Educators’ Art Fair November 13, 2010

Making Multiples (Young Art 2011)

How-To Guide 2 2010 Educators’ art fair MAKING MULTIPLES (YOUNG ART 2011)

Letter from the Education Department

Our award-winning education department at The San Diego Museum of Art is comprised of a team of artists, art historians, educators, interns, and librarians. We work with staff within the Museum and with colleagues from cultural and educational institutions throughout California to provide programs that enhance the exhibitions presented at the Museum. Exhibition texts are offered in English and Spanish.

We offer lectures, tours, workshops, music, film, family festivals, events for educators, and art making programs for visitors of all ages. We invite you to inspire your creativity, learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum.

Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and participate at The San Diego Museum of Art.

We look forward to meeting you and hearing about any ideas you may have about the Museum and our program efforts. We hope to see you often!

The Education Department at The San Diego Museum of Art

The Educators’ Art Fair at The San Diego Museum of Art is made possible by a generous grant from Bridgepoint Education.

Cover Image:

Wayne Thiebaud, 1920– Andy Warhol, 1928–1987 Caged Pie, 1962 Happy Butterfly Day, ca.1956 Oil on canvas Lithograph Museum purchase through the Earle W. Gift of John A. Osgood Grant Acquisition Fund 2006:150 1977:109 How-To Guide The San Diego Museum of art 3

Table of Contents

2010 Educators’ Art Fair: Making Multiples (Young Art 2011)

Introduction: Young Art 2011: Making Multiples...... 4

Young Art 2011-Inspired Lesson Plans* Thiebaud-Inspired Collagraph Print (elementary)...... 5 Profile Portrait Reflection (elementary)...... 10 Zine Design (middle school; grades 6-8)...... 13 Stencil Art (high school; grades 9-12)...... 17 *Note: All lessons include suggestions for how to adapt them to other grade levels.

Art Education Website Resources...... 21 San Diego Area Sources for Art...... 22 California State Standards...... 23 Visual Art Terms Glossary...... 25 Credits...... 27

Ester Hernández, 1944– The Offering, 1988 Screenprint Gift of the Wight Art Gallery, University of California, Los Angeles 1991:77 4 2010 Educators’ art fair MAKING MULTIPLES (YOUNG ART 2011) Introduction Young Art 2011: Making Multiples

Young Art is The San Diego Museum of Art’s biennial exhibition of K-12 student artwork from San Diego City and County Schools. Young Art 2011: Making Multiples, April 16 to May 29, 2011, will focus on art that explores the repetition of images and ideas. These works of art may be objects that are part of a series, be the original object from which a series of objects are created, include multiple objects of similar subjects, or be a combination of the above. Works may be executed in two-dimensional or three- dimensional media, including mold making, photography, bookmaking, digital art, zines, and video art. Educator information packets that detail the submission process are now available. Please email your full name and school mailing address to [email protected] to request that a packet be sent to you.

Integral to this year’s Young Art 2011 exhibition will be a series of Museum public programs in spring 2011, such as talks by student artists and collaborative efforts with other Balboa Park institutions. Several related works of art from the Museum’s permanent collection will be featured within the exhibition, as will a reading area with relevant texts and a bibliography of related resources to be found at branches of the San Diego Public Library.

The Educators’ Art Fair: Making Multiples (Young Art 2011) event is designed to provide lesson plan ideas for the Young Art 2011: Making Multiples exhibition. Through the lesson plans in this How-To Guide, you will be given the tools to integrate both two-dimensional and three-dimensional art into your curriculum and classroom. The lessons are meant to serve as a foundation for exploring repetition in art with your students. Each lesson has been written for a specific grade level (elementary through high school), but the artistic processes can be easily adapted to suit the needs of students at any level. At the end of each lesson is a list of additional visual art resources, including relevant works from the Museum’s collection that relate to topics explored in the lesson.

The following lesson plans have also been designed to help educators create elaborate classroom activities that will enhance their students’ understanding of objects at The San Diego Museum of Art. The lessons presented here can be explored solely in the classroom but are best supported with an accompanying field trip to the Museum. They can be used as a resource both before and after the set visit. Docent-led school tours are offered throughout the school year as a no cost resource to educators and students and can be arranged through an online request system available on the Museum’s website at www.TheSanDiegoMuseumofArt.org.

We are eager to meet your needs and assist you in making the most of your educational experience!

Amy Briere, Coordinator of Educator and Student Programs 5 Thiebaud-Inspired Collagraph Print Alyson Blum, Elementary Art Educator Grade Level Elementary (grades K – 5) Adaptable to all grade levels General Description

Wayne Thiebaud is a contemporary California-based artist, most well known for his paintings of production line objects found in diners and cafeterias, often composed in multiples. This portrayal of everyday items groups him with the Pop Art movement of the1960s, but his naturalistic images are more personal than is usual in true Pop Art.

In Caged Pie (1962) a painting by Thiebaud currently on view at The San Diego Museum of Art, the artist presents a work of art rich in visual texture, with thick applications of paint mimicking the sumptuousness of the pastry itself. The work of art depicts the artist’s trademark elements of simple, geometric shapes, and light color values contrasted with dark shadows and outlines. Thiebaud often chose to paint pies and cakes, objects based upon simple shapes such as triangles and circles. With his focus on simple objects or groups of objects, Thiebaud presents a formalistic representation of his everyday world.

In this lesson, students will view and discuss the work of Wayne Thiebaud and create collagraph plates, relief printing surfaces made from collage materials, that resemble Thiebaud’s art through their use of exaggerated color, simple shapes, repetition, and subject matter. Students will then further explore the concept of repetition through the process of printmaking, creating multiple prints pulled from their collagraph plates, which they will reassemble into a single collage piece.

Objective Vocabulary

Students will: Introduce the project and discuss associated vocabulary words • view and discuss the work of the artist Wayne Thiebaud. (Visual Art Vocabulary): composition, contour line, contrast, • identify and discuss shape, visual texture, repetition, elements of art (form, line, shape, color, texture, space, composition, value, contrast, and shadow as seen in the and value), mixed media, Pop Art, and value. Printmaking works by Thiebaud. Vocabulary: collagraph, edition, plate, print, to pull a print, • learn to draw simple shapes and details found in works by brayer. Please see appendix for vocabulary definitions. Thiebaud. • cut their drawings into basic shapes to create a Adaptation Suggestions dimensional, collagraph print. • create a series of prints with multiple values, contrasting This particular lesson is geared towards upper elementary colors, and outlines. students, but the art process is easily adapted to suit younger • learn the basic techniques and vocabulary of collagraph and older students. printmaking. • cut apart and collage multiple collagraph images into one For very young students cohesive composition. Forego the sketching portion of the exercise, using instead pre- cut templates of single shape cakes or pies. Allow students to practice with the skills of tracing, cutting, and assembling their Project time: Allow approximately two and a half hours, pieces into a dimensional collagraph plate. Have each student in two 55 and one 40-minute sessions, from introduction to pull a single print, and assemble images as a class into one completion. Additional time may be required depending on multiple image composition. the amount of detail or number of prints desired. For older students Prep Time: Allow approximately one hour and a half to Have students use a more complex visual arrangement with research, prepare examples, and cut materials. varying subject matter, such as several types of cakes, or depicting cakes with slices removed. Have students strive for additional detail and shadow, with attention to perspective and color. In their final composition, consider having older students add contrasting outlines and deep shadows to their collages using oil pastel.

California State Standards: Please see appendix. 6 Materials Session One Please see appendix for suggestions for online and San Diego art suppliers Creating the Collagraph Plate (approx. 55 minutes)

