START Ad Feb 2010:Layout 1 15/02/2010 16:34 Page 1 Number 34 2010 £7.50 2010 34 Number 1479-0459 ISSN www.nsead.org T: 812730 81013401225 F: 01225 SN13 9FY Wiltshire, Corsham, Lane, Potley Wharf, 3 Mason’s NSEAD

‘Everything you need for planning and teaching art in the primary classr oom.’ Val Hughes, Longcot & Fernham CE Primary School, START Magazine book review

Book 1 – Ages 5-6 A NEW COMPLETE ART & DESIGN SCHEME FOR S THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN ALL PRIMARY CLASS TEACHERS ART Everything you need to teach: drawing, painting, printing, sculpture, digital media, collage and textiles.

Watch Art Express being used in the classroom: www.youtube.com/acblackbooks

Every section contains practical sessions of work, learning objectives and an assessment for learning checklist.

Book 1 – Ages 5-6

CD-ROM with: l virtual gallery l artist’s work l photographs l children’s work l pupil resources l teacher assessments l pupil self-assessment l whiteboard presentations

Expressionist printmaking Plus PRINTMAKING Cardboard relief printing Spreading good practice with Single User Licence £34.99 ISSUE Adventures in printmaking an art tent Book 2 Book 3 Book 4 Book 5 Book 6 Site Licence £150.00 Allotments, printing Outdoor art project Ages 6-7 Ages 7-8 Ages 8-9 Ages 9-10 Ages 10-11 and handmade mixed Special needs media books Poster To celebrate the publication of Art Express we are offering The British Museum: exploring COMPETITION! the rich diversity of printmaking free copies of Book 1 to the first 100 people to sign up to our COMPETITION! children’s newsletter. Email publicity@acblack with the subject header ‘Art Express’ to enter. COMPETITION! www.acblack.com/artexpress START 1 Number 34, 2010 Contents

Contents

Page 20 Greenspace Page 2 Start news & editorial Page 4 Gallery round-up Page 6 Hands-on in the classroom: Expressionist printmaking Page 8 Outdoor project: Greenspace Arts Project: Poster an innovative community British Museum outdoor project Page 10 Sharing good practice: Spreading good practice with an art tent Page 12 Special Needs: art allows all children the freedom to explore Page 14 Printmaking feature: Adventures in printmaking – via Art Express Page 20 Page 15 The Kendal Fell Project Cardboard relief printing Page 15 Printmaking feature: Cardboard relief printing Page 18 Textiles: Our Town quilt project Page 20 Printmaking feature: The Kendal Fell Project: allotments, printing and handmade mixed media books Page 23 Book reviews Page 24 Readers reveal all Poster: The British Museum: exploring the rich diversity Page 18 of printmaking Textiles: Our Town quilt project

Copyright ©2010 NSEAD. All rights reserved. With the exception of fair dealing for the purposes of research or private study, or criticism or review, no part of this publication may be reproduced, stored or transmitted in any form or by any means without the prior permission in writing from the copyright holder. Subscribers to START may make photocopies for teaching Kaleidoscope Cover image: Greenspace purposes free of charge provided such copies are not resold. Authors’ views in this publication Please note: While every effort is made to check websites mentioned in START, some are not necessarily those of the NSEAD. may contain images unsuitable for young children. Please check any references Editor: Michèle Kitto, [email protected] Design: SteersMcGillan Design Ltd: 01225 465546 www.steersmcgillan.co.uk NSEAD Annual Conference 2010 prior to use in the classroom. Please note that the username to access units of Advertising Sales: [email protected] work on the NSEAD website has changed to ‘patchwork’ and the password to ‘quilt’. Publisher: National Society for Education in Art & Design, 3 Mason’s Wharf, Potley Lane See page 25 for further details. Corsham, Wiltshire SN13 9FY T:01225 810134 F:01225 812730 www.nsead.org

Saturday 6th – Sunday 7th March 2010 START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN

2 3 News News/Editorial

Art and design: preparing for the the Foundling Museum in London, new primary curriculum 10 March 2010 at the Hastings Museum Friday 23 April and Art Gallery, and 19 March 2010 at This course will focus on one of the Leeds Art Gallery. Thanks to generous From the Editor START proposed six areas of learning and funding from the Maaike McInnes will consider how to inspire children Charitable Trust each Catalyst day to be successful learners, confident costs only £45 per place. individuals and responsible citizens News – all of which are key aims of the new Action Art! for Schools primary curriculum. Through practical A new year and a new decade – how If your budget is being squeezed, Two galleries in the north east of workshop sessions participants will time flies! At the start of this new decade, remember that we can help. As a England – BALTIC in Gateshead and the explore a variety of key art and an interesting project to work on with subscriber to START you benefit from the Middlesbrough Institute of Modern design processes essential to the pupils could be an examination of how amazing ‘members only’ section of the Art (mima) – with NHS North East are new curriculum. art might be portrayed and displayed in NSEAD website. This is full of case Don’t miss out on the inviting regional schools to enter the 2020. Will the next ten years bring studies, health and safety information, The course fee of £100 per person Action Art! for Schools competition. largest teaching changes? For the better? lesson plans, articles and, importantly, includes refreshments, but not lunch. The prize fund is worth £10,000 and ten back copies of START online. Do also sign resource ever made For tickets telephone 020 7323 8181 regional schools will be chosen from I am always amazed by the breadth, up for the RSS newsfeeds that will keep or email [email protected] among the entrants to work with a talent and imagination of art teachers all We’re surrounded by the you up to date on all things to do in the professional artist for one week during over the country. If I were to give you the largest teaching resource ever world of art education between issues. their summer term. same painting or object you would come made: buildings and places. Catalyst: Inspiring art START comes out four times a year in up with hundreds of different projects to Yet all too often we don’t use Working with a professional artist to October, February/March, April and ideas for teachers inspire your pupils. Now is the time that this resource in our teaching – explore ideas around health and June. To make sure you never miss Catalyst is series of eight arts-based art teaching can really capitalise on this even though most of it is free. Engaging wellbeing from the Change4Life a copy, renew by direct debit. teacher inspiration days running across creativity. All schools and all Places aims to remedy that. We want to campaign, pupils will embark on a CABE’s Green Day: Fun the 2009/10 academic year. At each departments are being affected by the Please do keep in touch with ideas help teachers to exploit the buildings, wonderful creative journey that will training day teachers will work with times. Serious lessons. credit crunch and so I urge you to re-use and offers of articles: your input it is streets, parks, squares, grand historic culminate in the production of their very professional artists to focus on Green Day is an event for primary and what you can. Where budgets have what makes START so inspiring. locations, local neighbourhoods that own artwork. To enter the competition interactive and innovative teaching ideas secondary schools (KS1 to 3) run by disappeared or are insufficient see if you surround them – what is known as the schools are asked to submit a short Yours in art for Key Stage 2. The Catalyst day works the Council for Architecture and the can fill the gaps by swapping resources built environment – to produce rich and proposal to BALTIC outlining how they with three art forms selected from Built Environment (CABE) to encourage with other schools, or making use of powerful teaching, and absorbing would like to approach the theme and poetry, the visual arts, drama, thinking about sustainability. Our free your local scrap store. Find out what learning. The Commission for work with an artist. Entries will be judged storytelling, dance and music. There are resources support teachers in skills and resources local businesses Architecture and the Built Environment on their level of innovation, creativity and a maximum of 30 places available on delivering lessons focused on climate or your parents can offer. Perhaps (CABE) and English Heritage have joined inspiration. The ten schools which each training day. At the end of the day change, buildings and spaces. We also uniquely within the school, your forces to develop this project and create submit the best applications will each participant takes away with them offer free training for school staff to department can work creatively to Michèle Claire Kitto the definitive guide. participate in the Action Art! for Schools the 120-page Catalyst: Inspiring Arts increase their confidence and their produce great projects despite financial Editor project and have their artwork exhibited Visit www.engagingplaces.org.uk to Ideas for Teachers resource book. This ability to help their schools run more cutbacks. Keep on standing up for art [email protected] at BALTIC and mima in September 2010. freely access hundreds of teaching provides a lasting resource and contains sustainably. Green Day launches on and design. Fight its corner. It is such Schools interested in taking part should resources, details of events, case studies 60 different arts teaching activities. 4 June 2010 and teachers can hold a powerful and valuable subject. What contact BALTIC at change4life@ and places to visit. With over 1,300 For more information please visit their own event any time in the month other school subject is quite so able to balticmill.com, or by phoning items, Engaging Places helps you with www.childrenandarts.org.uk. The Catalyst following. We hope to have 1000 inspire and stimulate all children, 0191 478 1810. planning lessons and schemes of work days will take place on: 9 March 2010 at schools taking part this summer. building both skills and confidence? through using your school buildings More information is available on our and grounds, your local street and website www.cabe.org.uk/greenday local buildings. where you can also register to take part. Wanted!! Teachers for the new START Readers’ Panel British Museum INSET Paralympic Games We are looking for art coordinators, non-specialist teachers, student teachers and for Primary Teachers NQTs to form a readers’ panel in the magazine. In each edition different readers will Wheelpower be selected to review books and resources as well as comment on events and Art and design: supporting gifted competition and talented students news. There will be lots of freebies for those who take part. Please send an email Thursday 4 March Due to popular demand, the deadline with your name, school and contact details to: [email protected] for the SATIPS/Wheelpower National This practical course will focus on Art Competition (in association with identifying the characteristics of pupils the Saatchi Gallery) has been extended with talent in art and design, and on to Friday 19 March. All information We want your news… providing appropriate experiences to about this exciting competition for the take their learning forward. Teachers will Paralympic Games in 2012 can be Please send news items of interest to primary and pre-school teachers of art, develop ideas from museum artefacts, found on the Feltonfleet School’s craft and design to: START Magazine, NSEAD 3 Mason’s Wharf, Potley Lane, try out a range of art activities and website www.feltonfleet.co.uk explore practical strategies for Corsham, Wiltshire, SN13 9FY or email them to [email protected] challenging able pupils.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 4 What’s on around the country in museums and 5 Gallery round-up galleries. To be included please send details to Gallery round-up [email protected]

