamic level and visually assesses the accuracy of the class. pp -foot level p -knee level mp -hip level mf -shoulder level f -head level ff -above the headHand out markers, colored pencils or crayons and graph paper or Mountain of Sounds graph. (The graph is included at the end of the lesson.) Divide the markers into cool and warm colors.Identify the dynamic marking on the left side (y axis) and the song parts, verse and chorus (x axis) at the bottom of the page.Explain that the students and music will create a colorful mountain and valley picture. Warm colors will be used above the starting point (either mp or mf) and cool colors will be used for the valley or everything below the starting point. Basically the kinetic human dynamic graph will be transferred to the graph.Show pictures with warm and cool color schemes and discuss how the colors were used to create the picture.Play the music and prompt the students as the music changes from verse to chorus and from dynamic level to dynamic level. For advanced students each verse and chorus can be a different color.Listen to the music for a final time and have the students color in the mountains and valleys as they listen. If time permits, they can add details to the picture such as clouds, trees and flowers, etc.Display the students work with an explanation of the project.ASSESSMENT There is some subjectivity to this assessment as students will hear the subtle nuances of the music differently, however, Picture/graphs should show the relative highs and lows of the music. Picture/graphs should show warm colors above the starting point of mp or mf.Picture/graphs should show cool colors below the starting point of mp or mf.

    Maynard Dixon, Road to the River, Mt. Caramel, Utah

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    SOURCESIn addition to the large images on the CD, you can get these images from Springville Museum of Arts Elementary Poster set the info from the backs of the posters can be found at smofa.org, under Education, Poster and Postcard Sets Or, go to the online images (not very big).Louise Farnsworth, Capitol from North Salt Lake smofa.org/collections/browse.html?x=art&art_id=876&name=Capitol_from_North_Salt_LakeSven Birger Sandzen, Moonrise in the Canyon smofa.org/collections/browse.html?x=art&art_id=136&name=Moonrise_in_the_Canyon,_Moab,_UtahMaynard Dixon, Road to the River, Mount Carmel, Utah smofa.org/collections/browse.html?x=art&art_id=1100&name=Road_to_the_River,_Mt._Carmel,_UtahMabel Pearl Frazer, Sunrise, North Rim of the Grand Canyon smofa.org/collections/browse.html?x=art&art_id=1100&name=Road_to_the_River,_Mt._Carmel,_Utah

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    The Art of Play: Fostering Creativity & Innovation

    Bubble Extravaganza!

    Elementary Secondary Aesthetics LessonBy Elicia GrayOBJECTIVES Students will examine the artworks of Esther Erika Paulsen, John Hafen, John Heber Stansfield, David Wayne Meilke, and Paulmar Torsten Fjellboe. Students will investigate the aesthetic issues that pertain to various landscape artworks. Students will create and interact with enormous life-sized bubbles. Students will recognize the natural phenomena around them that inspire aesthetic experiences. Students will write a creative aesthetic response to their bubble experience. Students will compose a creative aesthetic response to an artwork.STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.TITLE OF ARTWORKS & ARTISTS (on CD) Purple Twilight, Logan Canyon, Utah, Esther Erika Paulsen Mountain Brook, John Hafen Canadian Rockies, John Heber StansfieldNevada Afternoon, David Wayne MeilkeSunset at Black Rock, Paulmar Torsten J. Fjellboe Sunset, Great Salt Lake, John Hafen.MATERIALS Several wooden dowels or sticks Glue Yarn distilled water glycerin (found in drugstores) dishwashing liquid (Joy works well) Images listed above soft music Nevada Afternoon, David Wayne Meilke