• Scissors (one per student) Motivation • Pencils (one per student) • Glue Stick/Paste (one per student) Class Discussion • Art visuals (including reproductions of work by Wayne In the classroom or through a visit to The San Diego Museum Thiebaud) of Art, view and discuss, as a group, Caged Pie (1962), • 8.5” x 11” newsprint (two sheets per student) additional paintings by Wayne Thiebaud such as Pies, • 8.5” x 11” thin Bristol/cardstock, manila folders, or flattened Pies, Pies (1961) and Cakes (1963), or other works by other cereal boxes cut to size (two per student) artists from whom Thiebaud may have been influenced (See • Styrofoam plates or tin foil trays 7” – 9” (one per printing Resources section for suggestions). station) • Brayers (one per printing station) For Younger Students (Elementary) • Water soluble printing inks; minimum of one tube of each Discuss what makes this work of art seem familiar. Have of the colors red, yellow, blue, and brown, and three white. students talk about the range of shapes, colors, values, Additional colors to include, if possible: turquoise, purple, and textures used in the paintings. Discuss perspective, and magenta (one, 5 oz. tube for every 5 students) composition, and the role of outline and shadow. Discuss a • Baby wipes (one set per class) favorite bakery and how baked goods and sweets are often • 12” x 18”newsprint (6 sheets per student) displayed. Why might this artist have chosen to paint these • 4.5 ” x 11” or larger pastel cardstock or pastel copy paper ideas? (three sheets per student) • 12” x 18” assorted grey and/or pastel construction paper For Older Students (Middle and High School) (one sheet per student) Discuss how the artist’s use of repetition suits the Pop Art • 4.5” x 12” or larger gray construction papers or printed movement and relates to mass advertising and display newspaper (three sheets per student) tactics. How is Thiebaud’s work different from the work of • 4.5” x 12” or larger small-pattern papers in multiple hues: other Pop artists? Have students identify areas of contrast scrap booking papers, decorative found papers, etc. and shadow in the paintings, as well as perspective. Discuss commonalities among the paintings of Wayne Thiebaud and interpretations of the artists’ motivations and title choices. Preparation Project Prior to implementing the lesson, create a finished example of the project, as well as additional samples that illustrate the Introduce the project and discuss the materials you will steps of the project (goals for each day). Even if you choose be using and how to approach using them. Clearly explain not to share these works with students, they will help you each step to the students and remind them of the possible have a better understanding of the lesson. frustrations they could encounter. Discuss the associated vocabulary. In order to have a full set to illustrate the steps, draw your cake on manila stock four times. Cut three of these pieces into shapes. Keep one as a drawn sample of cut shape pieces. Step 1: Sketching Exercise Glue together the remaining two sets into finished collagraph plates. Keep one as a finished plate sample and use the other This is an introductory exercise in drawing a whole cake, a for printing your examples. slice of cake, and a plate or stand, which will allow students to create the shapes for their dimensional, collagraph plates. You • Prepare an assortment of manila folders or cereal boxes. may incorporate all these options, or offer just one subject as • Prepare and trim pastels papers. it suits your class. Students should focus on observing and • Display art reproductions of paintings by Wayne Thiebaud. recreating the contour areas (outside lines) of the shape of • Display various photographs of pie and cake slices or their subjects, as well as, include simple details that will make display authentic examples in the classroom if possible. their own cake/pie drawings unique. Encourage students to use easy-to-cut, geometric shapes such as circles, ovals and triangles, as Thiebaud does, to define their subjects.

Drawing a whole cake or whole pie:

1. First, have students hold a single sheet of 8” x 11.5” newsprint vertically and fold it in half horizontally. 2. In the lower portion of the paper, demonstrate how to 7

draw an ellipse for the base of 3. Demonstrate how to create a footed stand with a third ellipse, if the cake along the bottom of the desired. page. Demonstrate how to draw 4. Have students select the subject they wish to draw, for a second ellipse for the top of the example: a whole cake with a cake stand, or a slice of cake and how to draw a straight cake or pie with a plate. Have students fold their manila/ line to connect the two ellipse cardstock in half as they did with their warm-up newsprint shapes to create the sides of the papers, and use the lower portion for drawing their pastry, cake and form a cylinder. and the top half for their stand/plate. Students may work 3. Erase the top line of the from their practice sketch and/or a still life, if available. lower ellipse to create a clear unobstructed shape. (See Step 2: Cut Shapes and Glue Collagraph illustration to right) 4. Show students how to add Plates additional ellipses overlapping at different heights and widths for a 1. Once students have completed their drawings onto manila/ multi-tiered cake (if desired). card, demonstrate how to cut the whole cake shape out from the manila/card. 5. Demonstrate how to draw a dotted ellipse line to add frosting details 2. Have students carefully cut out their main shape as you along the base and top ridges of supervise. the cake, and simple decorative 3. Demonstrate how to cut out the detail shapes such as details such as looping frosting. crust and frosting. Have students cut their shapes and (See illustration to right) arrange them in order on the table, right side up, as you supervise. Note: Numbering the pieces on the right side 6. Lastly, demonstrate how to add simple decorative elements, if desired, off to the side of the drawing of of the drawing before cutting may prove helpful when the cake, as shapes to be printed, cut, and added later working with several pieces. (cherries, flowers, candles, etc.). 4. Have students trim the detail/frosting/crust shapes as needed by trimming the shapes down, if desired, or by Drawing a slice of cake or pie: removing the shapes altogether to leave a recessed area on the collagraph. Assure students that either solution will leave an outline of their details. 1. Demonstrate how to draw a slice of cake/pie by first drawing a triangle 5. Demonstrate how to cut out a plate shape and shape at the desired angle. (See demonstrate how to puncture and cut out a rim, if desired, illustration to right) trimming the detail slightly to leave a recessed area on the collagraph. 2. Demonstrate how to draw straight lines down along either lower points of 6. Demonstrate how to glue the cut shape of the plate the triangle. (See illustration to right) down onto the second manila/card backing to create a dimensional, collagraph plate. 3. Demonstrate the line along the base of the shape, noting it should 7. Demonstrate how to properly place and glue the cut be parallel to the lower angle of the shapes of cakes and pies onto the second piece of manila/ triangle to create a voluminous slice card backing to create a second, dimensional, collagraph shape. (See illustration to right) plate. 8. Have students write their names on the backs of their two, 4. Demonstrate creating simple shapes to make pieces unique: collagraph plates. whipped frosting along the top or 9. Once plates have dried completely, store dimensional between cake layers, a thin crust collagraph plates flat. along the base of pie, illustrating how these layers will follow the same diagonal as the top and lower Session Two side-lines of the slice. (See illustration to right)

Note: For older students, consider demonstrating how to Printing with Collagraph Plates (approx. 55 minutes) draw multiple views of the same slice from different angles, one from the side, above, and from the front (as seen in Caged Pie). Preparation

Drawing the plate or stand: • Set out a variety of 4.5” x 11” white and pastel cardstock, and printed/found papers for printing the pastries. 1. Demonstrate how to use the ellipse to draw a simple plate/ • Set our 4.5” x 11” grey construction or printed newspapers stand shape in proportion to the previous drawings. for printing stands and or plates, and 12” x 18” gray and/ 2. Demonstrate how to add a second ellipse shape inside the or assorted pastel construction papers for creating a first to create a rimmed plate, if desired. background with horizon line. 8

• Arrange several inking and printing stations for each color. 2. Invite students to run their first two prints at the color (See illustration) stations. 3. Once students complete 2 full color prints, begin to tint Note: Fewer inking stations will result in longer lines at the the ink colors by adding one part color, and part white, to station. Strive for a ratio of one station for every three to four the inking trays. Have students inform you when they need students. more ink, and disperse as needed. Have students pull the remaining four prints. Project 4. Students with plate/stand shapes to print may now use white ink (the same inking trays) to print their plate up to four times, at a single station, on either gray construction Step 1: Considering Color paper or printed newspaper. Invite students to again collect their gray printing papers, label the papers with 10. Review the project objectives, images, and pass out their names, and pull their prints. collagraph plates. Explain to students that they will have 5. Have waiting students select the color of pastel an opportunity to print their cake/pie collagraph up to six construction paper for a background and write their name times on six papers. Having six pre-made examples of across the back. Using the white ink and brayer, have them pulled prints with a variation of colors, hues, and papers quickly roll the brayer horizontally along the bottom of will help to better illustrate this idea to students. the page, at the height they wish, to create a division and 11. Encourage students to think about the flavor combinations horizon line. The paper may be either a vertical or horizontal they have in mind, and to write their color ideas in pencil composition (great item to have 2 samples of). on the back of their cake collagraph plate as a reminder. 12. Suggest that students consider how colors will work Note: If you run out of white ink, or time, in this session, hold together in their finished multiple piece, and how will they this background step to the final session and create horizon create contrast with color. Remind students that both lines with oil pastel. colors they select will come into play, the color of their papers, and the color of their inks. Review the process of tinting by adding white, and explain that after the first two prints are pulled, you will begin tinting the colors. Session THREE 13. As students are making decisions about ink colors and writing them on the backs of their cake plate, invite them to select up to six pieces from the colored cardstock and Creating a Final Multiple Composition (approx. 40 printed papers and write their names on one side. minutes)

Step 2: Printing from the Collagraph Plate Preparation

Invite students to group around one printing station for a Review the objectives of the lesson, and explain the concept demonstration of how to properly use the materials. Introduce of multiples within a composition. Pass out the collagraph the printmaking vocabulary as you use the materials. prints and backgrounds created in previous sessions.

