2010 Edition Art Lesson Plans Integrating art across the curriculum and supporting national standards Arts & Crafts

® ...through value-driven arts education products. Let Our Experts Help You! Our knowledgeable Art Consultants are degreed Art Educators and Professional Artists with years of teaching experience in K-12 Art Education. They can provide in-service and professional development activities. Workshops We do over 200 workshops a year. They can be created for elementary, middle, high school and college level art teachers. Some of our workshops consist of: product applications, new product review, arts integration, multicultural activities, art education and methods class workshops, adaptive arts and supplier specific workshops. Art Consultants New Jersey South Texas Phyllis Annett, resident of New Jersey Joe Culotta, resident of Texas cell phone: 862-223-9145 cell phone: 281-772-1759 [email protected] [email protected] Florida Wisconsin and Illinois Edwin Leary, resident of Florida Carol Miller, resident of Wisconsin cell phone: 727-599-9636 cell phone: 414-350-1921 [email protected] [email protected] Ohio and Michigan North and South Carolina Kathryn Cahill, resident of Ohio Nadine Dresbach, resident of South Carolina cell phone: 614-271-1845 cell phone: 803-524-9509 [email protected] [email protected] North Texas and Virginia, Maryland Western Louisiana and Washington, DC Eric Orr, resident of Texas Meredith Ose, resident of Virginia cell phone: 940-765-8821 cell phone: 804-239-7340 [email protected] [email protected] Sales Manager Mary Reilly, resident of Wisconsin Cell phone: 262-352-5726 Fanciful Fish [email protected] Description At the beach, the aquarium or even the dentist’s office, kids are fascinated by the vivid colors, interesting shapes and intricate patterns of tropical fish. These creatures’ varying characteristics teach students about habitat and adaptation. Your students can create 3-D fish of their own with brilliantly colored Crayola® products that “pop” against a black background. If You Are Outside An Art Consultant’s Territory Objectives Contact your local School Specialty Account Manager Students will create a colorful fish to hang from the for assistance. Call 1-888-388-3224 ceiling. Students will observe the varying traits and adaptations of fish from different habitats. National Standards Content Standard #1: Understanding and applying media, techniques and processes Content Standard #6: Making connections between visual arts and other disciplines Materials Crayola® Twistables® Slick Stix, 12-color set 9-1293657-705 Crayola® Color Sticks Woodless Pencils, 24-color set 9-1290583-705 Crayola® Washable Window Crayons, 5-color set 9-1334626-705 Strathmore® Artagain™ Recycled Dry Media Drawing , 12"x18" black pad 9-411260-705 Colored Paper Art Tape, 10-roll assortment 9-006390-705 Recycled paper String Photos and drawings of fish from books and magazines 3"x12" strips of tag board (optional)

Cross Curricular – Art & Science Grades 3–6 Lesson plan and artwork by Carol Miller, School Specialty Art Consultant, Wisconsin

Directions Teacher preparation: Gather photographs and drawings of fish and borrow fish books from the school library to touch; black tape will be nearly invisible.) Use staples with trigger your students’ imaginations. younger children or to save time. Leave a six-inch opening With the students: to insert stuffing later. 1 Discuss the shapes of fish, pointing out similarities and 5 Color the fish as desired, avoiding the edge of the opening differences between various types. so paper tape will stick after stuffing. Cut a tag board 2 Draw the outline of a fish on black paper. Exaggerate its stencil to create patterns as on the illustration and to width. Make the narrowest part of the tail wide enough scallop the tail if desired. to stuff. 6 Repeat on reverse side. 3 Cut out the fish through two sheets of paper. With 7 Crumple recycled paper and stuff it into the opening, younger children, cut out one fish, trace it on another being careful not to overfill the fish. sheet of paper, and cut again. 8 Use paper tape to secure the opening, coloring it if desired 4 Secure the fish’s two sides together with paper tape. Cut to complete the design. the tape into simple shapes, fold in half, moisten and 9 Punch a hole at the top of the fish and suspend with place around the edge. (Colored tape will add a decorative string. 3 Chihuly-Inspired Nested Bowls and Marbles

Cross Curricular – Art, History and Science Grades 9–12 Lesson plan and artwork by Meredith Ose, School Specialty Art Consultant, Virginia, Maryland and Washington, D.C. Directions Teacher preparation: Investigate tips 6 Again using the Amaco® Craft Oven or hot water, heat the and tricks in the use of Friendly Plastic® at Friendly Plastic® for the first vessel and sculpt it, holding www.amaco.com/friendly-plastic-bible-tools-and-materials. its form with your hands as the plastic cools to retain the With the students: desired shape. (The hot water method works best for free- form vessels; see the aforementioned Amaco Web site for 1 Explore the glassworks of artist Dale Chihuly. various methods for pinch pot vessels.) Search www.youtube.com for Chihuly videos and www.spencerart.ku.edu for photos of his work. 7 Repeat to create three or more vessels, or roll smaller pieces together to create marbles. 2 Research the history of glass vessels, comparing and contrasting those from different cultures and time periods. 8 Stack, nest or connect the vessels to create the final sculpture, paying attention to all sides of the three- 3 Sketch ideas for groupings of three or more vessels and dimensional grouping. marbles that nest, stack or connect and that vary in size and color. Include in the sketches shape, color, texture and 9 Apply Sax® Tempera Varnish for added effect. grouping concepts. Display sculptures. 4 Using the Amaco® Craft Oven or a bucket of hot water, Lesson plan extension: fuse pieces of Friendly Plastic® to create a sheet of Create an installation at your school inspired by the works appropriate size to form the vessels, incorporating patterns of Dale Chihuly using the same team process required to and blending colors as desired. construct one of his massive chandeliers. Have each student create one vessel, and connect all the vessels into 5 Cut the sheet into the appropriate shapes to form the a single sculpture. vessels. Heat and fuse pieces together as desired.