South London Gallery Gallery round-up Michael Landy 29 January – 14 March 2010 The artist Michael Landy has created a giant Art Bin inside the South London Gallery which local primary schools will be visiting throughout the course of the exhibition. Artists are being invited to throw works into the bin so it becomes ‘a monument to creative failure’. Storytellers will be offering children the chance to Ikon Gallery, British Museum explore the life and death of works of art, Birmingham telling stories about where art comes from Fra Angelico to Leonardo: and where it is likely to end up … watch Clare Rojas: Italian Renaissance Drawings the drama unfold as hundreds of works Tate Britain are hurled into the bin everyday at the We They, We They 22 April – 25 July 2010 gallery. Rumour has it that some big name 03 February – 21 March 2010 The exhibition provides an unmissable Henry Moore artists have contributed including Damien opportunity for students and teachers to Hirst, Peter Blake and Gary Hume, as well Ikon presents the first UK museum 24 February – 8 August 2010 view at first hand the work of the great as Landy himself. exhibition by American artist Clare Rojas. Italian Renaissance artists. These Radical, experimental and avant-garde, www.southlondongallery.org Best known for her folk-inspired work, exquisite works provide insights into the National Gallery The Royal Academy Henry Moore (1898–1986) was one of Rojas uses a wide range of media – process of drawing and show how artists Britain’s greatest artists. This stunning including painting, installation and Complex, Edinburgh of Arts developed their skills and learned from exhibition takes a fresh look at his work printmaking – with a smart sense of one another during the early Renaissance and legacy, presenting over 150 stone humour, to make observations about The Printmaker’s Art period. This unique view into the The Real Van Gogh: sculptures, wood carvings, bronzes gender relations and representation. Renaissance studio will inspire and enrich 20 February – 23 May 2010 The Artist and his Letters and drawings. Characteristically made using flat blocks students and teachers alike. A collection of iconic prints by some of 23 January – 18 April 2010 Moore rebelled against his teachers’ of colour, betraying her origins as a Five mornings have been dedicated to the finest European artists of the past traditional views of sculpture, instead printmaker, Rojas’ paintings are filled with school group visits: 6 and 13 May; and 500 years will be on show at the National This landmark exhibition of the work of taking inspiration from the non-Western subjects and iconography from fables and 1, 8 and 15 July 2010; from 11am to Gallery of Scotland this spring. The Vincent van Gogh (1853–1890) focuses on works he saw in museums. He pioneered tales. Narratives are woven throughout. 12noon. Resources for students and Printmaker’s Art will highlight the the artist’s remarkable correspondence. carving directly from materials, evolving Works such as Sun Poppies (2009) provide teachers to support these visits will be enormous skill of artists such as Over 35 original letters, rarely exhibited his signature abstract forms derived from a romantic view of her female characters available online from the middle of March. Rembrandt, Piranesi, Hogarth, Manet because of their fragility, are on display in the human body. This exhibition presents in the natural world, in contrast to the and Whistler, and will include some of the main galleries of Burlington House, examples of the defining subjects of his darker undertones of Ladies Bleeding to Teachers are also invited to a special the most beautiful and accomplished together with around 65 paintings and work, such as the reclining figure, mother the Sky (2009). private view on Monday 17 May 2010 prints ever made. 30 drawings that express the principal and child, abstract compositions and www.ikon-gallery.co.uk from 6pm to 8pm when they will have themes to be found within the drawings of wartime London. Highlights Highlights of The Printmaker’s Art will a chance to view the exhibition, have a correspondence. Thus the exhibition of the show include a group of key include an impression dating from go at traditional drawing techniques, offers a unique opportunity to gain an reclining figures carved in elm, which 1511 of Dürer’s celebrated woodcut and meet curators and education staff insight into the complex mind of Vincent illustrate the development of this key The Four Horsemen of the Apocalypse, [email protected]. van Gogh. This is the first major Van Gogh image over his career. Moore was an Images from left to right: www.britishmuseum.org and Rembrandt’s tour-de-force etching, exhibition in London for over forty years. Official War Artist and his drawings of Clare Rojas, Close Up, 2009. Gouache and latex on pape. The Three Crosses. Courtesy of the artist Highlights of the exhibition include Self- huddled Londoners sheltering from the The 30 works on display have been onslaught of the Blitz captured the popular Leonardo da Vinci, Warrior, silverpoint on prepared paper, portrait as an Artist (1888) and The Yellow around 1480. A virtuoso piece probably made by the young selected not only for their exquisite House (1888) from the Van Gogh Museum, imagination, winning him a place in the Leonardo to show off his artistic skill to prospective clients. Copyright the Trustees of the British Museum beauty, but also to trace the development Amsterdam; Still-life: With a Plate of hearts of the public. of printmaking techniques over the www.tate.org.uk/britain The Four Horsemen of the Apocalypse from Onions (1889) from the Kröller-Müller ‘The Apocalypse: Revelation of Saint John the Divine’, about centuries and to demonstrate the Museum, Otterlo; Van Gogh’s Chair (1888) 1497 Albrecht Durer. Woodcut on paper: 39.20 x 28.20 cm (to edge of block). National Gallery of Scotland sophisticated processes that led to their from the National Gallery, London; and creation. The Printmaker’s Art also Vincent van Gogh. Self-portrait as an Artist, January 1888 Entrance to the Public Gardens in Arles Oil on canvas. 65.2 x 50.2 cm. Van Gogh Museum, showcases the breadth and variety of the (1888) from the Phillips Collection, Amsterdam (Vincent van Gogh Foundation) Gallery’s world-class collection of prints. Washington DC. Vincent van Gogh. Letter 252 from Vincent van Gogh to www.nationalgalleries.org Theo van Gogh: Pollard Willow, c. 1 Aug 1882 www.royalacademy.org.uk Letter. 13.8 x 13.4 cm Van Gogh Museum, Amsterdam Admission free. (Vincent van Gogh Foundation)

Henry Moore. Reclining Figure 1939. Detroit Institute of Arts © Reproduced by permission of The Henry Moore Foundation

Michael Landy, Art Bin, 2010, installation view South London Gallery. Photo: Naomi Pearce

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 6 7 Hands-on in the classroom Hands-on in the classroom