1. Demonstrate: a. how to place the dimensional collagraph plate on the Project stack of clean newsprint at the station for inking (evenly loading the brayer with ink by rolling with medium 1. Demonstrate how to cut out the plate/stand collagraph pressure forward and back). print shapes, if applicable. Have students cut out their b. inking the collagraph plate evenly (rolling the brayer plates and stands as you supervise. across the surface of the plate until the ink appears even 2. Demonstrate how to cut out the whole printed cake/pie and solid). shapes. Ask students to neatly pile their scraps of inked c. carefully lifting the inked plate with one hand (folding paper in case they wish to use them later to create collage the underlying inky newsprint in half to create a clean details. carrying surface for the plate). 3. Demonstrate how to cut out the collagraph print details d. placing the selected paper on top of the inked collagraph such as frosting out of selected extra printed cake shapes. to receive the print, squarely on top of the plate. This should be done with one to three of the six prints e. carrying the items lightly sandwiched between your only. Because one of the project objectives is to create hands to a nearby designated working area, allowing multiples, students should have a minimum of two whole someone else to use the ink station. cakes/slices whose details are left uncut to collage upon. f. how to evenly burnish the front of the plate using the Encourage students to thoughtfully experiment with their palm of your hand with firm even pressure, while holding color combinations and collage placement. the paper in place with the other hand. Use your fingers 4. Demonstrate how to cut additional details with their inked to feel the fine details and edges of the shapes, and paper scraps, such as cherries, flowers, dots, to make apply pressure here for a crisp print. each cake unique if desired. g. pulling the paper away from the plate to reveal a print. 5. Demonstrate how to glue the detail pieces together, and 9

have students assemble their collagraph prints as you Andy Warhol supervise. Self Portrait, 1966 6. If applicable, demonstrate how to arrange the pie plates Silkscreen ink on canvas and cake stands onto the background. Demonstrate alternatives, such as symmetrical, asymmetrical, and radial Stuart Davis compositions. Composition with Boats, 1932 7. Have students organize their composition into one that Oil on canvas appeals to them and glue down their plates first, then cakes, working from the background to the foreground. Web resources If desired, offer oil pastels to create a strong horizon line, shadows or contrasting outlines. 2002 interview with Wayne Thiebaud from CBS Sunday Morning: http://www.youtube.com/watch?v=vI_QJ5D9Qm8

Teaching Tips Interview with Wayne Thiebaud for the Smithsonian: http://www.aaa.si.edu/collections/oralhistories/transc ripts/ • If teaching this lesson to more than one group of students, thieba01.htm think about displaying unique student examples from the first group for students from later groups to see. Fraction Applications/Math: • Experiment with different paper materials for printing on, www.nga.gov/education/classroom/...on.../act_fractions. and allow students to choose what materials they would shtm like to combine. • As students work from dark to light inks, and from one ink Resources from the San Diego County Library to another, the ink remaining on the collagraph plate after printing may blend with the next new ink color. Often this Susan Goldman Rubin: Delicious: The Art and Life of lends itself to interesting effects. In the case that students Wayne Thiebaud (2007) wish to avoid this, they may burnish their plates repeatedly San Francisco: Chronicle Books onto the newsprint to remove excess ink. 759.13 THIE RUB • Allow the students to use their inked paper scraps freely, some may even wish to cut apart their original collagraph Susan Goldman Rubin: Counting with Wayne Thiebaud plate to use in their collage as well. (2007) • Keep baby wipes and garbage receptacles handy, as San Francisco: Chronicle Books students will likely need to clean their fingers during and JE RU after using ink, and will need to dispose of their dirty newsprint to keep working surfaces clean. Steven A. Nash: Wayne Thiebaud: A Paintings Retrospective (2000). San Francisco: Fine Arts Museums of San Francisco; New York: Thames & Hudson Extension Activities 759.13 THIE NAS

Lower Grades (K – 5 grades) Seasonal Collagraph – Create seasonal multiple motifs based upon simple and familiar shapes, such as leaves, birds, flowers, or insects, or combine them all in a Tree of Life.

Upper Grades (6 – 12 grades) Self-Portrait Collagraph – Create a collagraph plate using simple facial feature shapes to create multiple self-portraits that convey different moods through color. Consider offering additional drawing and collage materials to create a mixed media collage.

Resources

Related work currently on view at The San Diego Museum of Art:

Wayne Thiebaud Caged Pie, 1962 Oil on canvas 10 Profile Portrait Reflection Kathleen Kane-Murrell, Elementary Art Educator

Grade Level Elementary (grades K – 5) Adaptable to all grade levels

General Description

In 1973, contemporary North American painter and printmaker Jasper Johns was asked to create a work of art in honor of Pablo Picasso’s 90th birthday party. After originally declining to do a dedication piece for the Father of Cubism’s big celebration, Johns finally accepted. He incorporated Picasso’s wit and humor into the work he made. He found a silhouette of Picasso’s face in a newspaper, and, by making a mirror image of the profile, he formed a chalice. Both pleasing to the eye and an artful trick on the part of the artist, the work, entitled A Cup to Picasso (1973), is composed of reflected figures, also known as enantiomorphs.

Enantiomorphism can be found in the ornamental art of ancient civilizations. The silhouette has its own early origins and can be traced as far back as the Stone Age, to carved profiles found on cave walls. The term, silhouette, however, originated in the eighteenth century and applied to portraits or other pictorial representations cut from thin black card. Silhouette images may be created in any artistic media, but the tradition of cutting portraits from black card has continued into the twenty first century.

In this lesson, students will create silhouettes from their own profiles or found ones and lay them out to form mirror images. The negative space between the profiles will form a new shape, allowing viewers to see multiple profiles represented as well as the single object formed by them.

Objective Vocabulary

Students will: Introduce the project and discuss associated vocabulary words (Visual Art Vocabulary): balance, composition, contour line, • be introduced to silhouette art and its history in art. mirror image, negative space, portrait, optical illusion, • create a silhouette template of their profile or a found positive space, profile, symmetry, silhouette, template, one using shadow tracing or contour line drawing. trace, and value. Please see appendix for vocabulary • develop a composition using mirror imagery. definitions. • complete a composition by filling in both the positive and negative spaces with their own design. • learn about and experience the use of optical illusions in art. Adaptation Suggestions

Project Time: Allow approximately one hour and thirty This particular lesson is geared towards upper elementary minutes from introduction to completion. If a shadow students, but the art process is easily adapted to suit younger silhouette process is used, the project will take twice the and older students. time to complete. For very young students Prep Time: Allow approximately one hour and thirty A simple template process is recommended for creating minutes to research, prepare examples, and ready the profiles. Consider creating a profile template from found materials. images, to shorten the project time and ensure that students are all successful with the process.

For older students Older students may be challenged to create their profile templates through contour line drawing. Also consider allowing students to create their own profile with exaggerated features.

California State Standards: Please see appendix. 11

Materials Project

Please see appendix for suggestions for online and San Introduce the project and discuss the materials you will Diego art suppliers be using and how to approach using them. Clearly explain each step to the students and remind them of the possible • Scissors (one per student) frustrations they could encounter. Discuss the associated • Pencils (one per student) vocabulary. • Magic Rub eraser (one per student) • Art visuals (including reproductions of work by Wayne Thiebaud) Step 1: Creating the Profile Template • 8.5” x 11” card stock in a neutral color (one sheet per student) The following directions are taken directly from www.nea.org/ • 11” x 17” neutral color paper (one sheet per student) tools/lessons/Celebrate-With-Silhouettes.html. • Colored markers; including black (one set for every four 1. Gently attach an 8-1/2 x 11 inch sheet students) of white paper to a wall. • Prang Pastello Art Chalk or any set of chalk pastels (one 2. Set up a slide projector or another light set for every four students) source that can be used to aim light in a • Baby wipes (one set per class) specific direction. • Template examples – packet of several examples 3. Seat the student between the light • Profile templates (for younger artists) source and the sheet of white paper. • Ball point black ink pen (optional) – (one for every two (Students should be seated sideways students) so the light shines on their facial profile.) • Photographs of profiles and clear transparences (optional) 4. Adjust the distance of the light until the (one per student) light casts a shadow of the student’s profile on the white paper. The profile Preparation should take up no more than half the sheet. If the profile is too large for the paper, move the light source forward; if • Prior to implementing the lesson, create a finished example of the project, as well as additional samples that illustrate the profile is too small, move the light the steps of the project (goals for each day). Even if you source back. choose not to share these works with students, they will 5. On the white paper, trace the shadow help you have a better understanding of the lesson. cast by the student’s profile. • Prepare profile examples – pre-printed on card stock for younger artists Step 2: Tracing the ProfileT emplate • Prepare a packet of examples for older artists • If opting to create a profile silhouette from the students’ 1. Use the line drawn profile profiles, go towww.nea.org/tools/lessons/Celebrate-With- as a template. Silhouettes.html for specific instructions and a time line. 2. Cut out the profile using scissors. Motivation 3. With pencil, on 11” x 17” paper, trace the right and left (reversing the template) Class Discussion images to create two In the classroom or through a visit to The San Diego Museum profiles facing each other. of Art, view and discuss profile portrait art. For Younger Students (Elementary) Step 3: Developing the Positive and Negative How is a profile portrait different from a front view portrait? Spaces Have students follow the contour lines of the profile portrait works that they are viewing with their eyes (like ants crawling Once the profiles are laid out on the paper, the rest of the on a ledge). Observe and talk about the way profile portraits development of the composition is up to the artist. Encourage are represented throughout art history (e.g. Ancient Egypt students to use artistic freedom to develop the positive and and in modern day coins). negative areas with design, line work, or imagery. For Older Students (Middle and High School) Discuss with students how portraits represent different • Students may use curvilinear lines around aspects of artists themselves. Have students discuss the center shape (See illustration to right). both literal and symbolic representations of self (e.g. • Students may also opt to draw in a contemporary artist, Kara Walker, presents provocative black horizon line across the page to ground the silhouetted images that act out dramatic events in scenery center shape (See illustration to right). reminiscent of the antebellum South). 12