4 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344

Materials Friendly Plastic® Imagination Modeling Material, 7", 1 lb. 9-1353484-705 Description Acrylic Globes Dale Chihuly is one of the premier glass artists of our time. 9-442190-705 Inspired by traditional Venetian glassworks, the American Amaco® Polymer Clay and Craft Oven artist has crafted an impressive body of sculpture during 9-408098-705 his long career and continues to create new works and Sax® Tempera Varnish,1 quart installations all over the world. 9-402269-705 Looking at Chihuly’s works, students can learn about the Amaco® Wireform Metal Mesh, Gallery roll history of glass work in general as well as the life and work 9-407831-705 of one of the medium’s finest artists. Students can find inspiration to create their own glass-like sculptures – colorful Light Gauge Art Wire 9-463820-705 nested bowls and marbles – using Friendly Plastic®. With this medium, students can obtain a glass-like effect without a Pebeo Vitrea 160 Markers, 9-color set glass or ceramic kiln. 9-246424-705 Student Modeling Tools Objectives 9-402381-705 Students will make a grouping of three or more different- Hot plate sized Friendly Plastic® vessels and marbles that nest, stack or connect in some way. Students will seek connections between Metal pot for water ancient and modern vessel forms. Students will learn the Tongs properties of glass and explore how those of Friendly Plastic® Towels are similar or different. Large metal or wood spoons National Standards Content Standard #1: Understanding and applying media, techniques and processes The Content Standard #2: Using knowledge of structures ® craft oven and functions Amaco ® Content Standard #6: Making connections between is ideal for warming visual arts and other disciplines the Friendly Plastic to a shapeable consistency. 5 Embossed Collagraph

Grades 9–12, AP, college Lesson plan and artwork by Edwin Leary, School Specialty Art Consultant, Florida

Teacher preparation: 7 Select printmaking paper. Use 60 to 90 pound white Gather collagraph resources to share with students. drawing paper for shallow embossing, or 100 pound With the students: Punjab Watercolor Paper or 120 pound Rives BFK paper for deep embossing. 1 Discuss the steps of the collagraphic process, including collage-making, material selection, printmaking terms and 8 Soak paper in the water tray for five to 10 minutes to press usage. remove and moisten it for embossing. Remove and blot with blotter or drawing paper. 2 At an art museum or library, research artists that used the collagraphic process. 9 Place collage plate on press bed and layer the paper, sizing catcher blanket, cushion blanket and pusher blanket over 3 Create the collage on a newsboard or chipboard base plate the plate. with imaging and/or 3-D modeling materials as desired: Through trial and error, set the distance between the press • Adhere imaging materials to the base plate with white 10 roller and the plate. Start by closing the gap to just inside glue. Use burlap, textured cloth and papers, doilies, corrugated , dried leaves, thin tree bark, the pusher blanket. wood, plastic, embossed metals and the like. Allow 11 Roll the press bed through the press in one direction, ample drying time when layering. reversing direction and rolling again if desired. • Apply 3-D modeling materials to the base plate. Use 12 Check the print and adjust pressure as necessary. Torn modeling paste, papier-maché, thick glue, acrylic paper indicates excessive pressure; faint embossing paints and the like. Inscribe them with a comb or other indicates insufficient pressure. implement if desired. 13 Dry the print. 4 Allow collage to dry completely. 14 Curate print with a pencil. Write the artist’s name and date 5 Seal the collage with thinned Gesso. at the lower right and the title and print number (i.e., 5/10 6 Prepare the press, printmaking blankets, water tray and for the fifth print of 10) at the lower left. blotter sheets.

6 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Materials Jack Richeson® Baby Press 8-404471-705 Sizing Catcher Blanket, 12" x 26" x 1/16" 9-407838-705 Cushion Blanket, 12" x 26" x ¼" 9-407834-705 Pusher Blanket, 12" x 26" x 1/8" 9-407841-705 Newsboard, 24-pack, 9" x 12" 9-085564-705 Chipboard, 10-ply, 10-pack, 19" x 26" 9-456857-705 Punjab Watercolor Paper, 100 lb., 25-pack, 9" x 12" 9-1289220-705 Rives BFK Paper, 120 lb., 22" x 30" 9-238047-705 Canson-Montval® Watercolor Pad, 140 lb., 12 sheets, 9" x 12" Lesson plan extension: 9-411415-705 Paint designs on the dry paper with School Smart® White Glue, 48-count case, Speedball® Opaque Iridescent Acrylic Fabric 4 oz. bottles Screen Printing Inks. Then soak and print. 9-1354285-705 Description Resources A collagraph is a relief print of a collage. Relief Printing, 36-min. video Picasso, Georges Braque and Moholoy- 9-1299804-705 Nagy explored and expanded collagraphic Singular Impressions: Art of Monotype, 9-min. video techniques extensively in the 1930s. 9-246208-705 In a collagraph, the student artist employs various materials and “crossover” processes to layer a printing plate with shapes and found items, or with lines and textures built with 3-D modeling material. Alternatively, the student artist can print a collagraph on a painted sheet. In each case, the print “pulled” has an embossed appearance and dimensionality that varies with the media used. Objectives Students will develop competence in innovative printmaking. Students will hone critical thinking skills by exploring, evaluating and synthesizing various media. National Standards Content Standard #1: Understanding and applying media, techniques and processes Content Standard #2: Using knowledge of structures and functions

7 Marimekko-Inspired Printed Textiles Cross Curricular – Art, Science and Social Studies Grades 6–12 Lesson plan and artwork by Mary Reilly, School Specialty Art Sales Manager, Wisconsin