    Springville Museum of Art

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    ACTIVITY 1. Play soft music and dim the lights. During this activity students should be as quiet as possible. Show students the artworks listed above one at a time being careful to give students enough time to fully take in the images depicted. Invite students to imagine that they are actually in the setting being shown. Students should pay attention to specific feelings they might encounter if they were a part of the picture. While the teacher shows the images, students should be silent and simply take in the experience. After each painting, have students write down five words that describe their feelings or thoughts about the artwork.2. When all of the artworks have been shown, have students share the five words they chose for each painting. Were there similarities? Differences? As a class discuss the overall effect that these particular paintings might have. What sorts of emotions do they portray?3. Explain that, by definition, an Aesthetic Experience occurs when an individual is blown away by a sunset, a storm, a view, or a piece of artwork. In some ways, the aesthetic value of a work of art could be determined by the feelings that it generates. Ask students to think of times when they have encountered an artwork or event that produced an aesthetic experience. As a class, discuss those experiences.4. Explain that students can have aesthetic responses to practical experiences as well. Watching spilled milk travel across the counter, or frost on a window, even the shape of a boot print in the snow. Even simple events like these can be identified as small acts of beauty. It may be helpful to show different responses to one of these occurrencesshow the difference between crying over spilled milk, and finding beauty in the puddle that it leaves behind. 5. Invite students to have an aesthetic experience with enormous bubbles. To make the homemade bubble solution: Stir together 1/2 gallon of distilled water, 1/3 cup of dishwashing liquid (we used Joy), and 3 tablespoons of glycerin (available at drugstores). This makes a super strong liquid that works well with the bubble wands. You may want to make several batches so that students can all work at the same time.6. To make bubble wands, cut a three-foot length of yarn and tie one end to each dowel. Dab with hot glue or other strong glue to keep the yarn from sliding off the dowels. Cut a second, four-foot length of yarn and tie it onto both dowels so that it hangs below the first. (See photo)

    Mountain Brook, John Hafen Springville Museum of Art

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    7. To make the bubbles, hold a dowel in each hand and dip the yarn into the bubble solution. Slowly pull the dowels apart, letting a soap film form between the yarn strands. Move the wands through the air to form the bubbles. You can also move the dowels in and out and pinch off smaller bubbles as well. Teachers may choose to make only a couple of bubble wands so that students take turns making bubbles and watching bubbles.8. Encourage students to pay attention to the colors, shapes, and emotions that occur as the bubbles present themselves. What happens when a bubble nearly forms but pops before completion? Do anticipation, disappointment, or frustration have a place in aesthetic experiences?9. When each student has had a turn to participate, return to the classroom and invite students to write a response to their bubble experience. Students should use similes, metaphors, and rich description to illustrate their experience.

    ASSESSMENT The teacher should carefully review the written responses to the artworks and bubbles, looking for quality content and completion. The teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement.VARIATIONS If time is short or supplies are unavailable, students may create bubbles with traditional bubble wands, or by cutting both ends off of a tin can and dipping it in a bubble solution. Waving the tin can through the air will create long bubbles of a different sort.EXTENSIONS Use other materials to create aesthetic experiences, such as dry ice, silly putty, or slime. Compare each of these materials with the bubbles.RESOURCES familyfun.go.com/crafts/giant-bubble-wand-1018723/

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    The Art of Play: Fostering Creativity & Innovation

    101 Things to Do With an Alligator or a fish or a snail

    Creative Process Lesson for all agesBy Sari ChristensenOBJECTIVEStudents will learn and demonstrate the steps of the creative process. Students will practice creative thinking.MATERIALSPaper, pencil, markers and/or colored pencils, crayonsThe creative process is the natural process we all go through when we are trying to come up with an idea. Whether you are doing a painting or designing a new car, an architect or a scientist you use the creative process.Step 1: Brainstorm As a class start brainstorming ideas of what to do with an alligator (or whatever object you pick, I often choose a fish because it is easy to draw). Have someone write the list on the board. At first your list will be pretty ordinary things. But as your list gets longer you will have to start to become more creative. I have them come up with 20 things as a class. As they start to have a hard time coming up with things I start to talk about being creative. Creativity is simply combining two things together that dont normally go together. Anyone can learn to be creative. It just takes some practice. At this point you could show some examples of different artists that have done just that in their work combining things together that dont normally go together. Back to brainstorming we have made a list of 20 things to do with an alligator on the board. This assignment is actually called 101 Things To Do With An Alligator. They have to come up with the rest of the list on their own (we do this in sketchbooks). To get 101 things you have to get creative. I will toss out ideas to help them along. For example, a fish skate board, fish flower pot, fish pencil holder, fish purse, etc