• Students may also continue to trace multiple Lower Grades (K – 5 grades) profiles using the template Making Connections – Create a profile based on a famous (See illustration to right). artist, author, or historical figure that students have or will be • Students may reverse the studying in class. Develop the positive and negative space template and add more designs with this person in mind. profiles above and facing down (See illustration to Upper Grades (6 – 12 grades) right). Jasper John’s-Inspired Collage – Create mixed media works based on later works of Jasper Johns (e.g. Ventriloquist Step 4: Adding Details (1986) in which he once again uses double imagery while also experimenting with the combination of various Using chalk, artists may complete their materials. compositions as desired. This project may be completed with black marker only, Resources colored markers, or mixed media (including paint and collage), as desired. Related works on view at The San Diego Museum of Art

Jasper Johns Light Bulb, 1969 Lead relief

Profile Examples:

Jean-Auguste-Dominique Ingres Study for Phidias in The Apotheosis of Homer, 1827 Teaching Tips Oil on canvas mounted in panel Cosmé Tura • Younger students may need more assistance with the Saint George, 1474 process of flipping their profile template. Consider folding Oil on tempera on panel the larger paper in half (vertically) to assist them in lining up their profile images in the center area. Web Resources • When using the templates, be sure to begin the profile from the same point on the top of the head, marking the History of the Silhouette template. http://www.artlex.com/ArtLexex/s/silhouette.html • Demonstrate how to hold the image with one hand and trace with the other hand. How to Create a Silhouette • For very young students, an adult or classmate may need www.nea.org/tools/lessons/celebrate-with-silhouettes.html to assist with holding the template for them. Artists’ tape may also be used to keep it in place while they finish Silhouette Artist, Kara Walker tracing. http://www.mcachicago.org/Book/Walker.html • Plan the majority of the composition using light pencil lines (easier to make changes), which can be easily erased with Resources available at the San Diego County Library the Magic Rub eraser when no longer needed. • Spend time discussing the light source of the object(s) in Debra Pearlman: Adventures in Art: Where Is Jasper the negative space. This element can add to the illusion Johns? (2006) effect of the work. Munich; New York: Prestel • When using chalk pastel, do not blow or shake the dust J 759.13 PEA on the floor. Instead, apply chalk pastel in small areas and work into the surface of the paper by rubbing in you’re Paul Mason: What is Pop Art? (2003) your fingers. If large areas of dust build, lightly tap excess Chicago, Ill: Heinemann Library dust carefully nto a trash receptacle. J 759.13 MAS • Chalk pastel may be layered for intensity and blended to create a variety of colors. Christian Rubi: Cut Paper, Silhouettes and Stencils: An • Keep baby wipes and garbage receptacles handy, as Instruction Book (1972) students will likely need to clean their fingers during and London: Kaye & Ward; New York: Van Nostrand Reinhold Co. after using the chalk. 745.5 RUB

Extension Activities 13 Zine Design

Brian Patterson, Museum Educator

Grade Level Middle School (GradesLesson 6 – 8) Plan 3 Adaptable to all grade levels

General Description

A zine (pronounced “zeen” like magazine) is a small, self-published magazine that is created to share or express ideas and can be produced by one person or a group of individuals. Zines come in all shapes, sizes, topics, and formats. They can be handwritten, cut-and-pasted (text pasted on top of background images), include handmade collaged touches, or produced on a computer. They are generally inexpensive to create and replicate, as most zines are made from humble materials and reproduced using a photocopier. A zine can be about any subject matter and may specifically target a community or culture. Zines are often spread through low cost distributors or by individuals through zine exchanges.

Zine culture began most prominently in the 1970s, when numerous members of the punk scene began creating zines. In its most authentic form, a zine is a news medium of a specific underground community, and its readership often has a sense of pride at being part of the movement it relates to. The 1990s saw an explosion of zine publishing, with everything from poetry and personal writing, food and record reviews, to zines about work, cats, race, and everything in between. What all zines have in common is that their writers feel like they have something important to say that they would like to share with others.

In this lesson, students will construct their own zine and reproduce it for exchanging among their classmates. Experimenting with various art media and topics, students will explore the ways in which self-published zines can be vehicles for personal expression. Objective Vocabulary

Students will: Introduce the project and discuss associated vocabulary • be introduced to zine making and view zines made by words (Visual Art Vocabulary): composition, design, center other artists. of interest, collage, contrast, elements of art, mixed • select a theme for their zine. media, open-ended, style, trace, value, wash, and zine. • collect and create the components of their zine, such as Please see appendix for vocabulary definitions. drawings, poetry, photography, etc. • construct their zine in class using the provided materials. • make multiple copies of their zine to distribute among their Adaptation Suggestions classmates. • share their work with classmates and interpret the work of This particular lesson is geared towards middle school other students. students, grades 6 – 8, but the art process is easily adapted to suit younger and older students. Project Time: Allow approximately one hour and thirty minutes from introduction to completion. For younger students Encourage them to keep their topics and designs simple. Prep Time: Allow approximately two days to allow Zines are a great avenue for storytelling, so consider having students to bring in any components (drawings, poetry, students re-tell a story they already know or have learned photographs, etc.) that they would like to use in their zines. in class. If working with very young students, consider Allow approximately one hour and thirty minutes to research, constructing their zines prior to class, and having them fill in prepare examples, and ready materials. the pages with their own ideas. 14

For older students To start the discussion with students about zines, consider Consider having students work together to create a class posing the following questions to the class: zine. Themes for a class zine might include: thoughts about graduation, learning experiences in high school, nature, • What do you think a zine is? achievements in high school, goals for the future, first love, • What do you know about zines? the importance of friends, or any other themes students • Have you ever made a zine before? suggest. It is helpful to have an idea box for the zine project. Encourage students to offer their own creative contributions Show examples of zines and commercial magazines. to the collaborative project. • How are zines different from magazines? • What are the differences? California State Standards: Please see appendix. • Why make a zine?

Materials Stress the importance of self-expression and open-ended art forms such as zines for writing about what interests them and for making art connected to their own preferred means Note: Please see appendix for suggestions for online and of self-expression. San Diego art suppliers Break students into small groups and give each group a • Old magazines and newspapers for cutting out pictures, copy of a zine. Give groups five minutes to create a Venn words, and articles (wide selection for the class). diagram comparing and contrasting the two publications. • Copy Paper; white (3, 8 1/2” x 11” sheets for every What is similar about them? What are the differences? student) When time is up, ask a few groups to share out the • X-Acto knife (one per student); scissors may be used for similarities and differences they noticed. List their responses younger students on a class-sized Venn diagram using chart paper or an • Rubber cutting matt (one per student); a regular cutting overhead projector. board, heavy cardboard, or wood are acceptable alternatives • Standard Sharpie marker; black (one per student) Project • Pencil (one per student) • Glue stick (one per stude nt) Introduce the project and discuss the materials you will • Colored markers, colored pencils, or colored Sharpies (one be using and how to approach using them. Clearly explain set for every four students) each step to the students and remind them of the possible • A long-arm stapler (one for every four to five students, if frustrations they could encounter. Discuss the associated possible); needles, linen thread, embroidery thread, dental vocabulary. floss for are alternative materials for binding zines • Letter stamps and ink (optional; one set per class) • Various other collage materials (natural materials, craft Step 1: Choosing the Theme of Your Zine supplies, etc.) • Photocopier for printing Have students select a theme for their zine. This theme may • Computer, if available be directed by the classroom educator or self-selected by the students. Motivation Possible Topics May Include: • 10 Random facts about themselves Class Discussion • Highlighting a poem or story they’ve written In the classroom or through a visit to The San Diego Museum • How-To Guides (e.g. How to Make a Peanut Butter and of Art, view and discuss zine designs and art examples Jelly Sandwich) incorporating the use of mixed media and/or narratives (See • A social message or public service announcement Resources section for suggestions). • Interviewing an interesting person they know • Reviewing a product, band, or place that they love Zine Review • Writing a funny story Before the discussion, collect examples of published zines from local artists or use those created in prior classes by Once students have the subject matter of their zine chosen, student artists. To purchase several zines at once, you they should consider how they want the finished zine to will want to connect with a zine distro. Distros are zine look. There are limitless ways to do it. Their only limitation is distributors. They are often run by one person or a small their own imaginations! Encourage students to be creative group of people. They sell zines by mail order and/or online. and focus on a design that is suited to their personality and Here is a recommended link to nationwide zine distros: message. http://www.undergroundpress.org/zine-resources/stores- distros/. 15

Step 2: Folding Your Pages 2. Have students create as many copies as you’d like them to share among their classmates (one for every student 1. Using the 8 1/2” x 11” copy paper, have students fold may be a lot of copying). Consider having them share their each of the 3 pages in half, horizontally. Educators and zines in smaller groups, creating 4-5 copies of their zine. students may also experiment with exploring different 3. Once they have their copies made, they will need to collate sizes and shapes for their zines, folding the paper pages them (put them in order), and fasten them together. into quarters or smaller or later cutting the edges to adjust the shape. For additional directions on creating various Step 7: Put it All Together! zine sizes, visit: http://en.wikibooks.org/wiki/Zine_Making/ Putting_pages_together Lay the zine pages back within each other (ensuring that the 2. Unfold the pages and lay them together. This is often the pages are in chronological order), and staple in the middle easiest way to work on them. seam using a long-arm stapler.