Expressionist printmaking

Alexandra Hucks, art teacher at the I then used the whiteboard to introduce The children worked individually to create Paragon Junior School in Bath, shares a a selection of paintings by Basquiat. (The a intaglio relief. They started by drawing project undertaken with Year 6 children Brooklyn Museum has a fantastic website out a face shape onto a piece of cardboard and inspired by poetry and literature. with a large interactive section on this box which I then cut out using a sharp artist: www.brooklynmuseum.org/ craft knife. I then demonstrated different Research and initial ideas exhibitions/basquiat). ways of creating a textured surface and shapes for features. We focused on The project was initiated by a book that I The children were then put into groups creating facial expression and we used found called Life Doesn’t Frighten Me. It of four and given formal qualities – line, string, bubble wrap and corrugated card contains a poem by Maya Angelou that shape, colour and mark-making – to use to build faces that would be used as celebrates courage and investigates fear, as a basis for a group discussion on one printing blocks. I then demonstrated the anger and related dark emotions. The painting specific to their group. The printing technique and the children inked poem is accompanied by a selection of the groups then shared their ideas about their up their card faces with black block powerful but often disturbing paintings of painting with the whole class. As the last printing inks and printed the faces onto Jean-Michel Basquiat. At the time I was part of this inspiration stage I asked the white paper. about to embark on a unit of work based class to start doodling ideas, word, on Expressionism, and felt that this would symbols and sketches that would visually be a fantastic starting point for developing convey some of the sentences from their Large painting and visual imagery with children whilst creative writing. mixed-media work enabling them to get in touch with their The children worked on large sheets of thick emotions and the things they fear. Designing off-white sugar paper or watercolour paper. We used the starting phrase ‘shadows The class used sketchbooks to start The large-scale paper helped the children to on the wall noises down the hall’ as a doodling ideas, words, symbols and paint more expressively. They cut out the jumping-off point for some creative sketches that would convey their ideas. printed faces and glued them down in writing and, in groups, children started We then looked at the idea of using a position on the paper. (This is a really good to think about nightmares and everyday frightened or mask-like face as a starting way to start the composition, so much situations that made them feel frightened. point for a printed image. easier than starting with a blank page.) The next stage involved draw out the design, lightly, in pencil in order to plan their ‘nightmare’ image. There is no need to work in detail at this stage. Start by blocking large areas of colour, blending colours using poster paints and working in deeper and • Print the faces in a variety of different • Learning about techniques for adding lighter colours to add highlights. With the colours and onto ‘made’ backgrounds, detail and highlights. colours on the paper, the children started using different collage materials. • Understand the work of an artist in working into these flat areas using text, • Create whole-figure compositions or context. graffiti, symbols and images, to create puppets to be used for a performance. • Using shape, colour, line, tone, symbols layers and complexity. Throughout the • Paint into the dried printing blocks or use and text to visually express fear. layering process I reminded the children of them to create a large-scale card relief. • Building an intaglio block and creating the techniques of expressive painting and a successful relief print. drawing, and we referenced Jean-Michel Key learning objectives Basquiat’s paintings using the Brooklyn • Collecting visual and other information Cross curricular links Museum’s excellent website. such as images, text and symbols to Literacy: using poetry as a vehicle to develop ideas; using a sketchbook. develop visual awareness. Materials/Project ideas • Effective planning of a large-scale PSHE: using the work of poets and artists • Develop individual ideas into a group painting, using resources and research. to develop children’s self awareness and collage, working from the shared • Learning about colour-mixing, tones and to help them explore emotions. sketchbook ideas and a range of complementary colours. printed faces. • Using text visually.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 8 Contact Chris Park 9 Outdoor project Sarah Ebdon www.acorneducation.co.uk Outdoor project [email protected] Greenspace Arts Project: an innovative community outdoor project

Val Hughes, art coordinator at Longcot At the heart of Greenspace was the idea of year-olds were working alongside the over help weave the strips of split willow into following the planned designs. Each remodelled the school’s existing willow and Fernham CE Primary School, writes engaging the local community in a number 70s. This made for a vibrant and the framework. The framework was then shape was edged with self-adhesive lead house and created three trellised roof about a project to carry out an innovative of activities to create an area for everyone stimulating environment with a mix of completed with a row of binding strips, strips to create the stained glass effect. In panels from willow strips. Two clematis community-wide arts project aimed at in the village to take pride in. Val Hughes ideas and outcomes. Under Sarah’s resulting in a substantial wall. order to protect the design from the plants were planted around the centre enhancing the school environment. designed and managed the project. Two guidance participants were able to design weather, each picture was encased in a support of the new outdoor classroom Circular cutouts were left in each wall Entitled ‘Greenspace’, the project local artists – glass and visual artist Sarah four wall panels based on the school’s sandwich of two circles of clear acrylic and these will grow up and over the section to contain roundels of stained consisted of the creation of an outdoor Ebdon (Unleashed Art) and country philosophy and community spirit. They set and sealed with exterior quality trellising and provide future shade glass that would again reflect and catch classroom, wall murals and a hand-carved craftsman and artisan Chris Park (Acorn out to explore the themes of ‘living waterproof sealant. Hooks were attached and beauty. the light. A further six workshops were storytelling chair. The project was Education) – completed the team. together’, ‘eco-awareness’, ‘sharing’, and to hang the windows in the spaces in the held to create the roundels. By this time Chris spent a great deal of time working supported by an award of £8,250 from ‘stewardship of our world’. These panels willow walls. As a by-product of these The project started with a community- word had got out, and all six were with and demonstrating traditional crafts Awards for All England and a small were constructed from glass mosaics on workshops, and to help everyone based competition to design a suitable oversubscribed. The lucky participants to the children and parents. He donation from the Vale of the White Horse a backboard of marine plywood. Tiles understand the process involved, each ‘storytelling chair’ for the end of a small were able to experience the process of constructed the storytelling chair from District Council Arts Development Office. were cut to shape based on the designs participant also created a small square grass amphitheatre. Children, young designing and making stained glass. a single piece of beech, redefined the Awards for All England is supported in part and then painted with vitro acrylic glass panel using acrylic sheet, lead strips and people and adults were invited to submit willow house, built the willow hurdles by Arts Council England and the Big paints and varnished with exterior varnish The ideas used to create the roundels glass paint. These have proved to be a designs. Cash prizes were awarded for the walls and trellised the roof for the outdoor Lottery Fund. It gives grants to projects to withstand the elements. The finished were drawn from themes developed very useful alternative to curtains in the winning design from each age group and classroom. And then he came back to tell which promote education, the panels look beautiful in the sunlight with earlier, and Sarah deftly showed school’s offices and staff room. the best ideas were combined to create stories and play his lowland bagpipes and environment and health in the local the glass giving an extra dimension in participants how to adapt initial ideas into the finished product. This was then carved Meanwhile, outside Chris was hand flutes for everyone to enjoy at the end-of- community. terms of reflection and refraction of designs suitable for circular stained glass from a single piece of beech by Chris, forging vine-like tendrils from iron, and project celebration. shadows and colour. Every participant windows. As the panels were to be used giving pupils the chance to watch and ask attaching them to the pillar walls in order experienced all the processes involved in in an area where safety was a concern the Longcot and Fernham is an Artsmark Gold questions as he magically transformed a to hang leaves and butterflies their creation from designs on paper, material for the windows was school which has also recently been tree trunk into a magnificent storytelling designed by the children and through to cutting the glass tesserae and changed from glass to exterior graded ‘outstanding’ by Ofsted (October chair using first a chainsaw and then created by Sarah. These leaves applying the decorative finishes. high-grade acrylic. With the 2009). Greenspace has provided the traditional woodcarving tools. Seeing a and butterflies, made from design finalised, school with a unique and inspiring learning craftsman at work was a wonderful While the glass panels were being made, translucent fibreglass participants made environment. It has also encouraged the experience and helped the pupils to the third stage of the project started. The compounds paper templates and local community to see their school as appreciate the skills involved in working aim of this phase was to enhance the enhance the these were used to being at the heart of village life. with wood and to understand the existing outdoor classroom and make it feelings of light, cut out relevant purposeful use of form, shape and texture. into a place of beauty and reflection with a reflection and shapes from practical purpose. Chris and Sarah worked tranquility Phase two of the project was the creation translucent jointly on this part of the project. Chris within the of the glass murals that were to adorn the sticky-back demonstrated his versatility by building garden. outside walls of the school building. A plastic. This hurdle walls out of locally sourced willow series of six free workshops were held was then To complete whips. In the process pupils and visitors after school to do this. All workshops applied to this final were able to watch a craftsman carry out a were open not only to school pupils but the circles phase of the dying craft. Pupils were encouraged to also to the wider community so that four- of acrylic project Chris

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 10 11 Sharing good practice Sharing good practice