    Step 2: Narrow Down IdeasOnce they have completed their list, they need to narrow it down. I have them pick their best 10 ideas.

    http://www.clker.com/inc/svgedit/svg-editor.html?paramurl=/inc/clean.html?id=26591

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    Step 3: ThumbnailsThumbnails are small, quick sketches to translate your ideas from words into images. These are not detailed drawings, and they are not colored. (no stick figures)Draw 10 2x 2 squares for the thumbnails. Convert each of the 10 ideas into a quick drawing. (Younger students can do fewer sketches.)Step 4: Narrow Down ThumbnailsNow that they have sketched out their different ideas, they have an idea of what will work as an image. I then have them do three more thumbnails of that one idea. Why? To see what other versions of this one idea they can come up with, because their first idea m ight not be their best idea.

    Step 5: Final Sketch

    Have the students take the idea they want to use for their final artwork and do a final sketch. Blow it up to full size. Add a background. Work out detailsStep 6: Final

    Requirements for final: Border or Frame around the paper Background or Environment must be included Colored Full page

    EXTENSION Have students create their design or a model of their design in 3-D.

    Fish Pursehttp://funkyartqueen.blogspot.com/2009/08/fish-licious.

    html

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    The Art of Play: Fostering Creativity & Innovation

    Simple Experimental Watercolor Sketchbook Covers

    Upper ElementarySecondary Visual Arts LessonBy Carrie WilsonTITLE OF ARTWORKS & ARTISTShttp://sma.nebo.edu/collections/browse.html?x=art&art_id=1684&name=Autumn_BouquetCampbell, Mary May, Autumn Bouquet (1991) watercolorSpringville Museum of Art has a great tool. Go to the above website and scroll over the artwork. I like showing the students the up close version of the artwork to see the details. Plus the up-close version becomes abstract, which is more like what they are going to create. Janet Fish http://www.angelfire.com/art/favoritewomenartists/janet_fish.htmKandinsky- founder of abstract watercolor paintinghttp://www.waunakee.k12.wi.us/faculty/swagner/Kandinskyhandout.pdfSee Kandinsky image on CDOther SMA images that will work:Thomas Leek, Eternal Forces Craig Mathews, Hurricane Mesa Lee Anne Miller, Storm Spirits on Horizon VIOBJECTIVE Students will be create a non-objective watercolor painting using many different tools like sponges and plastic wrap to get a working knowledge of the medium.STATE CORE LINKS Production MATERIALSWatercolor sets (Cheap)Cardstock or Watercolor paper (Two to three sheets of 8 x10 for each student)Simple brushesWater bowlsTowels Cotton SwabsPlastic WrapSpongesCrayons (wax resist)Salt (Coarse works the best)

    Mary May (Betsy) Campbell, detail of Autumn Bouquet

    Newspaper to cover the tableDrying area Colored Pencils Markers

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    Book Binding:Clear packing tape or Shelve Clear Cover act like lamination ScissorsA long stapler to reach the center OrTapestry Needles (one for every four students/or more)Pushpins Paper for the inside (no more then 10 pages or it is hard to sew)Thread or thin string to go through the holes (cut into 7-9 inch pieces)ACTIVITY Watercolor can be downright fun or super frustrating for students. I find starting out with an experimental use of watercolor gives them the knowledge of watercolor without the stress. Then when more challenging projects in watercolor come, it is easier for them to succeed. Experimental basically means just see what happens, like what color will happen when the red is mixed with the green that is right, mud! 1. Set up the tools. One bowl per table, two to three watercolor sets per four students and newspaper to cover the complete table. One great thing about watercolor is that it washes off. 2. Give a fast demo. Just let the students see how to mix color on the paper, try watercolor on dry paper and then wet paper, and how to use the fun experimental materials like laying the plastic wrap over wet watercolor and letting it dry, or putting salt on the paper.