Step 3: Laying out Pages Note: The loose ends of the staple go inside the zine. Also, it is important to place the staples along the middle seam (w/ 1. Have students number their interior pages, 1 – 10, pages open), as it is very hard to read a zine that has been with a front and back cover (12 pages in total to fill in). flat stapled along one edge. The pages will not turn well. Numbering the pages will help later during the copying process when pages may get mixed. Step 8: Zine Exchange 2. If working with half pages, and, assuming that the space provides it, invite students to use their table/desk space Final Discussion to lay out their folded papers to view their pages together, Looking at one’s work and the work of classmates is an keeping in mind that several pages will be on the reverse important part of the experience of art making, and the of the sheets. artistic process is nurtured by respectful and encouraging conversation between participants. If time permits, display Step 4: Adding Content the finished zines and talk about them. Break students into groups or collect as a class to discuss each other’s zines. 1. Have students pull out zine content they may have brought Choose zines that display the lesson objectives. This will in from home (drawings, photographs, poetry, collage help remind the other students of the project goals while materials, etc.). Students may need to use a photocopier they are working. to copy photographs or other items for which they may not want to use the originals. Discussion Guidelines Note: Encourage students to keep zine content ¼ smaller 1. Limit the time. No more than ten minutes for young than the paper on which they are working, leaving a ¼” students – twenty to thirty minutes for older students. margin or larger around their pages. This will ensure that Because it may be difficult to talk about everyone’s work no content is cut off during photocopying. in such a short period of time, choose only a few works to discuss this time, or have students break into small groups 2. Once filled in, have students arrange all of their zine pages to discuss each others’ work. in order of how they will appear in the final publication. 2. Model talking about art for your students. For example, Suggest that they place the facing pages together so that you might say: they can get a feel of how they will look and flow for the • I was impressed with the color choices in this work. Does reader. anyone else see a work with an exciting use of colors? 3. Ask questions that call for specific responses. For example, you might say: Step 5: Gluing onto Your Pages • What message does it appear Tracey was trying to relay with her zine? Allow students additional time to cut out and create more 4. Focus on one or two new skills or concepts. For example, content for their zine in class, with drawings, stickers, rubber you might say: stamps, and collage materials using a glue stick or fast- • Who can point out a work of art where the artist found a drying adhesive. unique way of displaying the content of their zine? 5. Stress the positive – focus on student successes. To Step 6: Copying Your Zine help ensure your student’s success with this and future projects, while students are still working on making their 1. When students have finished creating the individual pages zines, be sure to travel around the room and redirect any of their zines, they are ready to copy them. Assuming that students who may be forgetting to include necessary the zine is full-sized (8 ½” x 11”), simply copy the zine elements from the objectives list or who may be traveling pages together, in order. If the zine is a non-standard size, too far outside the goals of the assignment. Be sure to students will need to make originals that are the same redirect in a gentle way, or individually, so that the student size as the paper they are copying them onto, and in the is not embarrassed in front of their peers. correct order. 16

Teaching Tips Upper Grades (6 – 12 grades) Protest Zines – Create zines that could have been used in political protest or for election purposes during a period of (Many of these tips for creating zines are taken directly from history that they have or will be studying in class. How to Make a Zine: http://www.zinebook.com/resource/ zinetips.html#technical) Resources • If teaching this lesson to more than one group of students, think about displaying unique student examples from the Examples of mixed media and narrative works of art first group for students from later groups to see. currently in the collection at The San Diego Museum of Art: • Always consider how many copies you plan to make. This requires thinking about your audience and how you plan to Nelson Ramos distribute your zine. Los visitantes (The Visitors), 1988 • If you plan to make many copies, it is easier to make your Mixed Media zine on standard-sized paper (8 1/2” x 11”; 11” x 17”, etc.), although unique sizes and shapes may help your zine Faith Ringgold stand out among others. Seven Passages to a Flight, 1995 • If possible, always include a mix of text and imagery in Hand-stenciled quilt and book your zine. • Use page numbers. It provides viewers with a page count Diego Rivera and assists in the copying process. Majandragona aracnilectrosfera en sonrisa, 1939 • If available, use a large working space to put everything Oil on canvas together. • A publication that is very spare with the text and imagery Web Resources will appear very light in overall tone. This creates an emotional lightness. Publications with dense type and How to Make a Zine: http://www.zinebook.com/resource/ heavy black imagery will look darker. This may set a tone zinetips.html of seriousness. • Try to not make the text too small. Copying deteriorates Zine World: A Reader’s Guide to the Underground Press: the quality of the original text and will make it hard to read. http://www.undergroundpress.org/ • Vary type size and font style for emphasis. • Try to make your sentences no longer than 10 to 12 words Punk Zine Archive (discretion advised): http://www. long. Also, it is easier to read text in columns than across a operationphoenixrecords.com/archivespage.html full size page. • Images of faces are noticed first in any document. Eyes are Resources available at the San Diego County Library the part of the face we look towards first. • Like following a path in the woods, your eye will follow Mark Todd: Whatcha Mean, What’s a Zine? (2006) lines, so make sure they go somewhere! Lines that are Boston: Houghton Mifflin diagonal to the frame are sometimes seen as more YA 070.5 TOD exciting. Lines that curve show movement. Lines curving down are sometimes seen as sad. Lines curving up are Trina Robbins: From Girls to Grrrlz: A History of [Women’s] sometimes seen as happy. Comics from Teens to Zines (1999) • Shapes become more obvious when they are geometric, San Francisco: Chronicle Books or when they relate to other shapes by touching, making 741.5973 ROB patterns, or mirroring. Shapes that touch a subject of the side of a frame become highly charged. [collected] by R. Seth Friedman: The Factsheet Five Zine • For consistency, consider grouping images that look Reader: The Best Writing from the Underground World of similar. Avoid putting clip art, a pencil drawing, and a Zines (1997) photograph all on the same page. New York: Three Rivers Press • Avoid large areas of unscreened black if you are Xeroxing. [YNGADULT] 810.80054 FAC Sometimes it turns white toward the center of the area.

Extension Activities

Lower Grades (K – 5 grades) Portrait Zines – Create a zine based on a famous artist, author, or historical figure they have or will be studying in class. Develop the images and content with this figure in mind. 17 Stencil Art

Elizabeth Wepsic, High School Art Educator

Grade Level High School (grades 9-12) Adaptable to all grade levels

General Description

A stencil is a template made from paper, cardboard, or other media used to create an image or text that is easily reproducible, many times over. The desired design is cut out of the selected medium (e.g. lightweight cardboard), and the image is transferred to a surface usually through the use of spray paint, roll-on paint, and, on occasion, dry materials. Since the stencil remains sturdy throughout its use, it is easy for an artist to quickly replicate what could be a complicated image.

Stencils have a long connection to design history, beginning with hand stencil art found in pre-historic era, cave paintings and, throughout a variety of time periods and cultures, in textile art, book illustrations, and cloth paintings. For many, the stencil is a part of one’s personal history, harking back to childhood experiences of tracing out basic shapes of houses, cars, and cats using inexpensive, plastic cut outs. Today, the stencil has had a resurgence as a graphic element in print and is used in creative work as well. The use of stencils can be found in silk-screen printing, design work, and, particularly in the past forty years, as part of subversive, street art displayed throughout the world.

In this lesson, students will construct their own stencil template and reproduce their stencil design onto a surface, experimenting with transferring the image using both dry and wet media. Through the creation of their own stencil template and successive reproductions, students will explore and gain a better understanding of contemporary stencil design and culture.