Description In the early 1950s, Marimekko® artists applied graphic patterns to fabric via silk screens, creating bold textile designs. These textiles, printed with patterns found in nature and in the Finnish culture, still are used today in the fashion and lifestyle industries. Following the example of these artists, your students can uncover the simple design elements in objects found in nature to create their own screen-printed fabrics for use as wall hangings or textiles. Objectives Students will screen-print fabric with a single design element. Students will study and sketch natural objects to uncover and isolate their simple design elements. Students will explore design elements in cultural objects. National Standards Content Standard #1: Understanding and applying media, techniques and processes Content Standard #4: Understanding the visual arts in relation to history and culture Content Standard #6: Making connections between visual arts and other disciplines Directions Teacher preparation: Find Marimekko fabric design samples at www.marimekko.fi/eng. Ask students to bring in objects from nature or their cultural backgrounds. With the students: 1 Discuss fabric design and what constitutes a design element, covering the role repetition plays in design. Use Marimekko samples and students’ found objects as a basis for discussion. 2 Observe and sketch design elements in the samples and found objects. Select one element with which to create a fabric design. 3 Size the selected design element to fit the printing screen used, leaving a 2-inch border around the inside of the screen.

8 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 4 Seal the gap between the screen mesh and the wood frame with tape. Place masking tape or duct tape so that it covers ¼ inch of the screen and wraps on to the frame. Turn the screen over and cover the corded groove in the frame with tape, aligning tape edges on both surfaces of the screen. 5 Center the taped screen over the design element. Lightly sketch the element on the screen with pencil. 6 Using the sketch as a guide, paint blue drawing fluid on to the screen to cover the design element thoroughly. Work from the back of the screen to keep it from sticking to a surface. Place the screen in a horizontal position to dry, allowing drawing fluid to cure completely. 7 Apply a thin coat of screen filler. With the screen positioned horizontally, spoon a line of mixed screen filler on to the back Materials of the screen and pull it over the screen with a squeegee to Speedball® Drawing Fluid, 1 quart cover it in one thin coat (Using more than one coat will make 9-407347-705 the screen hard to wash.) Fill in detailed areas and remove Speedball® Screen Filler, 1 quart excess filler with a piece of board or a plastic card. Dry 9-407875-705 completely. Speedball® Water-Soluble Acrylic Textile Inks, 6-color starter set, 4-oz. bottles 8 Rinse the drawing fluid from the screen with cold water, using 9-404601-705 a sponge to clean difficult areas. Touch up the design with screen filler. Dry. Speedball® Opaque Iridescent Fabric Screen Printing Inks, 6-color starter set, 4-oz. bottles 9 Select a 2- to 3-yard piece of fabric, making sure all sizing has 9-407264-705 been washed out. If using muslin, dye as desired. Sax® 8" Squeegee 10 Press fabric and tape it to a flat surface like foam core board. 9-409707-705 (Avoid using cardboard, which will leave ridge marks on the Speedball® Speed Clean Screen Cleaner fabric.) Mark the midline of the fabric by pinning a line of 9-409309-705 thread from the top to the bottom. Unbleached Muslin, 5 yards 11 Mix fabric inks to create desired colors in sufficient quantities 9-406383-705 to print the design over fabric’s entire surface, using shades of Jacquard Procion MX Dye Classroom Pack the same color or opposite colors for the most visual impact. 9-443996-705 12 Test the screen on newspaper, spooning a line of ink across the Sax® Sketch Diary top of the screen and using a squeegee to pull the ink to the 9-457586-705 bottom of the screen, repeating as necessary for full coverage. Pre-made silk screens in varying sizes 13 Print the fabric using the process described above, starting in Tape the middle and working outward until the desired pattern is Brushes created. Dry. Pencils Clean the screen thoroughly so it can be used again. First 14 Sponges remove any excess ink; then wash with warm water. Fabric 15 Press the fabric with a hot iron for five or more minutes to heat-set the ink, using a scrap piece of 100 percent cotton Resources fabric as a buffer to prevent sticking. Speedball® Screen Printing DVD 9-1272532-705

9 A Horse of a Different Pattern

Cross Curricular – Art, History and Science Objectives Grades 9–12 Students will use foam core board to construct 3-D abstract Lesson plan and artwork by Phyllis M. Annett, horses and will adorn them with culturally meaningful patterns. School Specialty Art Consultant, New Jersey Students will employ concepts of science in integrating balance in their stabile design. Students will explore the historical context Description of abstract art. Countless artists have created horses in abstract form, using National Standards simplified shapes from nature to suggest their essence. Sculptor Content Standard #1: Using and applying media, techniques Alexander Calder did so with his stabiles (STAY-beels), which and processes marry balance and design; Debbie Butterfield crafted horses in bronze; and Edgar Degas captured racehorses with paint. Content Standard #4: Understanding the visual arts in relation to history and cultures Drawing on what they learn about abstract art from works like these, your students can use simple materials to create 3-D Content Standard #5: Reflecting upon and assessing the abstract horses reminiscent of Alexander Calder’s stabiles in a characteristics and merits of their work and the work of others mixed-media lesson that crosses the visual arts with science Content Standard #6: Making connections between visual arts and history. and other disciplines