Spreading good practice with an art tent

Kate Hale, an advanced skills teacher in Art Forum member (Amanda Harris from • what each school would have to Between March and June four INSET advertise the Art Tent Week to their on this art working in Cornwall, shares an the Kernow Education Arts Project, or fund (such as the artists’ work with sessions were run. The enthusiasm of community, until finally the tent arrived sort of inclusive and visually exciting art project KEAP). The aim of these meetings was to pupils, materials and transport everyone was tremendous and the at St Petroc’s School on the morning of development that has inspired many schools. Her art set up the project and make decisions on between schools sessions displayed the teachers’ and Monday 6 July. once our tent recipe is to take three primary a number of subjects. We discussed: • how local parents and volunteers support staff’s wide range of interests team has left. As soon as the tent was ready the schools schools, a secondary school, enthusiastic would practically support the project. and ideas. They all enjoyed spending I facilitated 1. The focus for the work. We decided on began to fill it with the work they had staff and children, an advanced skills time together, learning practical skills the project – ‘Urban Wrecking’, based on Nick and 5. We also arranged the practical matter of produced, both inside and out. The teacher in art, a lead artist, a supportive and discussing how they would adapt developing Jane Darke’s film The Wrecking Season. sharing email addresses and job titles. security railings, hired for overnight community and some extra artists, and use them in each school. By the end agendas, taking protection, proved to be great display musicians and dancers. Then shake them 2. How the different elements of the Dates were set for INSET at each school of the sessions staff were looking forward minutes, emailing places and soon the tent was overflowing. all together, provide resources and community could be involved. We and a range of staff from all the schools to passing on to their pupils the skills they information and questions, We had to remember to keep a space in training, sprinkle with inspiration, and … identified these different elements as were expected to attend each. Between had gained. injecting skills training, the middle for workshops. what do you get? An art tent! staff and pupils at all schools, parents, them the schools had asked for help encouraging networks and building the After each INSET session the lead community groups, artists, dancers with skills in 3D and printing; wind chimes Workshops began immediately, run by confidence of staff – but we went through We have had such fun with our Art teachers, the AST and the artist involved and musicians. and sensory art; living sculpture and staff from all the schools, artists who had the artistic process together. The Tent – and shared so many skills and met to continue planning the Art Tent spiritual or reflective places; and flags been part of the project, and myself and outcomes were hugely creative and there experiences with school children, 3. The shape of the process from the Week in July. Some schools were more and banners. another AST. Pupils from all three primary are many I can only guess at from passing teachers, teaching assistants, families autumn term through to the Art Tent confident than others – some were further schools shared the workshops, with comments and overheard conversations. and the community – that I want to tell arriving in the summer term. This The artist and myself went away and along the creative path – but each school groups arriving from St Mary’s and What went on in each of the schools was you about it. As an advanced skills would involve: planned the training between us. It was played a vital role in the process and in its Robartes every day. Community their own process and development teacher (AST) in art I have had the • schools identifying the skills they exciting to have been given such a own individual development. All the workshops in pottery and painting were alongside the communal activities. privilege of facilitating the project. You, needed help with creative list of requests and it was quite schools involved were positive and gave offered after school. too, could help develop art education for • working out the skills and experience a challenge to meet all the requirements. as much as they could to the project. This process could be repeated in a similar children in your schools by running a that different schools had to offer A lot of research and development went On the Thursday we held a giant Art Picnic way anywhere in the country. It can be Alongside the training, each school paid similar enterprise. each other into formulating ideas for developing after school with everyone encouraged to adapted to meet local needs and artists to come and work with the children • planning INSET dates and venues, spiritual and reflective places, living make and wear an arty hat. School choirs situations. The collaborative nature of an The concept of an Art Tent arose two on special projects. At St Petroc’s, artist one in each of the four schools sculpture and wind chimes that would be sang to us and Bodmin College Jazz Band Art Tent project produces far more than years ago from artist practitioners Ashley Hanson worked on individual • deciding the roles of the lead AST and safe for primary children to make. As the played to a large audience. one school could manage alone, while the Caroline Cleave and Tony Minnion, who canvases with Key Stage 1 pupils which, artist to facilitate the project alongside theme was ‘Urban Wrecking’ it was sharing of skills between pupils, staff, regularly worked in primary schools in the when put together, formed a visual map of The sustainability of the work is already a lead teacher from each school important to use as much recycled artists, ASTs and local community groups Cornwall area. The Cornwall Art Forum the journey that objects take crossing the apparent. I received an email from St • developing relationships between material as possible, either to be collected encourages all participants to take a risk loved the idea of the tent and so we Atlantic on the Gulf Stream to arrive at Petroc’s School the other day: primary schools and the art by schools or otherwise obtained locally. and try something new. planned that the next Cornwall Primary beaches in North Cornwall. This ideas department at Bodmin College A positive side-effect of our emphasis on ‘We are having a Winter Festival in Art Conference would operate for the day came from the Wrecking Season film made • planning workshops in schools recycling was to reduce the cost of February that you might be interested in. as a Mini Art Tent. Teachers attended by Nick and Jane Darke. The school then and for the local communities materials. Only essential materials such as [During the] first half of the spring term practical workshops in six different art paid for an image of all the canvases to be • inviting other arts organisations to PVA glue, acrylic paints, printing inks, clay, everyone is doing a topic on the theme of skills: painting, drawing, printing, textiles, printed onto aluminium. These were then join us both in running workshops willow and printing fabrics were bought. winter … As a final celebration we are photography, 3D and ICT. The overall placed permanently in the KS1 playground. and for the Art Tent Week itself having an ice rink for two days, a lantern theme was ‘blue’ and all the work was • the practicalities for the erection Potters and sculptors worked at Robartes procession (Caroline is doing a staff INSET displayed and celebrated in a small tent at of the tent and St Mary’s schools, Bodmin College Art in January) and art exhibitions. Ashley is the end of the day. • a timetable for the Art Tent Week staff went to run workshops in some of the running a club for gifted and talented The results were inspiring enough to • a way to record and evaluate primary schools, and new equipment was students with a final exhibition. We’re also attract several clusters of schools to apply the project. bought to develop screen printing and hoping to have poetry readings, singing, to run one of the pilot projects. willow work skills. Bodmin College Art music and lots of other things yet to be 4. We also needed to decide who Department built a huge figurative thought of! If you have any bright ideas do During the autumn term of 2008 two main would take responsibility for sculpture to give the tent a boost at the let me know. We decided we didn’t want to initial meetings were held in Bodmin, what, including: beginning of the week. limit arts week to the summer so we came bringing together three primary schools • which elements the forum up with this as well.’ (St Petroc’s, St Mary’s and Robartes), one would provide and pay for The build up of workshops and related secondary school (Bodmin College), (such as tent hire, INSET staff activities in schools continued, with the What more can I ask for? As an AST it is myself, an artist (Caroline Cleave) and an and promotion) lead teachers working very hard to immensely satisfying to see schools taking

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 12 Contact 13 Special Needs [email protected] Special Needs Art allows all children the freedom to explore

Anita Chamberlain, senior lecturer and disabilities. The learning disabilities Integrating art into the world of children primary foundation subjects co-ordinator consisted of Cornelia de Lange syndrome, with a learning difficulty and vice versa at Edge Hill University, Ormskirk, Asperger’s Syndrome, physical disability is all part of giving the children the Lancashire, reflects on an art project she (in this case the individual was wheelchair space and the opportunity to express completed in Cumbria with a group of bound) and autism. themselves. I believe that making art is children who have learning difficulties. a very natural impulse. During the My main aim was to look at how art can process the children should be under no All the children who participated in the give children with a learning difficulty the pressure, they should feel comfortable, art project had a learning disability and freedom to explore. I realise how lucky and they should be able to have fun so are part of the Cumbria Aiming High I was not to have to follow any formal that, overall, they experience art as agenda, which works for the inclusion curriculum in this instance. Nor did I a pleasurable activity. of all children regardless of ability. The have to justify the place of art within the project was organised by Cumbria project. My working objectives were: The children who participated in this Children’s Services Learning Difficulty art project entered into activities • to use the work of an artist to stimulate told that when she feels under stress to artwork. He says they learn a great deal and Disability team. spontaneously and they seemed to find thinking skills, she will make noises and involuntary from artists and designers but only if the art enjoyable and satisfying. They ticks. We saw no signs of these during the teachers themselves develop high-level The goal was to provide creative and • to produce art based on personal discovered many facts during the two two days she spent with us. Art allows for thinking techniques. engaging activities for young people reflection, and days, one being that a larger paintbrush freedom of expression and encourages throughout the summer, October half- • to generate original art work using a Art is an enormously important way for makes thicker marks on the paper. individuality. During the two-day term and Christmas holidays of 2009. variety of media. every child to begin to learn about the Another being that they needed to wipe project Annabelle was able to work The team brief was ‘to arrange activities world around them. It is also helpful Not only were all these objectives met but the brushes dry before using another methodically, using the clay to create where all children regardless of disability in connecting children to each other, the children also developed skills that colour of paint. some outstanding pieces of work and could express themselves and be to adults and to the outside world. went beyond them: having fun and needing little teacher input. creative’. I was asked to provide art The theme for the first day was getting messy. All in a day’s work for the The pupils involved with this project activities for a small group of seven ‘Ourselves’. They drew their faces onto art teacher and student. Lee (who has Cornelia de Lange used paint, clay, crayons and finger- children who had a range of needs and wallpaper, painted their faces onto paper Syndrome) was a pleasure to work with. paints to express and create images and used clay to model their faces. They He began the workshop just sitting at the of themselves and abstract art. They freely express their innermost thoughts enjoyed using the paint brushes and side of the room, not wanting to join in. explored texture, shape, colours, light, and to develop personal ideas. All children paint, but then got great satisfaction from He may have felt uneasy because I was not shade, and structural form. They enjoyed should be engaged in playful investigation using their hands to smear paint onto known to him, or maybe he was worried the opportunity to explore what they during which they can ‘immerse paper. There seemed to be no desire to by the unfamiliar location. Whatever the know and understand about their themselves in the habits of artists’ paint an image, instead they enjoyed reason, he ended the two-day project environment through practising artistic (Teaching Primary Art and Design by gliding their hands up and down the producing some stunning visual artwork. skills such as painting. Paul Key and Jayne Stillman, 2009, paper, relishing the smooth feel of the Learning Matters). paint. One child even asked me if she On the second day the children were I believe that art is about playing, could paint on to her face. introduced to the work of different artists. reflecting, adapting and modifying Exposing the seven children to different The children chose an image they liked purposeful ideas. I agree with Kristen art resources in this experience was The clay modelling was very productive, and were asked to recreate the image Eglinton in her book Art in the Early Years rewarding and enlightening. The project with some amazing faces produced. using paint. Some were supported while (2003, Routledge) when she states ‘that appears to have helped the children to Annabelle, who has Asperger’s others worked alone. They were allowed art experiences do stimulate the senses’. develop knowledge and thinking skills, as Syndrome, asked if she could make a clay to express their ideas, opinions and Children are inventive and for them art well as helping them to creatively express man. She created a detailed figure, feelings entirely freely. The children were can be both a way to explore, and an themselves. The children in this group providing him with a coat, a scarf, and encouraged to discuss the paintings, how expression of, who they are. It can be seemed to be able to look at paintings and trousers – all carefully made out of clay. to hold the brushes, and their selection of a way to process and integrate their instantly understand them in their own She even made a small cat to keep her paint. Then they were encouraged to talk perceptions about life and the condition way. They were not distracted by the clay man company. She then spent the about the images they had designed and of being human. It is a healthy vehicle of technical processes that lay behind their rest of the afternoon painting the man to tell us how they felt about their work. In expression for everyone and can take work. They were free to touch and smell and, later on, creating a bull’s head out of his book Teaching Art to Young Children many forms. Art activities give all children, the paint and clay, to explore colours, clay. In all this work, Annabelle displayed (2002, Routledge), Rob Barnes suggests especially children who are not able to shapes and ideas, and to socially engage a great eye for detail, although she herself many ways that children can be exposed in the processes available. is very modest about her artwork. I was communicate verbally, the opportunity to