Objective Vocabulary

Students will: Introduce the project and discuss associated vocabulary • be introduced to stencil art and its history in art. words (Visual Art Vocabulary): abstract, Acrylic paint, color • choose a photographic image from which to create their relationships, composition, contrast, negative space, stencil design. pattern, positive space, stencil, structure, stylized, • identify and outline major shapes of the photographic template, trace. Please see appendix for vocabulary image. definitions. • construct their own stencil design from the photographic image using cardstock as their template material. Adaptation Suggestions • explore transferring their stencil design onto a paper surface using various materials. This particular lesson is geared towards high school • interpret the work of other students in the class and students, grades 9 –12, but the art process is easily adapted contemporary artists using stencils in their work. to suit younger students. Project Time: Each step in the procedure takes varying amounts of time. Depending on the time available, this For younger students project can span throughout several hours or 3-4 class Encourage them to keep their designs simple. Locate meetings. patterns from picture books or coloring books or stick with using simple silhouette shapes, such as animals, letters, or Prep Time: Allow approximately two days to allow students geometric shapes and organic shapes. Also consider using to bring in a photograph they would like to use. Set time cookie cutters, wallpaper patterns, or real-life items such as aside to print out or photocopy their image several times. leaves and sea shells in place of cutting their own stencils. Materials should take approximately 30 minutes to prepare. California State Standards: Please see appendix. 18

Materials Step 1: Choosing the Design

Have students find or free draw a design that they would Note: Please see appendix for suggestions for online and like to transform into a stencil. This could be a personal San Diego art suppliers photograph or an image of an object they like. Choose an image with high contrast, and preferably one that is black • Simple image printed out from a magazine or photograph and white. If it is a color image, it is easy to make it black (one per student). and white using almost any image processing software, but • Cardstock paper, poster board, or Frisket film (for make sure it is still holds a nice contrast. template) (one per student) • X-Acto knife (one per student); scissors may be used for Note: If students find an image online and need to enlarge younger students or shrink it, use a copy machine or web browser to adjust • Rubber cutting matt (one per student); a regular cutting the size. When first starting out, it is best to select an image board, heavy cardboard, or wood are acceptable with few details. alternatives • Marker or pencil (one per student) • 9x12” poster board (one per student) Step 2: Simplifying the Design • Acrylic paint (a class set) • Palette to mix colors and hold paint (one per student) 1. Draw the design, print it out, or • Sponge and medium weight paint brush (one per student) photocopy it. • Colored pencils, chalk pastel, etc. to be used in place of 2. Identify and mark off the basic shapes paint when exploring dry color techniques (one set for and forms in the image, outlining every four students) large areas on top of the image using a permanent marker or pencil. (See illustration to right) Motivation 3. Images may also be simplified using Photoshop. Class Discussion In the classroom or through a visit to The San Diego Step 3: Fortifying the Image Museum of Art, view and discuss stencil designs and print examples incorporating the use of stencils, such as screen 1. Stick the printed stencil design onto the chosen stencil prints (See Resources section for suggestions). material (e.g. poster board). Do not use corrugated cardboard, unless creating large, low-detail stencils. Other For Younger Students (Elementary) material possibilities include manila folders, acetate, or Where are stencils found? Stencils are all around us. They even heavy paper. The best way of adhering the stencil are a common tool used to reproduce an image on objects design to the template material is using spray adhesive, such as stop signs, wall paper designs, and even t-shirt purchased from any hardware store or by applying Frisket decorations. Sometimes stencils are used to make patterns film, a transparent, matte, masking film. on walls at home. Stencils are used in street art, on posters, 2. Spray on a light amount, and stick the image flat onto your and many other forms of art. What other types of art make stencil material. Rubber cement and glue stick will work copies? as well, but be sure that you don’t use too much of either material. For Older Students (Middle and High School) Where are stencils found? How did modern inventions like Note: Make sure that the image is completely dry before the printing press and photography impact this art form? beginning to cut it out. With a huge come back in the 1960’s with Andy Warhol’s silk screen prints, stencil art entered into the world of “high art” and became a new aesthetic style in fine art. Today with Step 4: Cutting out the Image its popularity in graffiti and street art, students can evaluate how stencil art is valued among art critics. What role do Using an X-Acto knife (scissors for street artists (e.g. Shepard Fairey, Banksy, and Swoon) play younger students), carefully cut out the in our lives? shapes identified in the image. To cut out your stencil you will need a sharp Project X-Acto or craft knife and a cutting matt. Encourage students to take their time with this step. (See illustration to right) Introduce the project and discuss the materials you will be using and how to approach using them. Clearly explain Note: Before cutting it out, consider each step to the students and remind them of the possible preparing the stencil template to be used more than once. If frustrations they could encounter. Discuss the associated using poster board as the template material, consider adding vocabulary. contact paper or packing tape to only the front side of the 19 image, as the slick surface on the back can increase the how the life of a work of art does not exist solely in the chance for paint smearing underneath. relationship between the artist and their painting, but also in the viewer’s eye. Tips while cutting: • Cut your longest, straightest lines first. Teaching Tips • Press firmly and smoothly. • Use your free hand to hold the stencil steady. • Rotate the stencil as you cut and don’t lift your knife until • If teaching this lesson to more than one group of students, the entire shape is cut. think about displaying unique student examples from the • Tidy any rough edges after you’ve finished cutting out your first group for students from later groups to see. design. • Good quality paints are a must in stenciling. Thin, watery • Don’t worry about making your stencil perfect. paints will cause running and smudging. Invest in good • If you accidentally cut through one of the stencil bridges, paints to ensure that your project is successful. See repair it with scotch tape. Be sure to cut away an extra appendix for suggestions for online and San Diego art tape. suppliers. • Try to connect the positive shapes to allow the stencil to • Try not to have too many lines or lines that are too close remain in tact. together as this will cause problems when it comes to the cutting and at the painting stage. Leave as much space as you can between the stencil cutout areas. Step 5: Transferring the Stencil Image to Paper • If you wish to overlap images within your design, consider using multiple stencils for different objects. 1. Using the chosen colors in paint and • Use large blocks of color and thick lines if you are going to the type of paint desired by your use lines to create edges. students, set the stencil on top of • Print out several copies of each student’s image for their another piece of paper. stencil in case they cut it out incorrectly, it gets damaged, 2. Apply the paint inside the empty or they desire to make a layered stencil in the future. spaces of the stencil. When spray • Allow for creative approaches to manipulating the image painting through a stencil, select a by overlapping the stencil. Sometimes this can obscure the corner and work your way up and image and make it abstract and often creates interesting down from it. results. 3. Use short bursts and move quickly, holding the can • Demonstrate how to safely use an X-Acto knife, cutting approximately 6 inches from the surface. only when the paper is secured onto to a clean surface, keeping fingers out of the way, and keeping the blade tight Note: Make sure your stencil does not fly up (pebbles work in the tool. well for holding it down). If you are using a sponge and latex • Aerosol paints should always be used outdoors with paint, or a roller, you do not need to worry, as the force proper ventilation. Avoid wind and being in the line of the applied should keep the stencil down. paint.

Step 6: Adding Additional Colors to the Stencil Extension Activities Image Lower Grades (K – 5 grades) 1. Allow the paint to dry before Object Stencils – Create negative/positive shape pictures adding another layer. Acrylic using objects. Place different objects on top of white paper paint will dry quickly when and spray paint (or thinned paint in a spray bottle works as applied “dry” or “thin”. well) on top of the objects. Remove objects after spraying to 2. Repeat step 4 in another see the positive shapes left behind. location on the paper. Do this as many times as Upper Grades (6 – 12 grades) desired. Say it! – Create stenciled designs using fabric or spray paint on t-shirts, canvas bags, or other fabric materials promoting Note: More advanced students may create several stencils a cause or environmental message. of the same image, showing layers of the image with more and more detail (the darkest layer just being a silhouette of Resources the whole image, the next layer a bit more detailed and so on). Have students assign a value range to each layer. Examples of print work on view at The San Diego Museum of Art Step 6: Sharing Work As a Class Henri de Toulouse-Lautrec Bring the class together to share their pieces and encourage Moulin Rouge—La Goulue, 1891 their classmates to interpret each other’s works. Discuss Lithograph 20

Fabric with Peony Design, early 20th century Katazome stenciled cotton

Bridget Riley Red Dominance; Green Domincance; Blue Dominance, 1972 Screen prints on paper

Web Resources

About Stencil Artists http://obeygiant.com http://www.warhol.org http://www.banksy.co.uk

About Stencil Art http://www.visual-arts-cork.com/prehistoric/cosquer-cave- paintings.htm http://www.stencilgraffiti.com http://www.walltowallstencils.com/howto/index.php

Resources available at the San Diego County Library

Russell Howze: Stencil Nation: Graffiti, Community, and Art (2008) San Francisco: Manic D Press 745.73 / Howze

Norman Laliberte: The Art of Stencil: History and Modern Uses (1971) New York, Van Nostrand Reinhold Co. 745.7 / Laliberte

Benke Carlsson: Street Art Cookbook (2010) Årsta, Sweden: Dokument Press 781.73 CAR How-To Guide The San Diego Museum of art 21 Art Education Website Resources Teaching resources, art education activities (locally and around California), professional development opportunities, and grant resources for teachers.

California Alliance for Arts Education (CAAE) K-12 educators, as well as links to other art-related online www.artsed411.org resources, art education-related chat rooms, resources for supplies, and job postings in the field of art. The CAAE promotes, supports, and advocates visual and performing arts education for pre-school through post- secondary students in California schools. It also sponsors Kinder Art (K-12) the Emerging Young Artists Awards to post-secondary http://kinderart.com students who intend to pursue a career in the arts. CAAE Kinder Art consists of arts-based lesson plans in all media posts information on the Annual Arts Education Association for the pre-K – 12 age range, as well as suggestions for Conference that promotes arts education in schools, focuses adapting to special needs students in the art classroom, and on standards, curriculum, assessment, administration, and implementing art lessons in non-traditional settings such as professional development. camps, Sunday schools, and after-school programs.