10 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Directions Materials Teacher preparation: Gather resources that illustrate and Elmer’s® Black-on-Black explain Alexander Calder’s stabiles. Find other artistic examples Foam Core Board of animals in abstract form, including Debbie Butterfield’s 9-447329-705 bronze horse sculptures and Edgar Degas’ Racehorses. X-ACTO® Knife With the students: Provide a definition of abstract art. 9-573149-705 Share abstract animal art by Butterfield, Calder, Degas and others. Sargent Art® Liquid Metallics Discuss Calder’s stabiles, contrasting them with his mobiles. 6-color set, 8-ounce jars 1 Examine the use of pattern and its role in lending visual 9-405594-705 interest and expressing culture and emotion in artwork. 6-color set, 4-ounce jars 9-409187-705 2 Using a drawing, photograph or horse model as a guide, quickly sketch a horse to capture its essence and abstract Prang® Metallic Art Markers shape, noting its different positions. 9-410403-705 3 Based on the sketches, draw stabile templates on tag board, Sax® Multimedia Varnish including sections for the body and legs and using two layers 9-403960-705 as necessary to “sandwich” elements like a mane and tail Canson® XL Watercolor Pad, 12"x18" in place. Incorporate slits or channels in the leg sections 9-1371709-705 so that they nest at 90-degree angles to the body, Elmer’s® Craft Bond Tacky Glue allowing the stabile to stand on its own. 9-024103-705 4 Cut out the templates. Experiment with proportions, Bone Beads head size/position, contact points and joints to refine 9-401550-705 the templates, modifying or adding sections so that Professional Jewelry String Wire the stabile is self-supporting and balanced when 9-443987-705 assembled. Raffia 5 Trace two copies of the refined templates on tag 9-245651-705 board. Cut one out and glue it together to verify ® the design’s stability. Refine the remaining template Dahle Vantage Self-Healing Cutting Mat as necessary. 9-409206-705 Paintbrushes 6 Trace the further refined template on to foam core board, remembering to widen the nesting channels to Clamps accommodate the board’s thickness. Cut out the sections Metal rulers or yard sticks with an X-ACTO® knife on a self-healing cutting mat. Use a metal-edged ruler to cut straight lines. Resources Drawing Animals 7 Adorn the sections with decorative patterns using acrylic paint 9-464246-705 or markers. Dry. 8 To make a permanently assembled stabile, glue legs to body. To make a stabile that disassembles for flat storage. 9 Cut eight long, thin strips of foam core board. 10 Position the legs on the body so the stabile is balanced. Lightly trace the legs’ position, both in front of and behind each leg and on each side of the body. 11 Outside each of the eight lines traced, glue a thin strip of foam core board perpendicular to the body, making slots into and out of which the front and back leg sections will slide. 12 If desired, embellish the horse. Glue on raffia for a mane and tail, add painted strips of watercolor paper for a pony blanket and incorporate beads for a cultural touch. 13 Present stabiles in class, assessing variations in design, balance and construction. 11 Peaceable Kingdom Masks

Cross Curricular – Art, Social Studies and Language Arts PreK Lesson plan and artwork by Ed Leary, School Specialty Art Consultant, Florida

Directions With the students: 4 Keep the mask flat to decorate it, following a picture or 1 Motivate students to create their own animal masks: sample as necessary for guidance on color and patterns. • Share fiction and nonfiction books, DVDs and audio Let washable paint and paint markers dry. Then glue on stories about animals. decorative paper, yarn, fabric remnants and the like. • Visit a natural history museum to gather information 5 Fold mask along the lines and pleats. Tape. about animal appearance, habitat, behavior, diet and the 6 Attach one chenille stem to each side of the mask to hold like. it over the face. • Ask questions about animals such as “Did you Lesson plan extensions: know koalas live in Australia?” or “Why does the hippopotamus have eyes on the top of its head?” • Write a description of the animal or a short story, poem or play about it. Wear masks while performing the play. • Discuss how people in different cultures wear animal masks to celebrate certain events, and display such • Read and perform native stories, folktales and legends masks in the classroom. about animals. 2 Select a wild animal mask. Remove loose pieces from the • Create a diorama that includes the animal, its habitat and mask and discard. surroundings. 3 Gather art supplies with which to embellish the mask: • Sing songs about the animal and play music from the paper, yarn, scissors, glue, crayons, masking tape, culture in its native region. washable paint, paint markers and fabric remnants.

12 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Materials Roylco® Wild Animal Masks, 30-count pack 9-410523-705 Raffia Vari-Color, 12 oz. 9-227133-705 Roylco® Amazing Animal Papers, 40 assorted sheets 9-247334-705 Roylco® Fabric Mosaics/Remnants, 400-count pack 9-1289188-705 Art-Time® Washable Glitter Tempera, Set of 6 9-1329056-705 Art-Time® Washable Metallic Tempera, Set of 6 Description 9-1329055-705 Cultures around the world and throughout time Poster Paint Markers, 10-color set have told vivid animal stories. Ascribing emotions 9-077716-705 and motivations to animals is a way for humans to Mega Washable Markers, 6-color set better understand themselves. 9-411076-705 Children love to hear these stories, drinking in Prang® Washable Markers, 8-color set their rich imagery and identifying with the feelings 9-210782-705 they conjure. They also love to tell such stories, TRU-RAY® , 9"x12", especially when they’re dressed for the part! To Assorted colors, Pack of 50 sheets that end, your students can embellish expressive 9-054054-705 animal masks with simple, colorful materials. Elmer’s® School Glue, 4 oz. Objectives 9-008970-705 Students will design and create masks inspired Chenille Stems, 100 assorted colors, each 12" 9-085819-705 by animal characteristics. Students will visually interpret and re-enact animal stories and folktales Feathers, 12 assorted solid colors, each 12" from around the world. 9-086302-705 National Standards Resources Content Standard #1: Understanding and Culture Mask Prints, 12-print set applying media, techniques and processes 9-424323-705 Content Standard #6: Making connections Aboriginal Art Posters, 12-poster set 9-441464-705 between visual arts and other disciplines Crayola® Dream-Makers® Social Studies, 104-pg. book 9-090240-705