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 14 15 Printmaking feature Printmaking Feature Adventures in printmaking Cardboard relief – via Art Express printing

Laurence Keel, Head of Kilburn Park monoprint. After several repeats of the Steve Pratchett, former senior lecturer in ‘Although in most schools pupils have example, of perspective), and language Junior School, was involved in testing and process we then tried inking the tile before Digital design art and design and geography at University sketchbooks, especially in Key Stage 2, development – including the acquisition developing A&C Black’s Art Express series. making an outline drawing and pressing We digitally scanned the two designs and, College Plymouth St Mark and St John the quality and value of their use vary. of a technical vocabulary. They are The printing section of Art Express (written on to the paper to make an image. All using an art and design program (we used shares an exciting project involving Where they are used well, pupils collect marked regularly, indicating how work by Jane Bower and Michèle Claire Kitto) pieces of work were saved in the pupils’ Dazzle03), the children were able to rubbing and printmaking techniques information – first and second hand – make can be improved.” was the first that was taught throughout printing scrapbooks. undertaken with BEd Primary students regular visual jottings, experiment with a discover the effects of using different ‘Overall, however, the use of sketchbooks the school. Here he shares some of the inspired by a visit to the National Marine diversity of media and play with ideas as a colours on their design to make tiles. is an aspect of art and design that would successes of this flexible scheme of work Aquarium, Plymouth. means of enhancing their work. In these Intaglio Printing Children learnt about primary and merit greater attention in most schools, focusing on his work with Year 5 and secondary colours and how they interact schools, pupils are shown how to use This set of lessons really caught the pupils’ even in some where provision is otherwise Year 6 pupils. with each other to create harmonies and sketchbooks effectively and are given imaginations. Metal sheets and acid (true Sketchbooks good. Unsurprisingly, along with the contrasts. Using the ‘tile’ tool application, regular oral and written feedback on the Art was never a top priority at Kilburn Park intaglio) were obviously a non-starter, so I The BEd Primary students went on a development of 3D work, it is an aspect children were easily able to make large work produced. By contrast, in some Junior School. Having gone into ‘special had planned to use thick card and make an sketching trip to the National Marine that looms large in many subject complex patterns. schools, sketchbooks are little more than measures’ in April 2006, there were more indent using a biro. I tested this technique Aquarium in Plymouth where they met co-ordinators’ development plans for exercise books, containing all the artwork pressing needs throughout the school. before the lesson and, to be honest, the Julianna de Pledge, the artist in residence. the subject.’ (Ofsted 2002:5) done over a year. This one-size-fits-all However, once we were back on our feet it results were disappointing. In a bit of a Modern printing She showed them how she used approach prevents pupils working on a was time to introduce an art and design panic I swapped the card for thin sketchbooks to record her observations of I thought it was important to finish our work large scale and inhibits the use of paint Rubbing curriculum throughout the school. I have polystyrene sheets and the effect was marine life. The students then engaged in in an up-to-date fashion. After and mixed media.’ (Ofsted 2004:5) When making the cardboard relief, it is always been a bit of a traditionalist when it amazing. I do not think I will ever forget the observational drawings. These were not photocopying their original two designs, best not to use more than about three comes to art. When our pupils went home I reaction of the students as I revealed my finished pieces of work but rather sketches ‘The potential of portfolios and sketchbooks the students were able to experiment with layers of cardboard, otherwise the wanted them to be able to tell their parents first ‘fossil’ print. Using the theme of with annotated written notes reminding the to promote a shared understanding of the effects of using complementary contours become too high for a good what they had done in art: painting, ‘underwater life’ the pupils were set the students of colours, lines, textures and standards and progress among staff is colours on the tiles. This also gave an quality rubbing or print. When glueing the drawing, collage, printing and so on. I was task of making intaglio prints using patterns. In their art and design inspection rarely realised.’ (Ofsted 2005:3) opportunity for them to experience adding pieces of cardboard down, it is best to use therefore fortunate to be involved in the polystyrene sheets indented with a biro. subject reports, Ofsted has expressed identical colours by hand to sixteen tiles, ‘Although some teachers in some schools PVA glue so they are firmly stuck and will development of A&C Black’s Art Express At this point I had planned to move on to concerns regarding the effective use of and then to experiment with different use portfolios of individual pupils’ work not later be lifted by the sticky printing ink which is arranged to do exactly this. investigate collography printing. However, sketchbooks in primary school practice, designs, before arriving at a finished piece. to make an overall assessment, these on a print roller. Always use smooth PVA the class was so engaged by the intaglio so it was invaluable for the students to In Years 3 and 4 children had experimented We were fortunate to have access to a assessments often omit any teacher glue straight from its container, not old process that we spent several lessons meet an artist in residence who could with printing using different objects and colour photocopier which meant that some analysis of experiential learning or lumpy glue that has partially dried. These developing our prints using this technique. demonstrate through her own practice media before progressing onto string of the class were able to experiment with sketchbook evidence of progress.’ lumps will spoil the flatness of the card As the weeks passed I took to trying to the value of sketchbooks and effective printing and roller printing. It was in Years 5 enlarging and making multiple copies of (Ofsted 2005: 2) surfaces and appear in the final rubbing or avoid the Year 5 children as questions such strategies for their use in her art work. and 6 that pupils and staff entered into their coloured designs. print. Applying the glue with a stiff brush as ’when are we next doing printing?’ ‘Despite the requirement in the National unknown ‘print’ territory – we were ‘Sketchbooks are an invaluable means of rather than a glue spreader will also avoid became more and more frequent. The I enjoyed teaching these sets of lessons so Curriculum for children at Key Stage 2 to embarking on an adventure in printing. collecting visual and other information and this. Avoid using so much glue that it experiences that they have gained in Year 5 much that by the time you read this article, be taught how to collect visual and other for developing ideas. Practice in their use, squeezes out around the edges when the will form a very good basis for their printing I will have delivered an INSET day for staff information to help them develop ideas, however, remains variable. In the best card is being pressed down. Mono Printing project in Year 6. wholly devoted to adventures in including using a sketchbook, the use of printmaking. practice teachers and pupils have a clear, As the name suggests, this is printing that such sketchbooks varies considerably. When making rubbings from the shared understanding of what a produces a one-off image. We looked at In a few schools it is done very well: cardboard relief surface, thin paper Making a printing block Art Express is available from A&C Black sketchbook is for, and children are taught some monoprints by famous artists such www.acblack.com/artexpress. produces the best results. The paper The designs were copied using a black the skills to use a sketchbook effectively “There is a clear policy for the use of as Tracy Emin and David Hockney before used here is kitchen paper. Heavy marker on to two sheets of self-adhesive outside classroom time. The analysis of sketchbooks. They are introduced in Key moving on to a practical exploration of the pressure on the wax crayon produces a neoprene (highly recommended). These sketchbooks of professional artists is a Stage 1 and are used regularly, both in technique. This is a great introduction to darker image and lighter pressure a paler were then cut out and stuck to thick card feature of good practice.’ (Ofsted 2002:4) lessons and for homework, and for printing as it produces immediate effects. image. The example above illustrates how squares measuring 10 cm x 10 cm and, hey different purposes (for example, to develop Ink is rolled on to a flat surface – we used the illusion of depth and perspective can presto, we had two finest quality block ideas, practise particular skills or undertake plain white bathroom tiles – and then a be created by overlapping a darker image prints. Although this process takes research on different artists). Teachers sheet of paper matching the size of the tile onto a lighter one. The darker image extensive preparation, it is well worth it for have received training in how to use them is placed upon it. We experimented using comes forward and the lighter one the quality of the prints. Using these two with pupils, and to assess pupils’ different classroom implements and hands recedes, in this case giving the motif blocks we looked at different patterns development of skills, mainly in drawing, to make pressure points before peeling impression of a shoal of fish. in printing and, in particular, rotational and their conceptual understanding (for away the paper for a first glimpse of the Fig. 10 symmetryFig. 11 and translation.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 16 17 Printmaking Feature Printmaking Feature

Examples of students’ sketchbook work This demonstration model of a fish is A demonstration rubbing taken from the A demonstration rubbing taken from the Prints taken from the cardboard relief An example of two overlapping prints (BEd 3 Primary Marjon Teacher trainees). made from three layers of cardboard cardboard relief with wax crayons. head of the fish using more than one using printing inks and rollers. In these being taken from the same cardboard The colour notes were aides-memoire which create a raised relief surface for colour of wax crayon. examples several rollers, each loaded relief. The darker one with more contrast for the printing workshop back at college rubbing and printing. with a different coloured ink, were used. comes into the foreground and the feint print recedes into the background.