California Arts Council (CAC) National Art Education Association www.cac.ca.gov www.naea-reston.org/ The California Arts Council provides a variety of arts in Founded in 1947 to promote art education through education grants that foster collaborative relationships Professional Development, Service, Advancement of between schools and artists, schools and museums. Knowledge, and Leadership, the NAEA is a non-profit, educational organization. The NAEA website includes The California Arts Project (TCAP) information on the mission and history of the organization, http://csmp.ucop.edu/tcap/ arts-based lesson plans for educators, articles on art education, and information on state and national art TCAP is California’s subject matter project in Visual and education-related conferences and workshops. Performing Arts. This website lists a number of programs that take place year round. San Diego County Library Collaborative Arts Resources for Educators www.sdcl.org/ This website provides a link to the San Diego County Library (CARE) catalog, which provides visitors with the ability to search for www.carearts.org titles in all San Diego County libraries. The Collaborative Arts Resources for Education web site consists of California standards-aligned arts-based lesson plans and resources for K-12 educators. CARE is a unique San Diego Museum of Art Image Gallery arts education initiative offered collaboratively by the www.sdmart.org/Image1/Index.html Museum of Contemporary Art San Diego, the Museum of Search for online images of works from SDMA’s permanent Photographic Arts, and the San Diego Museum of Art. collection. Visitors may search by artist or subject.

Core Learnings TeachingArts www.sandi.net/depts/vapa/ www.teachingarts.org This presentation of content standards was initiated by The California Department of Education sponsored Web the Visual and Performing Arts Department of San Diego site provides helpful information and links to art education City Schools to define the standards and how they can be resources. deepened and applied throughout the grade levels. Visual and Performing Arts Standards Incredible Art Department www.cde.ca.gov/be/st/ss/index.asp www.princetonol.com/groups/iad/ This California Department of Education website, adopted The Incredible Art Department contains California standards- by the State Board of Education in January 2001, offers art based art lessons supplied by practicing art educators for content standards, which can be downloaded. 22 2010 Educators’ art fair MAKING MULTIPLES (YOUNG ART 2011) San Diego Area Sources for Art

Local Art Suppliers General Art Supply Online Fine Art Museums Resources Artist & Craftsman Supply Mingei International Museum 1911 San Diego Avenue, San Diego Crizmac Art and Culture Education 1439 El Prado, Balboa Park, San Diego 619.688.1911 Materials 619.239.0003 www.crizmac.com www.mingei.org Blick Art Materials (formerly known 1.800.913.8555 as The Art Store) Museum of Contemporary Art 1844 India Street, San Diego Crystal Art Education Resources San Diego (Downtown) 619.687.0050 www.crystalproductions.com 1100 Kettner Blvd, San Diego Teachers receive a 10% discount. Take 1.800.255.8629 619.814.4670 advantage of their knowledgeable staff. www.mcasd.org Discount School Supply Freeform Clay Supply www.discountschoolsupply.com Museum of Contemporary Art 1912 Cleveland Avenue, National City 1.800.627.2829 San Diego (La Jolla) 619.477.1004 700 Prospect St., La Jolla Dick Blick Art Materials 858.454.3541 Home Depot www.dickblick.com www.mcasd.org Home Depot is a good resource for 1.800.828.4548 many supplies, especially wire, plaster, Museum of Photographic Arts and grout. Also, look for the discounted Nasco Arts and Crafts 1649 El Prado, Balboa Park, San Diego paint that is sometimes available. www.eNasco.com 619.238.7559 1.800.558.9595 www.mopa.org LakeShore Learning Materials 7510 Hazard Center, San Diego Oriental Trading Company The New Children’s Museum 619.297.8494 www.orientaltrading.com 200 West Island Ave., San Diego 1.800.875.8480 619.233.8792 Michaels Arts and Crafts www.thinkplaycreate.org Michaels offers a variety of arts supplies including decorator tools, stencils, and Oceanside Museum of Art a sponge value pack for printmaking. 704 Pierview Way, Oceanside 760.435.3720 Office Depot www.oma-online.org

Salmagundi Arts & Crafts Timken Museum of Art 7765 Broadway, Lemon Grove 1500 El Prado, Balboa Park, San Diego 619.462.0123 619.239.5548 If no other place has what you are look- www.timkenmuseum.org ing for, they probably have it!

Staples Office Supplies

Wal-Mart Stores They have a good craft department. How-To Guide The San Diego Museum of art 23 California State Standards The content standards are organized by lesson plans Source: CA Department of Education Website www.cde.ca.gov/be/st/ss/index.asp

Thiebaud-Inspired Collagraph Print Profile Portrait Reflection

Kindergarten Visual and Performing Arts Kindergarten Visual and Performing Arts 1.3 Identify the elements of art (line, color, shape/form, texture, 2.2 Demonstrate beginning skill in the use of tools and processes, value, space) in the environment and in works of art, such as the use of scissors in creating a profile template. emphasizing line, color, and shape/form. 2.1 Use lines, shapes/forms and colors to create patterns 2.3 Make a collage with cut or torn paper shapes/forms. 2.6 Use geometric shapes/forms (circle, triangle, square) in a work Grade One Visual and Performing Arts of art. 1.1 Describe and replicate patterns 2.3 Demonstrate beginning skill in the manipulation and use of Grade One Visual and Performing Arts paper to create form 2.8 Create artwork based on observation of actual objects 1.3 Identify the elements of art in objects in nature, in the environment, and in works of art, emphasizing line, color, shape/form, and texture. Grade Two Visual and Performing Arts 2.7 Use visual and actual texture in original works of art. 1.1 Perceive and describe repetition and balance in nature, in the 2.8 Create artwork based on observations of actual objects and environment, and in works of art everyday scenes. 2.1 Depict beginning skill in the use of basic tools and art-making processes, such as printing, crayon rubbings, collage and stencils. 2.3 Depict the illusion of depth (space) in a work of art, using Grade Two Visual and Performing Arts overlapping shapes, relative size, and placement within the 1.1 Perceive and describe repetition and balance in nature, in the picture. environment, and in works of art. 2.5 Use bilateral or radical symmetry to create visual balance 1.3 Identify the elements of art in objects in nature, the environment, and works of art, emphasizing line, color, shape/ Grade Level Three Visual and Performing Arts form, texture, and space. 1.3 Identify and describe how foreground, middle ground and 2.1 Demonstrate beginning skill in the use of basic tools and art- background are used to create the illusion of space. making processes, such as printing, crayon rubbings, collage, and stencils. 1.5 Identify and describe elements of art in works of art, emphasizing line, color, shape/form, texture, space and value.

Grade Three Visual and Performing Arts Grade Level Four Visual and Performing Arts 1.2 Describe how artists use tints and shades in painting. 1.2 Describe how negative shapes/forms and positive shapes/ 1.5 Identify and describe elements of art in works of art, forms are used in a chosen work of art emphasizing line, color, shape/form, texture, space, and value. 1.4 Describe the concept of proportion (in face, figure) as used in 2.4 Create a work of art based on the observation of objects and works of art. scenes in daily life. 2.6 Use the interaction between positive and negative space expressively in a work of art. Grade Four Visual and Performing Arts 2.7 Use contrast (light and dark) expressively in an original work of art. 1.5 Describe and analyze the elements of art (e.g., color, shape/ form, line, texture, space, value), emphasizing form, as they are Grade Five Visual and Performing Arts used in works of art. 1.1 Identify and describe the principles of design in visual 2.7 Use contrast (light and dark) expressively in an original work of art. compositions, emphasizing unity and harmony. 3.1 Describe how art plays a role in reflecting life 1.2 Identify and describe characteristics of representational, abstract, and nonrepresentational works of art. Grade Five Visual and Performing Arts 2.2 Create gesture and contour observational drawings. 1.1 Identify and describe the principles of design in visual compositions, emphasizing unity and harmony. 2.2 Create gesture and contour observational drawings. 24 2010 Educators’ art fair MAKING MULTIPLES (YOUNG ART 2011)