13 Majolica Goblets Cross-Curricular – Art & Social Studies Grades 4–12 Lesson plan and artwork by Eric Orr, School Specialty Art Consultant, North Texas and Western Louisiana

Description Objectives Majolica pottery demonstrates that a beautiful idea can travel Students will create a food-safe majolica goblet by placing the globe! During China’s Ming Dynasty (1368–1644), potters a pinch bowl atop a coiled base. Students will explore the used cobalt, an Arabian mineral, to create a dark blue glaze to movement of art concepts through different geographies and contrast with China’s white porcelain clays. across cultures. Later, Islamic potters mimicked the look with their reddish, iron- National Standards rich clays by painting bright oxides and stains on a tin-glazed, Content Standard #1: Understanding and applying media, opaque white background. Their wares became as popular as techniques and processes Chinese Ming pottery and often were shipped from Spain to Italy via the port of Majorca, an island off Spain’s eastern coast. Content Standard #3: Choosing and evaluating a range of subject matter, symbols and ideas Pottery painted with colors over a white base became known as “majolica” and was widely produced in Italy during the Content Standard #4: Understanding the visual arts in relation Renaissance. Florentines Lucca and Andrea de la Robbia were to history and cultures the best-known majolica clay artists, creating large religious relief sculptures glazed with bright colors on a gloss-white base. To this day, Italian potters still produce beautiful majolica – and your students can, too!

14 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Directions Teacher preparation: Gather photographs of Ming Dynasty 4 Score and slip the bottom of the pinch pot. Then score and pottery as well as Islamic and Italian pottery in the majolica slip the ropes and coil them atop it, pressing them gently style. Display in the classroom resources that explain the style’s together. Make the coils close and tight near the pinch movement across cultures. pot, where fingers will grip the goblet, and coil the ropes With the students: upward to the goblet’s desired height. 1 Start with a baseball-sized lump of clay (about 1 pound) 5 Turn goblet right side up. Gently tap the base coil flat so for a small goblet and an orange-sized lump (about the goblet is stable and the rim is parallel to the tabletop. 1 ½ pounds) for a larger one. 6 Score and slip the pinch pot rim and place the reserved rope 2 Make a pinch pot: atop it. With a wooden tool or your finger, gently smooth • Roll less than half of your clay between your palms or the joint, affixing the rope firmly and tidily to the rim. against the tabletop into a perfectly round, egg-sized 7 Texture, stamp and sprig goblet as desired. Support goblet ball. gently with your fingers as you texture or stamp it; score • Push your thumb about halfway into the center of the and slip any sprigs and clay pieces you add to the goblet. ball and turn it, pinching the clay gently between your 8 Turn goblet upside down to dry. Check that the base is thumb and fingers. Focus on the thick parts, pulling parallel to the tabletop. upward and inward to create uniform walls and a tall tulip shape (not a cereal bowl). Keep the rim thick 9 Decorate the goblet with the majolica technique: enough to prevent cracks. • Brush two to three coats of lead-free Amaco Opaque • Tap the bottom of the pot gently on a table to flatten White (LG-11) using a wide brush. Glaze evenly onto it slightly. cone 04 bisque-fired goblets. Glaze may be applied onto bone-dry greenware (without bisque-firing first) but • Invert the pot on a small board or piece of cardboard. beware as the pieces would be very fragile. 3 Roll the remaining clay on the tabletop into several ropes • Paint images and designs by brushing one to three coats the diameter of your little finger. Set aside the best rope for of Amaco Gloss Decorating Colors over the dry Opaque the rim, covering it with plastic. White Glaze to emulate true majolica. Fewer coats give a translucent, watercolor effect. • When dry, fire to cone 05. Do so slowly if you have Materials applied glaze to bone-dry greenware. Amaco® Clay, Red Clay, 67-M 8-351476-705 Amaco® Clay, White Art 25-M 8-351452-705 Amaco® Designer Push Molds, Tribal theme 9-407809-705 Amaco® Designer Push Molds, Moon Theme 9-407807-705 Amaco® Designer Push Molds, Sun Theme 9-407808-705 Amaco® Tri-Bead Rollers 9-405657-705 Amaco® Opaque White (LG-11) Glaze, 1 pint 9-351785-705 Amaco® Gloss Decorating Colors, 16-color starter set 9-1299480-705 CJOP Sticks 9-408670-705 Student Modeling Tools 9-402381-705

15 Cross-Curricular – Textured Art & Social Studies Grades 4–12 Lesson plan and artwork by Eric Orr, School Specialty Pottery Boxes Art Consultant, North Texas and Western Louisiana Description Directions Since prehistoric times, people have adorned pottery with Teacher preparation: Gather photographs of stamped pottery stamped textures, created by pressing something into the wet and formal Wedgwood pottery. Display these books and images clay. For millennia, clay has been all about texture! and discuss their historical context with students. Not only is clay the ideal medium for stamping, but it also lends With the students: itself to sprigging – the application of raised adornments. In 1 Start with a baseball-sized lump of clay (about 1 pound) Roman times, for example, clay was pressed into small molds, for a 2-inch cubic box, an orange-sized lump (about 1 ½ then removed and applied to pottery. This technique was pounds) for a 2 ½-inch one and a grapefruit-sized lump of refined during the Industrial Revolution in England, when Josiah clay (about 2 pounds) for a 3-inch one. Wedgwood sprigged neo-classical motifs on formal pottery. 2 Use a ruler to draw a plus sign-shaped template on tag Using both stamping and sprigging techniques, your students board or poster board, making each side of the plus sign the can create their own textured pottery – in this case, a square box same length as the desired box dimension (i.e., 2, 2 ½ or 3 made by folding a plus-shaped slab of clay. inch). Cut out template. Objectives 3 Using a rolling pin and guide sticks, roll out clay on a canvas Students will stamp and sprig a square clay box with lid created mat to a circle ¼ inch thick. using a plus-shaped template. Students will explore the history 4 Hand-texture the slab. If desired, smooth away the of stamping and sprigging techniques in pottery making. “weave” imprint left by the canvas mat with a sponge and straightedge rib. National Standards 5 Place plus-sign template on the slab and cut carefully Content Standard #1: Understanding and applying media, around it with a thin-blade fettling knife held vertically. techniques and processes Remove excess clay. Avoid using a pin tool, which will leave Content Standard #3: Choosing and evaluating a range of a ragged edge. subject matter, symbols and ideas Content Standard #4: Understanding the visual arts in relation 6 Turn the plus sign-shaped clay slab over. With a dental floss to history and cultures pick, bevel to a 45-degree angle the eight sides of the slab