Unless the paper is kept firmly pressed foreground and some in the background. be used to effect if depth and perspective more relevant subject than geography.’ The Statement of Values by the National down onto the cardboard relief, the latter As well as the usual coloured wax are desired, as the faint image with less (Ofsted 2008:7) Forum for Values in Education and the can move during the rubbing. To avoid crayons, brass rubbing sticks can be used contrast will appear to recede behind a Community in the National Curriculum ‘Education about sustainability is most this, a couple of small pieces of masking to give a variety of metallic gold, bronze darker image with more contrast. Handbook for Primary Teachers in effectively delivered through enquiry- tape can be used to secure it to the and silver effects. England (DfES 1999:149) contains a While at the aquarium, the students based learning. Pupils can be encouraged underside of the paper. section on ‘valuing the environment both researched a sustainability issue, e.g. to take responsibility for their learning by natural and shaped by humanity, as the When making rubbings, quality and Printing where a species or marine habitat was identifying real issues that concern them.’ basis of life and a source of wonder’. subtleties of tone and colour are not ‘The tension between the calculated and under threat. With information gathered (Morris and Willy 2007:34) The Forum’s list of values includes achieved if the process is hurried and unpredictable is one of the delights of from the visit and internet research, they ‘ESD is fundamentally about values, with ‘understand our responsibilities for superficial. Areas of the rubbing can be printmaking at all levels, from the initial worked in pairs to produce a display respect at the centre: respect for others, other species, preserve the balance given different emphases by varying the tactile experiments with hands and poster that would inform others about including those of present and future and diversity and interest for future degree of pressure on the wax crayon and fingers to professional use of a highly their chosen issue and the changes in generations, for difference and diversity, generations, accept our responsibility colour mixes can be achieved by using versatile, challenging and creative human behaviour that would be needed for the environment, for resources of the to maintain a sustainable environment more than one colour of crayon. medium. The textural surface of a block, to ameliorate the problem. These posters planet we inhabit.’ (UN 2005) for future generations’. It is not just the quality of the colour medium, and the combined text with cardboard relief Collaborative pieces of work can be science but also art and design that has surface and absorbency of the paper all rubbings and prints and were an ‘The study of environment embraces References created by each cardboard relief being a valuable contribution to make in this affect the quality of the print. Many artists integration of the disciplines of science, both its physical and human dimensions. DES (1990) Geography for Ages 5 to 16: Proposals placed under a large sheet of paper and endeavour because: ‘the earth is in choose printmaking both for qualities of geography and art and design. Thus it addresses the resources, of the Secretary of State for Education & Science. rubbed with wax crayons. In the example trouble not simply because people don’t London: DES. the surface, which can be achieved, and sometimes scarce and fragile, that the above, making multiple rubbings from the Fig 1 illustrates how the cardboard relief understand. It is more than that. Lots of DfES (1999) The National Curriculum Handbook for for the facility of generating multiple, Earth provides and on which all life same relief creates the effect of shoals of of the fish can be as exciting a visual them just don’t care. They have lost a Primary Teachers in England. London: DfES and QCA. individually produced, copies of an image. depends; the impact on those resources fish swimming along, some in the piece of work as the print itself. It will still feeling for where they really are. They Gallaway, G and Kear, M (1999) Teaching Art and Design is an essential part of printmaking, of human activities; and the wider social, Design in the Primary School. London: David Fulton. have residues of the numerous layers of have literally “lost touch” with the other with planning and predicting outcome economic, political, and cultural Morris, G & Willy, T (2007) ‘Eight Doorways to Fig 1. ink from the rollers. These can result in life of the planet … they no longer have and an understanding of the stages of the consequences of the relationship Sustainability’ in Primary Geographer. No. 64, some subtle, complex and accidental the necessary strong emotional Sheffield: GA. print process being central to good between the two.’ (DES 1990:6) colour mixes. attachments to sustain them practice. Each print is a discovery: even Ofsted (2005) Art and Design in Primary Schools To conclude, the art and design element in a healthy relationship with the earth.’ Ofsted Subject Reports 2003/4. Ref. HMI 2343. professionals experience the excitement Equally, each successive print will pick up London: Ofsted. of this project not only accesses the (Van Matre 1990: 128) of uncertainty each time they pull a print.’ these residues of ink, thereby generating cognitive domain but also the affective. Ofsted (2004) Art and Design in Primary Schools (Gallaway and Kear 1999) increasing complexities of colour mix. Ofsted Reports Series 2002/03. Ref. HMI 2004. Seeing marine creatures at the aquarium, Many of these will be accidental and are London: Ofsted. When using printing inks it is important closely observing them through part of the delight of seeing the Ofsted (2002) Art and Design in Primary Schools to get the amount of ink on the roller just observational drawing and exploring the Ofsted Reports Series 2000/01. Ref. HMI 358. unexpected during printing, and the right. The ink is first rolled out on a flat beauty of their shapes, colours, patterns London: Ofsted. uniqueness of each print. surface such as a thick piece of Perspex and textures through the printing and Selby, D (2008) ‘The Firm and Shaky Ground of Education for Sustainable Development’ in or a printing tray. When the correct ‘It is important that citizens of tomorrow rubbing workshop, elicits a sense of Gray-Donald, J and Selby, D (eds) Green Frontiers amount of ink is on the roller, it makes a understand the management of risk, wonder and enchantment. Selby Environmental Educators Dancing Away from crackling sound a bit like sticky tape being appreciate diversity, are aware of (2008:70) looks at definitions and Mechanism. Rotterdam: Sense Publishers pulled off its reel. If there is too much ink environmental issues, promote concepts of sustainability literacy and UN (2005) Guidelines and Recommendations for Re-orientating Education to Address Sustainability. on the roller it will clog up all the fine detail sustainability and respect human rights begs the question ‘we may wonder where United Nations. and the changes in level of the cardboard and social inclusion. If the aspiration of awe, enchantment, mystery, reverence, Van Matre, S (1990) Earth Education: A New relief. If there is too little ink, the resulting schools is to create pupils who are active wonder, the oceanic and spiritual sense Beginning. USA, Illinois: Earth Education Institute. print will be very faint. However, this can and well rounded citizens, there is no of connectedness … have gone?’.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 18 19 Textiles Textiles Our Town quilt project