    3. Have at it! Play fun music to keep the flow going.4. Dry. 5. Second layer: Have kids come back to their watercolor to paint another layer of watercolor or draw on what they have created. I talk about reworking the surface. 6. Dry.7. Have the students pick their favorite watercolor out of the two or three theyve done and use it as the cover of their sketchbooks.8. Use clear packing tape to cover the fronts with a layer of tape. Have the students overlap the tape so all the paper is covered, and then the students can add a name card or write their names to ID the sketchbooks. 9. Next, students should fold the sketchbook in half (hamburger fold). They can create a pocket by folding the second paper in half and cutting it. Then taking that half, they should fold the paper in half again and tape down the edges. I use these pockets to hold assessments and notes for the

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    students. Simple Binding: Staple in the center with three staples. See examples on the next pages.10. Less simple binding: Take cover and paper for the inside, then prick three holes with the pushpin. Have the first hole be in the center and the other two 1 inch up and down from the center. Thread the tapestry needle with the string and leave about an inch or two hang over thread. Do not double thread or tie a knot at the end. Go through the center leaving a tail in the center of the sketchbook, now go through the top hole, loop down to the bottom hole and back through the center. Tie off over the center string. Enjoy!

    Now do the second sideCome back up through the center

    Leave tails in center Tie off the tails

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    ASSESSMENT Check List: (five points each)____: Did you mix colors?____: Did you try an experimental tool? Which one _______________: Did you do a second layer? How ______________________: Did you cover your sketchbook with clear tape?____: Did you add paper to the center?____: Did you add a pocket?____/ 30 pointsWhat was your favorite part of the watercolor experience? (Two sentences)What would you keep the same and what would you do differently next time? (Two sentences)

    Inside of sketchbook showing the pocket

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    VARIATIONS Do a warm-up activity: have the students fold their paper into four parts and play four dramatically different styles of music. Have them watercolor to the different music pieces. See how the different musical pieces relate to and are different from each of the watercolors of the students. Have the students create a name card with a 3 x 5 blank white card for the cover of the sketchbook. They can tape it in with the clear tape. Make the surface of the sketchbook out of a recycled material like a cereal box.

    Finished sketchbook

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    Upper ElementarySecondary Visual Arts Lessonby Elicia GrayTITLE OF ARTWORKS & ARTISTS on CDA Well-Red Individual, Sharon Pearl Reed GrayA Compromise of Freedom and Control: Self Portrait, Connie BorupGethsemane: Self-Portrait, John Owen Erickson George II, Helen H. Lee Deffenbach Head of a Woman (Opus 41), Joseph V. DeSantisKate and Anne, Kate Clark-SpencerOne of a Kind (Self-Portrait) Kaziah May Hancock (The Goat Woman)Portrait of a well known Utah artist of French origin: Francis Zimbeaux, Pilar Pasqual Del Pobil SmithSix and Seven/Eighths (Self-portrait) 6 7/8, Marion Roundy Hyde OBJECTIVES Students will examine the artworks of Gray, Borup, Erickson, Deffenbach, DeSantis, Clark-Spencer, Hancock, Pobil Smith, and Hyde.Students will recount one famous fairy tale.Students will draw a brief portrait of a famous fairy tale character.Students will compare and contrast different works of portraiture.Students will prepare, create, and present their own puppet portrait.Students will discuss the narrative nature of portraiture.Students will complete a blind contour portrait.Students will write an acrostic poem that summarizes the attributes of their puppet character.Students will research one famous individual OR write a life sketch in order to identify key attributes for their portrait.Students will write a brief narrative in response to the works of Gray, Borup, Erickson, Deffenbach, Desantis, Clark-Spencer, Hancock, Pobil Smith, or Hyde.STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.