16 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Materials SAX® Cream White Clay, 50 lbs. moist 8-200366-705 Mayco® Stroke ’n Coat Wonderglaze for Bisque 12-pint Color Set A 9-406464-705 12-pint Color Set B 9-406466-705 Mayco® Continuous Design Border Rollers 2-roller Decorative Pattern set 9-411101-705 2-roller Native American set that form interior corners; these will become the box’s corners. Leave 9-1289972-705 the flat ends of the slab’s four arms unbeveled, as these will become Mayco® Design Press Tools the box’s rim. 4-tool Seaside set 7 Prepare the slab for folding. Use the long edge of a craft stick to 9-1289968-705 score gently the square defined by the slab’s four interior corners. This 4-tool Contemporary Flower set square will become the box bottom when the slab’s four arms are 9-1289970-705 folded upward. 4-tool Native American set 9-1289971-705 8 Turn the slab over so that the outside of the box faces up. Stamp, sprig or add a border to the four arms of the slab as desired, leaving 4-tool Leaf set the center square – the box’s bottom – free of embellishment. 9-411097-705 4-tool Insect/Lizard set 9 To make sprigs: 9-411098-705 • Press clay into a mold, gently scraping away excess clay with a straightedge, flat rib or ruler. Sax® Creative Molding Kits 6-piece Original • Press a small piece of wet clay against the back of the sprig to lift it out of mold. 9-404286-705 6-piece Abstract Round • Score and slip the spring before pressing it on to one of the arms of 9-409083-705 the plus sign. 6-piece Nature • Gently turn the plus-shaped slab over, placing it atop foam or 9-409082-705 bubble wrap to protect sprigs from distortion. Score and slip the eight beveled surfaces and fold arms up to join them, forming a box Mayco® Magic Metallics and smoothing seams inside and out with fingers or a tool. Copper, 8-ounce bottle • Level the rim of the box as necessary with an X-ACTO® knife, 9-406494-705 fettling knife or wire. Green Patina, 8-ounce bottle 10 To make the lid: 9-406485-705 • Roll remaining clay into a ¼ inch-thick slab, invert box atop it, and Toggle Wire Clay Cutter cut around the rim. 9-1005537-705 • Texture the lid as desired to match the box. Clay Slabmaking Kit (optional) • If desired, add a handle atop the lid and small lid stops beneath it to 9-409782-705 keep it on the box. Rigid Scraper (optional) • Slowly dry the lid upside down atop the box to prevent warping. 9-241590-705 • Brush two or three coats of Mayco® Stroke ’n Coat evenly on to Fettling knife (optional) bone-dry greenware. If you prefer, you may bisque the box and lid 9-385142-705 to cone 04 first. Craft Sticks, Pack of 1000 • When dry, fire to cone 05.* Do so slowly if you have applied glaze 9-085957-705 to bone-dry greenware. Set of 7 Clay Tools * For an unfired box, bisque to cone 04 and then decorate with acrylic paint, creating antique patinas with Mayco® Magic Metallic. Alternatively, decorate 9-443891-705 bisqueware with tempera paint and, when dry, coat with Sax® Tempera Varnish.

17 Metallic Weavings

Cross Curricular – Art and History Grades K–12 Objective Lesson plan and artwork by Joseph Culotta, Students will create weavings with paper and metal, observing School Specialty Art Consultant, South Texas the variety of patterns and textures they can fashion. Students will explore weaving techniques, media and applications Description throughout history. The history of weaving is many millennia long. On continents from Asia to South America, woven fabrics date back as far as National Standards 5,000 B.C. Content Standard #1: Understanding and applying media, techniques and processes Throughout the world, weaving has been used by many cultures Content Standard #6: Making connections between visual arts for countless purposes – from woven rugs and clothing to woven and other disciplines covers intended to protect religious manuscripts from dust and decay. The geometric patterns in weavings have inspired modern Directions artists to mimic such patterns in their works of art. Teacher preparation: Gather resources from the library and the Your students can give this centuries-old art form a Internet as well as samples of woven materials that illustrate an contemporary twist by creating their own mixed-media array of weaving techniques and media. Cut 18 x 24 inch sheets weavings that incorporate a variety of patterns and textures. of black RiversideTM Construction Paper in half to 9 x 12 inch.

18 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 With the students: 1 Explore and discuss examples of different weaving techniques. Show samples of woven materials like clothing, rugs and the like. 2 Orient a piece of black construction paper 9 x 12 inch or smaller vertically on the table. Using a pencil and a ruler, mark it with horizontal lines about ½ inch apart, starting and ending the lines ½ inch from the edge of the paper. Cut along the lines with a scissors or with an X-ACTO® knife on a self-healing mat to create slits. For young children, mark the lines 1 inch apart and fold paper in half to cut slits. 3 Paint the paper with Magic Metallic paint. Spray the painted paper with patina solution to create a Verde, Green or Rapid Rust effect. 4 If desired, cut the edges of the paper with Fiskars® Paper Dry. Edgers or create a parchment effect using a -edge ruler. Materials 5 Cut 38-gauge Colored Aluminum Foil into ½ x 8 inch weaving strips, using a deckle-edge ruler, Fiskars Paper MAYCO® Magic Metallics Introductory Kit 9-406491-705 Edgers or paper crimpers as desired to create interesting shapes and textures. Riverside® Construction Paper, 18” x 24” sheets, 50–76 lb. 6 Weave foil strips into the paper, passing them over and 9-248665-705 under through the slits. If desired, integrate adhesive- Fiskars® Crimpers backed copper foil strips into the weaving, leaving the Wavy backing on. 9-248261-705 7 Adhere heavy white paper to the back of the woven piece Standard to hold strips in place. If desired, frame the weaving with 9-216747-705 black mat board. Fiskars® Paper Edgers 6-Piece Designer Set 9-090327-705 6-Piece Contemporary Set 9-090328-705 Fiskars® Tear Edgers Zig Zag 9-409240-705 Scallop 9-409238-705 Deckle 9-409239-705 Colored Aluminum Foil Rolls, 38-gauge Goldtone 9-459173-705 Redtone 9-409996-705 Greentone 9-409993-705 Bluetone 9-409984-705 19 Seed-Paper Sunflowers

Cross-Curricular – Art, History and Science Grades 5–12 Lesson plan and artwork by Nadine Dresbach, School Specialty Art Consultant, North and South Carolina Directions Teacher preparation: Gather resources on Van Gogh and his Sunflowers series of paintings. Borrow books on both handmade and plant reproduction from the library. With the students: Sunflowers: 1 Follow the directions in Arnold Grummer’s Seed Paper 5 Paint a stem and leaves from the classroom kit green with Flower Classroom Kit to produce handmade flower centers, Sargent Art® Liquid Metal Acrylics. Fold leaves in half and replacing the provided tissue with small pieces of black add a bronze accent stripe down the center. Dry. Kolorfast Non-Bleeding Tissue. Dry. 6 Curl the dry flower petals toward the flower center around a 2 Transform the precut flower shapes from the classroom kit pencil. into sunflowers: 7 Using Crayola® Model Magic, form the sunflower’s receptacle – the back portion of the flower from which • In classes of 12 or fewer, cut two of the provided flower the petals emerge – in a short, flat, conical shape. Insert shapes to create slender, pointed petals about 1" long the stem in the receptacle’s conical tip and bend it at a and ¼ inch wide. 90-degree angle. Remove it, put a drop of craft glue in the • In classes of more than 12, first trace one of the provided hole, and replace the stem, propping it in position until dry. flower shapes on and cut it out; then cut petals Paint the receptacle green with Sargent Art® Liquid Metal in these two flower shapes as above. 8 Acrylics. Dry. 3 Paint both sides of both flower shapes gold, copper or 9 Select a seeded flower center and gently paint the preferred bronze with Sargent Art® Liquid Metal Acrylics. Dry. side with Sargent Art® Liquid Metal Watercolor in gold. Dry. 4 With the other colors of metal acrylics, paint highlight and lowlight stripes on the flower petals. Dry.

20 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Materials Arnold Grummer’s Seed Paper Flower Classroom Kit 9-411070-705 Arnold Grummer’s Paper Casting Squares 9-408228-705

KolorFast® Non-Bleeding Tissue Assortment 9-214944-705 Sargent Art ® Liquid Metal Acrylics, 8-oz. set 9-405594-705 Sargent Art ® Liquid Metal Acrylics, 4-oz. set 9-409187-705 Sargent Art ® Liquid Metal Watercolor, Gold 9-405780-705 Sax® True Flow Multi-Media Varnish 9-403960-705

10 Tape leaves to the stem. Paint the tape with the same Crayola® Model Magic, 2-lb. bucket acrylic used on the stem. Dry. 9-391130-705 11 Glue the seeded paper to the center of one of the flower Brushes shapes. Glue the second flower shape behind the first, Scissors orienting it to expose its petals. Glue the receptacle with Multi-Media Craft Glue stem to the back of the flower. Card Stock Vase: Note: The vase takes several days to dry. Students may want Balloons to make it first. 1 Inflate a balloon to the size of the desired vase, being careful not to overinflate. Wedge the balloon down in the top of a cup half-filled with water to hold Description it in place. Set the cup and balloon in a bowl to catch Van Gogh’s nineteenth-century paintings of sunflowers are among drippings. the world’s most recognizable works of art. Inspired by these 2 Use an electric or hand blender to mix Arnold Grummer’s paintings, your students can transform two-dimensional art into Paper Casting Squares with water as directed on the three, creating their own lovely flower sculptures that bloom package. Pour undrained mixture into a large bowl. twice – once in a classroom vase, and again when their seed-paper 3 Using fingers, place small portions of the paper on to blossoms are planted in the earth! the balloon very gently, adding each portion immediately adjacent to the last. Gently manipulate the paper fibers Objectives to fill holes, keeping the fibers wet. When the balloon is Students will alter the patterns and designs from Arnold Grummer’s covered, fill any remaining holes with pulp. Seed Paper Flower Classroom Kit to fashion sunflowers. Students 4 Dry for several days. collectively will craft a vase to display their flowers in the classroom. 5 Remove balloon from cup. Cut a hole in the exposed Students will explore the history of Van Gogh’s Sunflowers. portion of the balloon to deflate it. Gently peel the Students will investigate handmade paper and its production. balloon from the interior of the vase. (Vase will be very Students may delve into flower reproduction and seed germination. fragile.) National Standards 6 Coat the interior of the vase with Sax® True Flow Content Standard #1: Understanding and applying media Multi-Media Varnish, handling it gently as the varnish techniques and processes will soften the vase. Dry. 7 Coat the exterior of the vase with Sax® True Flow Content Standard #2: Using knowledge of structures and Multi-Media Varnish. Dry. functions 8 Embellish the exterior of the vase as desired with Sargent Content Standard #6: Making connections between visual art and Art® Liquid Metal Acrylics. other disciplines