Kate Finley teaches art to Years 2 to 6 at I teach art to pupils who have a timetabled Curriculum. My own artwork is oriented Overlord Embroidery, which tells the story entry form, I needed to know roughly how The children are very proud of their work St Mary’s School in Henley-on-Thames. lesson of an hour and a half each week. towards textiles and I have recently been of the Allied invasion of Normandy in June big the finished piece would be. I was only and are delighted to see it used as a card Here she describes a textiles project Each year I do a textiles-based project making quilts. This gave me the idea of 1944. We compared the two works. able to attempt to gauge this by laying which sells in ‘proper shops’! As a final based on ‘our town’ resulting in a 2 metre with Year 5, loosely based on the ‘Talking producing a group quilt in 2009. The down the sketches in a rough square. note it am happy to say that working on Any project that involves a group of square quilt. Textiles’ Unit 5C of the National project ran for the whole of the spring I wasn’t entirely sure how we would this project has inspired my own work. children needs to be able to be broken term, finishing at Easter. I have found that it arrange the buildings at this point but I made a textile piece, entitled ‘Henley’, down into components so that each child is difficult to complete long projects in the luckily it all worked out at the planned size. as a result of my work with the children can make a valid contribution. This is why summer term as the pupils have too many and this was on display in the River and choosing the theme of the town worked so The flag border was inspired by the flags other commitments including sports Rowing Museum in the town during the well, as the children worked on their own put up in the town each summer in time fixtures, trips and an end-of-term play. summer of 2009. Overall, I found the buildings. I had hoped to go and sketch in for the regatta. Light blue and brown are project inspiring and motivating, and am I take my Year 3 pupils for a sketchbook the town, but the weather in January was the school colours. now planning a new group project for walk around Henley-on-Thames as part of against us so the children worked from When the children had finished making all spring 2010. their work on ‘Can Buildings Speak?’, so I photographs I had taken. I allowed most of the buildings and such other details as was already thinking about using the very the children to choose which building they boats, cars and swans, we worked out varied and interesting shops and houses were going to work on. I did, however, Links how to arrange everything so that each of the town for a creative project. steer some of the less able children The Bayeux tapestry at Reading Museum: piece could be seen and could take its towards the simpler buildings. www.bayeuxtapestry.org.uk At the start of the quilt project I showed place in a pleasing overall design. This the Year 5 children (31 students) some The children all did good line drawings of stage involved a fair amount of work for The Overlord Embroidery at Portsmouth real quilts and some photographs of their chosen building. These were then me as I needed to add the border (made Museum: www.ddaymuseum.co.uk traditional and contemporary quilts. They used as templates for cutting out fabric. by a teaching assistant) and sew each Square greetings cards with envelopes: were fascinated and it was interesting to Sharp scissors are really important for shape down using my sewing machine. www.ecoartcards.com see which quilts appealed the most to cutting fabric, and left-handed children The quilt was sent off to the Malvern Quilt whom. Some students were drawn to generally need a bit more help here too. Malvern Quilt Festival: Festival and received first prize in the colours, others to subject matter, some The pupils quickly got the hang of creating www.grosvenorexhibitions.co.uk Under 16 category, much to the surprise to the sheer number of pieces of fabric in their building in layers – first the main and delight of all concerned. the quilt and the work that must have shape with the roof, then windows and gone into it. details added on top – choosing their A local Henley lady saw the quilt at materials from boxes of scrap fabric, felt, Malvern and wrote to the school asking The town of Reading is close to Henley, buttons, thin black tape/ribbon and if we could display it at the Helen House so I took Year 5 to visit the copy of the embroidery threads. A double-sided Hospice shop in Henley where she works. Bayeux Tapestry that is housed in the adhesive web (I used Bondaweb) is very The quilt was much admired there and museum there. I encouraged them to useful when working with shiny fabrics we have sold a huge number of cards sketch details from it. I wanted the pupils and small details. showing the quilt through the school to see what could be achieved by a group as well as in some local shops. (The of people working together to tell a story. I wanted to enter the quilt into the Malvern company who made the cards for us I also showed them images of the 1968 Quilt Festival and, in order to complete the is EcoArtCards.)

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 20 Contact: 21 Printmaking feature www.karenlloyd.co.uk Printmaking feature The Kendal Fell Project: allotments, printing and handmade mixed media books

Artist Karen Lloyd shares an initiative fell, farmland and wonderful views of the spring. Groups were taken out to the allotment holder myself I could allow One of the schools was already using involving a cluster of three primary surrounding fells. I decided it would make woods and the Fell to find out about native children onto my own allotment but Quickprint. They wanted to investigate schools in Kendal, South Lakeland. The a fantastic environment on which to base tree species and to observe and draw otherwise we kept to the communal a new skill and so we looked into making schools’ catchment areas are very mixed, a school project, and I began to research emergent leaves and wild flowers. We paths. One of my intentions was to show handmade mixed-media books. with a proportion of families from each and acquire funding. The plan was to then made large-scale collaborative that food can be grown even during the In the first two schools we made two school experiencing some social observe the changes taking place through drawings on the floor, using as colder months of the year. Among the fruit types of printing blocks in order to explore deprivation. As a result children at the the seasons and to experience the local backgrounds dilute coloured inks for free and vegetables we saw there were both negative and positive shapes. In the schools may not have the chance to natural world. I would then explore the washes. The children then referred to the blackberries, autumn-fruiting raspberries, first instance we used Quickprint, which is explore the richness of their local children’s responses through a number drawings they had made on the Fell, sweetcorn (unpeeling it was a source of a thin polystyrene tile that can be drawn environment. of creative initiatives. The project was to selected images from these, and worked great delight!), leeks, ruby red chard, into with pencils or biros, or impressed involve children from Year 4 and carry with Chinese and Indian inks and pastels sprouts, cabbages, spinach, runner beans, I had spent much of the previous year with objects. It is a very immediate on with them into Year 5. on top to create montages of what they French beans, bronze fennel and alpine exploring Kendal Fell for my own work, process. Children were asked to choose had seen. They used a variety of strawberries (still fruiting on my allotment which is based in painting, drawing and Through a small bursary from Creative a small number of their field drawings to implements for mark-making – large – yum!). There were also dazzlingly printmaking. It is a fantastic area, where Futures Cumbria, I was able to start work simplify and then transfer to the household-type paintbrushes, kebab colourful displays of dahlias and mixed native woodland gives way to open on the first phase, which took place in the Quickprint. We also made positive-image sticks, feathers attached to sticks and chrysanthemums, and a really interesting print-blocks out of ‘Funky Foam’, again by bamboo pens. variety of sheds, pigeon lofts and chicken simplifying drawings, transferring designs coops as well as chickens and goats. The second phase was made possible to the foam, cutting them out and glueing through a grant from the Ernest Cook We met a couple of allotment holders them onto pre-cut and sanded pieces Trust, which makes awards for projects who were delighted to find schools of wood. If this process was too that explore links between the arts and the investigating growing food and they were complicated for some children, they natural environment. We made visits to happy to give impromptu talks to the instead traced the design and transferred two allotment sites on the Fell to look at children. One man looked after an it by cutting out ‘pattern pieces’ and growing vegetables and fruit, keeping allotment for the Manna House project, tracing around them onto the foam. chickens, pigeons and other small animals, which works with homeless and Most children managed to make both and growing flowers for pleasure. One or vulnerable people in South Lakeland. types of print blocks in one whole- two children were familiar with allotments, He was extremely proud of his South afternoon session. having one in their family, and were able to American chillies, and the children noticed In the next session we set up printing identify certain plants and some breeds of how stone free his soil was when stations around the classroom. Children chicken. Others had no idea at all that compared with other allotments – a real worked in a pairs with plenty of ordinary people could grow food and were labour of love. newspaper, and a roller and ink plate fascinated by the things they saw, loving Drawings were made at the allotments between them. Each pair had one colour the higgledy-piggledy nature of home- in a number of media including charcoal, of ink. I showed them how to keep turning made sheds and structures. graphite, oil pastels and pencils. These newspaper pages in order to always have In this second phase, we made our visits drawings were then used back in school a clean surface. They learned how to ink- during September and October. As an to form the basis of printmaking projects. up a plate using a small amount of ink,

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 22 23 Printmaking feature Book reviews Book reviews