Zine Design Stencil Art

Grade Six Visual and Performing Arts Grade Nine Thru Twelve Visual and Performing Arts 1.1 Identify and describe all elements of art found in selected works of art (color, shape/form, line, texture, space, value). Proficient 1.2 Discuss works of art as to theme, genre, style, idea, and 1.1 Identify and use the principles of design to discuss, analyze, differences in media. and write about visual aspects in the environment and in works 1.3 Describe how artists can show the same theme by using of art, including their own. different media and styles 1.3 Research and analyze the work of an artist and write about the 2.4 Create increasingly complex original works of art reflecting artist’s distinctive style and its contribution to the meaning of personal choices and increased technical skill. the work. 2.5 Select specific media and processes to express moods, 1.5 Analyze the material used by a given artist and describe how feelings, themes, or ideas its use influences the meaning of the work. 2.6 Use technology to create original works of art 2.4 Review and refine observational drawing skills 4.4 Change, edit, or revise their works of art after a critique, 2.6 Create a two- or three-dimensional work of art that addresses articulating reasons for their changes a social issue. 5.4 Describe tactics employed in advertising to sway the viewer’s 3.3 Identify and describe trends in the visual arts and discuss how thinking and provide examples the issues of time, place, and cultural influence are reflected in selected works of art. Grade Seven Visual and Performing Arts 3.4 Discuss the purposes of art in selected contemporary cultures. 1.2 Identify and describe scale (proportion) as applied to two- 4.1 Articulate how personal beliefs, cultural traditions, and dimensional works of art. current social, economic, and political contexts influence the 1.4 Analyze and describe how the elements of art and the interpretation of the meaning or message in a work of art. principles of design contribute to the expressive qualities of 4.4 Articulate the process and rationale for refining and reworking their own works of art one of their own works of art. 2.3 Develop skill in using mixed media while guided by a selected 5.2 Create a work of art that communicates a cross-cultural or principle of design. universal theme taken from literature or history. 2.5 Interpret reality and fantasy in original two-dimensional works of art. Advanced 4.1 Explain the intent of a personal work of art and draw possible 1.2 Discuss a series of their original works of art, using the parallels between it and the work of a recognized artist. appropriate vocabulary of art 4.4 Develop and apply specific and appropriate criteria individually 1.6 Describe the use of the elements of art to express mood in one or in groups to assess and critique works of art or more of their works of art. 4.5 Identify what was done when a personal work of art was 2.1 Create original works of art of increasing complexity and skill in reworked and explain how those changes improved the work. a variety of media that reflect their feelings and points of view. 2.4 Demonstrate in their own works of art a personal style and an Grade Level Eight Visual and Performing Arts advanced proficiency in communicating an idea, theme, or 1.1 Use artistic terms when describing the intent and content of emotion. works of art. 2.6 Present a universal concept in a multi-media work of art that 1.2 Analyze and justify how their artistic choices contribute to the demonstrates knowledge of technology skills expressive quality of their own works of art. 4.1 Describe the relationship involving the art maker (artist), the 3.1 Examine and describe or report on the role of a work of art making (process), the artwork (product), and the viewer. created to make a social comment or protest social conditions 4.2 Identify the intentions of artists creating contemporary works of 4.2 Develop a theory about the artist’s intent in a series of works of art and explore the implications of those intentions. art, using reasoned statements to support personal opinions. 4.3 Analyze and articulate how society influences the interpretation 5.2 Create a painting, satirical drawing, or editorial cartoon that and message of a work of art. expresses personal opinions about current social or political issues. 5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images. How-To Guide The San Diego Museum of art 25 Visual Art Terms Glossary

The following visual art terms are organized by order of the lesson plans.

Thiebaud-Inspired Collagraph Print Profile Portrait Reflection brayer – a hand roller used to transfer ink from a mixing balance – the equilibrium of various elements in a work of plate and spread it onto the printing plate art collagraph – a print made from a dimensional collaged composition – the arrangement of the elements of art plate (color, line, shape, value, texture, and form) in a work of art composition – the arrangement of the elements of art contour line – the drawing of an object as though the (color, line, shape, value, texture, and form) in a work of art drawing tool is moving along all the edges and ridges of the form contour line – the drawing of an object as though the drawing tool is moving along all the edges and ridges of the form mirror image – a likeness in which left and right are reversed contrast – an effect in art created by using opposites near or beside one another, such as a light object next to a dark negative space – the space around and between the object or a rough texture next to a smooth texture subject(s) of an image elements of art (form, line, shape, color, texture, space, portrait – a work of art representing a particular person and value) – the visual “tools” artists use to create art positive space – the shapes of subject(s) of an image edition – a complete set of identical prints pulled from a single plate profile – a side view of an object or structure, especially of the human head mixed media – a technique involving the use of two or more art materials in a single composition symmetry – the placement of the same elements on either side of a dividing line in such a way that they form a mirror plate – the matrix, or surface, for certain printmaking image of each other techniques, such as cardboard, fabric, or textured materials for collagraph prints silhouette – a drawing consisting of the outline of something, especially a human profile, filled in with a solid Pop Art – an art movement and style that had its origins in color England in the 1950s and made its way to the United States during the 1960s. Pop artists focused attention upon familiar template – a pattern used as a guide to form a piece being images of the popular culture made print – an impression that is the result of transferring an trace – to copy (as a drawing) by following the lines or image from a matrix onto a substrate letters as seen through a transparent superimposed sheet of paper to pull a print – the act of transferring an image from a matrix to a substrate value – the lightness or darkness of a color value – the lightness and darkness of color 26 2010 Educators’ art fair MAKING MULTIPLES (YOUNG ART 2011)

Zine Design Stencil Art composition – the arrangement of the elements of art abstract – a form that has been simplified or geometricized (color, line, shape, value, texture, and form) in a work of art Acrylic paint – a versatile, fast-drying paint that can be design – a preliminary sketch indicating the plan for used straight from the tube like oil paints and thinned with something water or a medium like watercolors center of interest – the part of the work of art that first color relationships – the relationships that colors have draws the viewer’s attention with each other based on their relative positions on the Color Wheel collage – an artistic composition of materials and objects pasted over a surface, often with unifying lines and color composition – the arrangement of the elements of art (color, line, shape, value, texture, and form) in a work of art contrast – an effect in art created by using opposites near or beside one another, such as a light object next to a dark contrast – an effect in art created by using opposites near object or a rough texture next to a smooth texture or beside one another, such as a light object next to a dark object or a rough texture next to a smooth texture elements of art (form, line, shape, color, texture, space, and value) – the visual “tools” artists use to create art negative space – the space around and between the subject(s) of an image mixed media – a technique involving the use of two or more art materials in a single composition pattern – a design made by repeating a motif at regular intervals open-ended – an art problem that has many different solutions; an art problem that each student can solve in his positive space – the shapes of subject(s) of an image or her own special way stencil – a template made from paper, cardboard, or style – the distinctive features that characterize the way an other media used to create an image or text that is easily artist works reproducible, many times over trace – to copy (as a drawing) by following the lines or structure – the way in which parts are arranged or put letters as seen through a transparent superimposed sheet of together to form a whole paper stylized – to represent or design according to a style or value – the lightness or darkness of a color stylistic pattern rather than according to nature or tradition wash – a thin or watery coating of paint template – a pattern used as a guide to form a piece being made zine - (pronounced “zeen” like magazine) is a small, self- published magazine that is created to share or express trace – to copy (as a drawing) by following the lines or ideas, and can be produced by one person or a group of letters as seen through a transparent superimposed sheet of individuals paper How-To Guide The San Diego Museum of art 27 Credits Lesson Plan Authors

Alyson Blum Elizabeth Wespic Alyson Blum earned a B.F.A. in integrated art history Elizabeth Wepsic received her BFA from The School of The and studio art from Willamette University in Oregon. She Art Institute of Chicago in 1996. Since then she has achieved continued her graduate studies at the Portland Art Institute a Masters in Education and has become a National Board and the Royal College of Art in London. In additional Certified Teacher in Art Education: Adolescent to Young to teaching in private and public Schools, Alyson has Adults. She is a committed and well known visual arts developed education programs for the Newport Harbor instructor in the San Diego community and has developed Art Museum and Portland Art Museum. She is the former art education outreach programs through museum and director of the Parent Child Art Center in Portland, Oregon, public school partnerships. As a classroom teacher, and is currently an art educator at Bird Rock Elementary Elizabeth serves as co-chair of the Visual Arts department at in La Jolla, and the Art Academy of San Diego. This will be the Bishop’s School in La Jolla. This will be Elizabeth’s third Alyson’s second year as an instructor at the Educators’ Art year as an instructor at the Educators’ Art Fair event. Fair event. Kathleen Kane-Murrell Brian Patterson Kathleen Kane-Murrell is an artist in residence at Ellen Brian Patterson received a B.A. in Studio Arts from San Browning Scripps, Vista Grande, and Kumeyaay Elementary Diego State University and has served in various capacities schools in San Diego. She is author of the children’s art as an art educator for The San Diego Museum of Art since program, Fine Artists™. Art work created through Fine 1999. He specializes in color theory in paint and has taught Artists™ has won numerous awards and is featured in the extensively to teen audiences at The San Diego Museum permanent collections of the San Diego Airport and the San of Art Museum Art School, local community centers, and Diego County Office of Education. Kathleen has had a life alternative classrooms throughout San Diego County, long interest in art, education and the creative process. Her including the Juvenile Court and Community Schools, highly successful art program has trained hundreds of art Alternative Learning and Behavior Academy, Monarch docents and brought fine art to thousands of children for Academy, and the Toussaint Academy for housed and the past 20 years. This will be Kathleen’s second year as an homeless teens. Brian Patterson is also a practicing artist, instructor at the Educators’ Art Fair event. working in paint, mixed media, and printmaking. This will be Brian’s second year as an instructor at the Educators’ Art Fair event.

Museum Staff

Amy Briere, Coordinator of Educator and Student Programs • Editor for How-To Guide

Lucy Eron, Museum Educator • design of How-To Guide

Bridget Riley, 1931– Blue Dominance, 1977 Screenprint Museum purchase through the Beatrice S. Levy Fund 1979:23.3