21 Florida Sea Life Mural

Cross-Curricular – Art and Science Grades 6–12, AP Lesson plan and artwork by Edwin Leary, School Specialty Art Consultant, Florida Directions Teacher preparation: Gather tidbits of sea life to orient 6 Using smaller brushes, paint the aquatic animals, plant life students to the theme, including seashells, skeletal remains, and the like, starting with dark colors and progressing to photographs and student stories. Arrange a trip to the local light ones. science center or aquarium. 7 Assess the mural as a whole as work on it progresses. With the students: Ensure that the colors throughout work together and that 1 Discuss the structure and function of living earth systems, each section has the same brightness of color, overall feel covering habitat and identifying and comparing elements of and level of imagination. different systems. 8 Let the mural dry. 2 Decide on the orientation and scale of the mural. Make 9 Soften the outlines of the aquatic animals and plant life to small sketches of various fish and plant species to help make them look like they are underwater by dabbing on determine the mural’s overall design and colors. Transfer water-thinned acrylic paint with a sponge. these sketches to the Classroom Mural Canvas, scaling and 10 Give the mural a 3-D feel by painting shadows, highlights combining them as desired. and reflections. Dry. 3 Identify which elements of the mural each class member 11 Curate the completed mural by signing, dating and titling it. will paint. 12 Install the mural, suspending it by placing twist ties or 4 Gather the materials needed: acrylic paints, brushes, paint similar hangers through the grommets. rollers, sponges and drop cloths or to cover tables or protect the floor. Lesson plan extensions: 5 Using large brushes, paint the background with bands of Write a description of one of the aquatic animals or plants, color, showing the habitat above the water’s surface as well including its life cycle and characteristics, to accompany the as below it. mural. Develop a play, poem or short story around the mural

22 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 Materials Sax® True Flow Acrylics, 12-pint assorted colors 9-439304-705 Sax® True Flow Fluorescent Acrylics, 6-pint set, assorted colors 9-402434-705 Sax® Platinum Acrylic Medium, 1 quart 9-403535-705 theme. Extend the scientific inquiry to other non-aquatic earth systems. Sax® Overstock Brushes, Set of 20 Display the mural at a local science or children’s museum. 9-402377-705 Wyland Mural Canvas, 5’x10’ with grommets Description 9-1332336-705 Learning is more than an individual effort. It’s a collaborative process. Your students will see that clearly as they work together to create an White Bristle Utility Brushes, 48-brush set, assorted sizes underwater mural that offers a visual representation of their discoveries in 9-443486-705 both art and science. School Smart® Foam Brushes, 48-brush set, With this project, there is ample opportunity for customization. assorted sizes Midwestern students might create a freshwater mural; those on the 9-085676-705 Eastern seaboard might opt for saltwater marsh life. The possibilities are ® as boundless as students’ imaginations! In every case, students engage in School Smart Foam Rollers, 12-roller set, assorted sizes scientific inquiry and show off what they’ve learned. 9-085737-705 Objectives Round Sponge, 2½" diameter Students will observe the structure and function of a living earth system. 9-408064-705 Students will portray this living earth system in a habitat mural, illustrating Resources its structure as part of a hydrosphere. Bridging Curriculum through Art, 144-pg. book National Standards 9-401433-705 Content Standard #1: Understanding and applying media, techniques Crayola® Dream-Makers® Science, 104-pg. book and processes 9-090242-705 Content Standard #3: Choosing and evaluating a range of subject matter, symbols and ideas

23 Image Inspiration Books Cross-Curricular – Art and Language Arts Grades 5–12 Lesson plan and artwork by Nadine Dresbach, School Specialty Art Consultant, North and South Carolina Materials Directions Description Mini Pattern Impression Mats With the students: If a picture is worth a thousand words, 9-1288659-705 then a beautiful image has the potential Use the Mini Pattern Impression Mats to ® 1 to inspire great writing. Your students Color Box Inks make a set of prints on . Study can create both by making accordion-fold 9-402822-705 the images and make notes beside them books that they first illustrate and then Cover-It® Flip and Fold Books about what each represents. complete with a short story or poem. 9-1271747-705 Relying on these notes for inspiration, 2 Punjab Handmade Paper write a short story or poem. Alternatively, Objectives Assortment research one or two poetry anthologies Students will use balance, overlap and 9-410636-705 to find a poem that suits both the images composition to create the layout of a and the length of the book. book with different materials and collage Acid-Free Glue sticks 3 Recreate the Cover-It Flip and Fold Book techniques. Students will incorporate Scissors creative writing in their work, using critical on newsprint to make a layout draft, Colored Pencils determining where the words and images thinking to integrate images with text. Newsprint will appear. National Standards 4 Examine the Punjab Handmade Paper Content Standard #1: Assortment to choose the paper that best Understanding and applying media suits the story or poem. techniques and processes 5 Using the chosen handmade paper, Content Standard #2: create prints with the Mini Pattern Using knowledge of structures Impression Mats. Use colored pencils to and functions embellish the prints. Glue them in the Content Standard #6: book. Transcribe the story or poem into Making connections the book according to the devised layout. between visual art 6 Use the directions provided in the and other disciplines Cover-It Flip and Fold Book to create and assemble the book’s cover.

24 www.saxarts.com | Phone: 1-888-388-3224 | Fax: 1-888-388-6344 10188/W000586 8/11