    The Art of Play: Fostering Creativity & Innovation

    Puppet Portraits

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    MATERIALSArtworks listed above, famous fairy tales (such as Snow White, Rapunzel, Pinocchio, or Sleeping Beauty), cardstock, colored pencils, mini brads, scissorsACTIVITY 1. Divide the class into small groups and invite them to recount a famous fairy tale. When

    students have finished telling the story to each other, have them write the name of one of the key characters at the top of a paper. In groups, have them list attributes that characterize that individual. (For example, Little Red Riding Hood has a cape, a basket, she is small, fearful, independent, trustworthy, and so forth) Based on the list they have created, invite students to create a portrait of their character. They should try to integrate as many attributes as possible from the list they composed.2. Explain that portraits are like little stories or narratives. Many times they can tell a lot about the individual being portrayed. Show the students the portraits by Gray, Borup, Erickson, Deffenbach, DeSantis, Clark-Spencer, Hancock, Pobil Smith, and Hyde. Compare and contrast the images. What media are used? Do the titles make a difference? What is the difference between a self-portrait and a portrait?3. Invite students to interact with the artworks by creating a brief narrative in response to one of the artworks. Have students choose a work and write a creative story about it. Students can pretend they are the artist who is producing the work, or they may imagine that they are the person being depicted. What can students infer from the images? What kinds of attributes do these individuals portray? What aspects of personality can be deduced from the style or content of the work?4. Pair students with each other for a blind contour drawing. Students should have a piece of paper and a pencil. Ask students to focus on the minute details of the person they are drawing. What did students learn about the person they were drawing? What details might they have missed otherwise?5. Ask students to choose a famous person that they would like to investigate, OR, students may choose to write a life sketch about themselves. After initial investigation is complete, students should carry out a brainstorming activity in order to identify 10-15 key attributes of the person they have chosen. These attributes should be incorporated into their puppet design.6. Decide on a basic shape for the puppet. If the individual being portrayed has lots of different skills, the student may choose to create 10 different arms, each holding a

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    different ability. If the individual is extremely smart, the head might be larger than the rest of the body. If the individual possesses unfamiliar or foreign qualities, the skin tone might be green instead of the traditional color. Invite students to think outside of the box when portraying the different attributes of the portrait.7. Draw and color each limb of the puppet separately on cardstock. Cut out all parts and attach them together using the mini brads. Students may also choose to add string to hang their puppets.8. In order to help viewers identify key attributes of their famous puppet, students will complete an acrostic poem. An acrostic poem uses the letters in a word to begin each line of the poem. All lines of the poem relate to or describe the main topic word. For example, if the famous person is Abraham Lincoln, then the poem would be A=Always Honest, B= Bearded, E=Exceptional character, and so forth.9. Students will display their poems and puppets together in order to help the viewers understand the characteristics being portrayed.ASSESSMENT The teacher should carefully review the acrostic poems looking for quality content and completion. The teacher will evaluate the fairy tale portrait, blind contour drawing, and puppet portrait on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. VARIATIONSTeachers may choose to have their students work in groups to complete puppets. Students may also complete 3-D versions of their puppets using paper mache.EXTENSIONStudents may work in groups to write and perform a simple puppet show that encompasses the attributes of all of their unique puppets. RESOURCES http://custompapers.com/poetry-writing/http://www.readwritethink.org/classroom-resources/student-interactives/acrostic-poems-30045.html

    Santa puppet parts, see finished Santa on the next page

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    Upper ElementarySecondary Visual Arts Lessonby Elicia GrayOBJECTIVES Students will examine the delicate nature and technique behind Scherenschnitte. Students will compare European Scherenschnitte with Chinese Paper Cutting.Students will design, draw, and produce a cut paper design based on traditional multicultural methods.Students will recognize the visual culture around them that incorporates cut paper. STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in