how to watch the surface of the ink and to because impressions on Quickprint had concertina-folded paper with simple know when it was ready to use, then how not been made deeply enough, or apertures cut in the pages to reveal other Printmaker’s Secrets Handmade Prints: to ink-up their blocks, lay them onto the because ink was rolled out too thickly or images. The class teacher liked the idea Anthony Dyson An Introduction to Creative paper and press them down carefully with too thinly on the inking-up plate or the of including in the books lots of different Published by A & C Black their hands. They also had to think about blocks. This showed the importance methods of working. At the time the class RRP £19.95 Printmaking without a Press keeping their hands clean so that inky of watching and listening during was researching plant collectors such as Available to buy from the NSEAD Anne Desmet and Jim Anderson fingers didn’t spoil their work. demonstrations. Joseph Banks, the botanist on James bookshop (www.nsead.org). Published by A & C Black Cook’s voyages, so the books became At this stage it might be wise to offer a The next stage of the project involved RRP £14.99 a record of both allotments and botanists. This publication provides the reader with word of advice to teachers who read this covering a large area with a long piece of They also incorporated creative writing a richly illustrated personal insight into This book is a must for every art room and and are about to rush off to find those old paper. Children were asked to choose two and printmaking using the Funky the demands and vagaries of printmaking. primary classroom. It is full of practical tubes or bottles of printing ink in the back of their best blocks to place and print. Foam method. It represents a good cross-section of know-how and ideas for a range of simple of the store cupboard. The ink does not Working in very small groups, we quickly contemporary artist printmakers whose printmaking techniques that you could do keep forever and can become over-stiff built up a beautiful montage of everyone’s One of the most interesting aspects of work spans the multi-faceted techniques in a primary classroom. Although not or, as I like to say, claggy. Claggy ink leads prints. Pushing it on another stage we the Kendal Fell Project has been the used to create unique hand-printed written specifically for teachers it covers to disappointingly poor-quality prints. started to introduce colour mixing, in other experience of working in three different images. Included is a useful glossary a wide range of different techniques and For this project we used Nerchau water- words adding a second colour to the plate settings and seeing how the dynamics of technical terms and artists’ contact is beautifully illustrated throughout. based inks available from Great Art and rolling out. We also started to overlap and the work change and flow from group details. As a visual resource and a The inking-up of a Mini car is very (www.greatart.co.uk). prints so that we were doing more exciting to group. The children seemed to find no dictionary of potential avenues of amusing and effective and would be than printing one colour onto a white problem concentrating on the work and These are ideal for this type of project as creative investigation it is an excellent a great discussion piece in a lesson. background. Overprinting in this way without a doubt they absolutely loved their they yield strong, bright colours which are compendium and would be a very The techniques range from potato prints resulted in new colour mixes, or optical time spent on the allotments. (One of the fully intermixable and washable. valuable edition to any art library. to collagraph and require very little mixes. Some children wanted to schools has just acquired its own This is a book that would delight both specialist equipment. A great read but Using their printing blocks, all the children experiment with writing into the allotment and it will be really good to professional and amateur printmakers also a good resource to dip in and out of. made a sheet of prints, choosing their Quickprint, which meant they had to try watch this develop). As a resource for as well as those who just enjoy viewing own arrangements of their blocks. The some backwards writing and then hold it developing new work there is no doubt excellent creative endeavour. diversity of end results was fantastic: up to a mirror to see if they had got it right. about the benefits of taking children out from ladybirds and wasps to dahlias to explore what is on their doorstep even Reviewed by Ian Shearman, Making simple handmade books proved and sunflowers, and from sheds and if what is there may seem entirely obvious artist/educator to be a rewarding experience for children greenhouses to rows of cabbages. A riot at first. It was also good to talk to other at the third school. We made bookends in of allotment imagery filled the classrooms. allotment holders and hear how pleased the shape of sheds, the door was a flap they were to see children outside, Some technical difficulties were that opened to reveal the inside of the looking at growing plants for food and encountered and these were either shed, and pages were made of for pleasure. I am currently researching funding sources for the next phase of the project which will be to work with a writer and stone-carver to create in the grounds of each school a ‘poetry path’ based on the children’s experiences out on the Fell. Karen Lloyd is an artist who lives and works near Kendal Fell. Examples of her work and schools projects can be seen on her website. She is also listed on the website of Creative Futures Cumbria as an artist working in schools. www.karenlloyd.co.uk www.creativefuturescumbria.co.uk

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 24 Readers reveal all SUBSCRIBE to START the magazine for primary and pre-school teachers of art, craft and design Subscribers to START receive a year’s free online access to over 300 units of art, craft and design work on the NSEAD’s website: www.nsead.org username: patchwork, password: quilt. Readers Please phone the NSEAD office on 01225 810134 to obtain your reveal all membership number before you log onto the website. To subscribe to START and receive your personal copy call About NSEAD 01225 810134 or photocopy and complete the subscription form START is published by the National Society for Education in Art n YES, I would like to subscribe to STart & Design (NSEAD) with the support of Arts Council England. learn a lot about how patterns repeat and (which link neatly to another Year 3 unit), Name Designing in repeat using a can derive a great of pleasure from flowers, cars and trucks, shell drawings, The NSEAD is the leading UK authority concerned with art, craft and photocopier: exploring ideas producing an effective and colourful design. and bugs and butterflies are all good design education and promotes and represents art and design in all Title/role starting points. It is relatively easy to phases of education throughout the UK. I like to run this project in Year 3 as it links in School/Organisation for printmaking find line drawings that can be used, or to A professional association with active membership among art and with Unit 3b: Investigating patterns. It can produce an A4 sheet in pen by tracing over design teachers and lecturers in the UK, the NSEAD is also a leading Address Kate Findlay, teacher at St Mary’s School in be quite challenging for this age group as suitable size pictures. I tend to produce my provider of in-service education, online and other publications for art Henley-on-Thames, undertook this project there are a number of instructions which Postcode own sheets with a mixture of hand-drawn and design education. with Year 3 pupils. Here she shows how it need to be followed carefully. However, images and tracings. Visit www.nsead.org for more information. Telephone can work with any age group. with good preparation and patience all of the children can get a result. I would When the students have completed their How to access art lessons and art projects online Payment options Before training as a teacher I worked as I wish to pay by one of the following means (please tick): strongly recommend that the teacher designs, they can be photocopied four The National Society for Education in Art & Design ‘Units of Work’ a textile designer, and it was extremely database has about 300 units of work that can be accessed free of 1. n Direct Debit – Direct Debit –please fill in the whole form in the box below, has tried out the whole process first. times. It is best for an adult to trim the important to know how to put designs in charge by subscribers to START magazine – there should be something including official use boxbut excluding reference number using a ball designs back to squares, to give more point pen and send it to: NSEAD, 3 Mason’s Wharf, Potley Lane, repeat. I have since used this knowledge Each child needs a piece of square paper. there to surprise and inspire you. The units have been written by some accurate results. The student can then use Corsham, Wiltshire, SN13 9FY with a cheque or card payment of £7.50 with teaching groups ranging from Year 3 The best size to use is A4 photocopier of the UK’s leading art educators and include art projects, art lessons for the first issue. Debits will be taken on 1/1, 1/4, 1/7, and 1/10 felt pens or crayons to colour each square annually. all the way up to A level. I love the way the paper with the bottom cut off to make a and descriptions of classroom and art room teaching strategies for in the same way. The design can be joined 2. n Payment by personal cheque (cheques made payable to NSEAD) children respond according to their square. They also need scissors, a glue children, pupils and students from 3 to 18 years old. However, most together before or after colouring. of the units are easily adapted for use by a wider age range. – £30 for one year’s single subscription of four editions, £50 for capabilities. Older students produce stick, some masking tape and a black pen. two copies sent to same address hand-drawn, sophisticated designs with The teacher needs to have a paper trimmer The Society is always keen to receive new ideas to add to the existing 3. n Invoice (please attach an official order from your school, college subtle colouring. Younger children, who (or guillotine) to hand. units – if you have a lesson you are particularly pleased with, please or university) would really struggle to produce the entire write it up in a similar format and email it, together with one or two 4. n Visa/MasterCard/Delta/Switch Card number (below) design themselves, can still get extremely The children need to be given a variety examples of your children’s work to [email protected] good effects from using images they are of line-drawn shapes, on whatever the To access the Units of Work you should go to www.nsead.org given. In the process, this age group can theme is for the pattern. Egyptian images and log on using the username ‘patchwork’ and the password ‘quilt’. Expiry date Issue number (Switch only) Then click on ‘Resources’ followed by ‘Units of Work’. You can simply browse through the units or search them by using Security number (last 3 digits of number on signature strip)

How to design a repeating pattern keywords such as artists’ names, themes or techniques. Alternatively, Name on card Just about any image can be put in to you can search for age range, particular media and processes, and repeat. This method is very the elements such as shape, form, colour, tone and texture. Address at which card is registered (if different from above) straightforward, and gives a very professional result. Postcode

1. Cut the end off a piece of A4 paper Signature Date to make a square (21 cm x 21 cm). 1 2 Please return to: STart Magazine NSEAD, 3 Mason’s Wharf, Potley Lane, Draw or paste a motif in the centre Corsham, Wiltshire, SN13 9FY T: 01225 810134 F: 01225 812730 of the square. Don’t go too close to Instruction to your Bank or Building Society to pay by Direct Debit the edges. Name and full postal address of you Bank or Building Society For NSEAD official use only This is not part of the instruction to your Bank or Building Society. 2. Fold the square of paper into four, and To: The Manager n Quarterly Payment open out again. The design will be cut Bank/Building Society along the fold lines. Cut the design in Address Instruction to your Bank or Building Society half, horizontally. Put A/B at the bottom, Please pay NSEAD, direct debits from the account detailed in this instruction subject to the safeguards assured by the Direct Debit Guarantee. I understand and C/D at the top. Postcode that this instruction may remain with NSEAD and, if so, details will be passed 3 4 electronically to my Bank/Building Society. 3. Tape it back together as shown with Name(s) of account holder(s) Signature Date a few small pieces of masking tape Bank/Building Society account number Branch sort code Banks or Building Societies may not accept Direct Debit Instructions for some types of account. on the back. n n n n n n n n n n n n n n The Direct Debit guarantee: This guarantee should be detached and retained by the payer. • This guarantee is offered by all Banks and Building societies that take part in the Direct Debit Scheme. 4. Draw or paste down some more Reference number • The efficiency and security of the Scheme is monitored and protected by your own Bank or Building Society. • If the amounts to be paid or the payment dates change NSEAD will notify you 14 working days in advance of motifs in the space. Make sure they n n n n n n n n n n n n n n n n n your account being debited or as otherwise agreed. • If an error is made by NSEAD or your Bank or Building Society, you are guaranteed a full and immediate do not touch the outer edges. refund from your branch of the amount paid. Originator’s Identification Number • You can cancel a Direct Debit at any time by writing to your Bank or Building Society. Please also send a 9 9 0 9 9 1 copy of your letter to us.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN