finger puppet documentation

I found making finger puppets to be incredibly easy. We all finished pretty quickly. I think that this portion of the assignment would have the same impact on our age group. I don't know if it would be much of a challenge for 10-12 year olds to draw faces and glue hair onto the tips of gloves. I think that making their family members would be exciting for some, but not all of the students.
I wasn't totally clear on Keeley's objectives, and I found it a little limiting. We were asked to make representations of our family, but the amount of detail we had was restricted by the materials and the size. Keeley asked us to not make surreal or symbolic representations. (ie. no purple skin or dinosaur pets) Which also meant that describing the personality of each character was limited. Accessories were popular with the girls. They made little purses and soccer balls to describe themselves and their siblings.

Kristin again asked questions that prompted Keeley to further explain her objectives and the principles behind the assignmet. Kristin is good at provoking the teachers in her group.

Once our puppets were made, we had to take photos of them. This portion also seemed odd to me. Keeley had asked us to try to capture a sense of shape, make sure our composition was 3 dimensional, but we were only allowed to use white binders for a background. She also asked us to be aware of the shadows and lighting present. But then we didn't get any reference material or detailed exploration of the effects of shadows to an image.

pictures:

my brother, my mother, myself.

TYRANOSAURUS REX, KING OF THE TERROR-LIZARDS

blog 8 (incomplete)

Reflect on the studio work you have done this semester. Which experiences did you find the most successful, in terms of Dewey's criteria of a "good" experience, and why? Which experiences did you find least successful, again according to Dewey's criteria, and why? What have you learned about art and learning? What would you still like to learn? How does the art educator respond to the individual needs of the learner while ensuring the continuity of experience?

The studio work that I have done this semester includes a wire-plastesine sculpture, and a panting of an alien tree. Outside of 307, I have painted a toy gargoyle, and made a quick collage from various paper clippings. Technically, I have not grown very much this semester. My physical skill of making art has not improved noticeably.

On the other side, my understanding an artist has improved. I have learned a great deal about how we grow with art in our lives and how we learn by making art.

The single most rewarding experience, in terms of appreciating how art has its place in childhood and how we grow up with art, was the sculpture project I led. It was the experience in which the process really resonated with each learner individually, and as a group. It offered some insight as to how a material can have a positive or negative impact based on who is using it and how it is being used. Even when some of my choices were questioned I still learned a lot from how they responded to my decisions. Although one of the learners was having a particularly tough time, she never lost incentive because the provocation exercises I taught had given her a very sure direction to work towards.

I saw how art can combine many real life problems into a creative exercise. Although the students were thoroughly involved in creating their vision, they were also fully engaged in solving problems about structural integrity, tool selection and use, and design concepts, that may have seemed intuitive.

DISTRICT 9 (BLOG 9)

· Establish a sense of security through consistency; deal with student on a fair and balanced way. Using persuasion rather than power or threat to solve problems

o I would hope to make the project seem interesting and fun so that the child would want to take part in it. I won’t really have the option of power or threat because there is not a long standing bond between the child and myself. I will have to make the project appealing to him/her.

· Set up parameters for class interaction and limits on behaviour

o I will definitely set down some ground rules. But rather than dictate what they can or cannot do, I would rather start a dialogue about what sort of actions are appropriate and which aren’t. Outside of a classroom setting however, the rules will be more closely tied to the project and the materials rather than decorum.

· Allow students adequate time and instruction so that they can have the opportunity to develop a sense of competence in particular art activities

o Since it is one child and myself, s/he will dictate the timing of the project. I will encourage productivity and efficient time use, but not enforce time limits or rush them.

· Provide immediate and meaningful feedback during the formative stages of learning so that the students know that they can do well and how they can improve

o Well, if the project were set up into various stages, than I would have the perfect opportunity to address the issues with the piece so far, and commend the achievements. If there were no set stoppages in the project, than I would set aside a few minutes for a snack or brainstorm break, and use that time to assess the piece.

· Strive for a sense of connectedness (with) the (student)

o I will be working beside the child on the same project. We will get to share the jpys and problems of the experience together.

· Show respect for individual differences across cultures, religions, learning styles, race, gender, and thinking by using activities language and visuals that support student diversity

o I would use humour. Humour may not be totally universal, but it comes close. I had a teacher who addressed this issue particularly well by making jokes about our differences and celebrating our similarities. If a tense issue of diversity arose, I would make light of it, and reinforce our similarities

· Develop a feeling of belonging by letting students collaborate and bond with a variety of peers under various circumstances

o In the classroom this may be achieved by setting up group activities, and changing the members of the groups regularly. Or by having activities that the entire class would participate in

· Focus on the positive and build on students’ unique strengths so that students will persevere in their artistic endeavours

o In a classroom setting, it would be important to not only find positive things to say about the students’ work, but I would also want to find something unique about each to make a positive remark about.

· Be caring, respectful, and nurturing at all times

o Nurturing takes many different forms. I wouldn’t say that I am a classically nurturing person. There are ways in which I will be nurturing without being overly sentimental and mushy. I could make wild displays of affection for a child’s work and embarrass them in a good way, to show that I was proud of their accomplishments.

My Approach to teaching Sculpture

Vince’s notes for the Sculpture lesson with 10-12 year olds.

(Following notes were made from the Alberta Education Art Curriculum guide)

Analyzation of Form

· Construction ( general structures)

· Form-Function (abstraction of complex forms)

· Visual/physical effects

· Environmental effects

· Symbolic/emotional impact of object

Appreciation/ Interpretation

· Style affects emotional impact

· Physical and implied relationships

· Symbols, references, themes

· Literal forms. Representations

Transformation of objects to suit the needs of the physical/logical application (construction) and the emotive impetus of the final form.

Does it look & FEEL the way it should?

ELEMENTS OF THE LESSON

Development of technique

· Tools/ techniques for a specific structural or aesthetic purpose

· Completion of work (is it intact?)

· Pattern & design to hold interest and attention,(eye-catching, use of colours)

· Integration and unity.

PROVOKATION

· Movements, impersonating the creature

· Books, perhaps the Hercules movie? TOYS

ASSESSMENT

· Completion- have all materials been used? Is there any exposed wire?

· Cohesion- do the appendages fit together? Is the structure intact?

· Complexity- what level of detail is shown? Was the subject thought through?

· Proportion- Does the structure support itself? Is the creature consistent with the students aim?

· Dynamism- Is there a sense of movement or action? Is it interesting to look at?

· Creativity- Has the student developed their own ideas?

MY GOALS

· Problem solving

· Working with tools

· Conceptualizing space

· Inventing dynamic forms, illusion of movement

· Technical growth with various sculpting materials

· Link imagination with progressive thought

· Have fun

TIME LINE

1. Toys effectively:

a. Interest each and every student

b. Remove status in the classroom (equate all students to each other)

c. Act as a model

d. Create fun environment

2. Books/Pictures will:

a. Introduce topic

b. Satisfy curricular requirement

c. Spark visualisation and imagination process

d. Hopefully, direct creativity

3. Movement/play

a. Energizes class, it’s fun

b. Equates student status, again

c. Observe physical relationships in figures

d. Develop practical, expressive poses

4. Introduction of Principles of Art/Elements of Composition

a. FREEZE!! All students in a position, point out examples of principles,

b. Examine various postures to display balance, line, Shape, Mass, etc

5. Hand out Coat hangers

6. Safety Talk

7. Hand out tools to share

8. Set armatures

a. Explain that to achieve proper mass and strength, that flat-skeletal armatures are not desired. Instead, armatures should be more frame-like

b. Point out some, but not all, practical issues, such as having a base, or supporting limbs

c. Set out the general shape, and motion of the piece.

9. Wrap with thin wire

a. This will achieve a sense of mass

b. And provide a support for the plastesine skin

c. Observe or introduce various techniques for handling the much more versatile material

10. Apply skin and details

a. Plastesine affords details such as

i. Texture

ii. Facial expressions

iii. Small structures: fingers, buttons etc.

iv. Mistakes ; )

b. May be applied in many ways, children should discover multiple techniques from each other and experimentation

blog 6 - artsy fartsy

Discuss the importance of teaching art as a core subject. Why is it important to ensure that there is time set aside in the curriculum, resources (teachers with art background, supplies, community resources) and space provided for art as a separate subject?

Art should be treated as an essential core subject because it offers a holistic approach to education and learning itself. Learning in art offers the cohesion that is not available in other ways. Art has many diverse outlets and practical applications, and is considerably more fun for most learners. Art has the ability to transform abstract concepts into concrete forms and illustrations. For many learners, having something they can see or touch is much more relevant than a textbook or dictation. It is very important that these learners are not left behind, or written off as slow or uncommitted, because in reality they’re learning drives have not been engaged properly. There should be a supplement of art in all curriculums, not only to meet the needs of those learners who struggle with the traditional methods, but also to enrich the learning of the entire classroom. Within the art room, so much besides art is learned. The students get to create, and explore their own ideas. Art, unlike some subjects, can become completely learner oriented. Mathematics comes nowhere near this concept. The artist is able to find a passion within art that is specific to (him/her)self and develop a single idea or content for years, or experiment with many ideas and concepts at once or in progression. Art has the ability to be incredibly diverse as well as incredibly focused, individual and communal, private or public, traditional or innovative.

Although art can be tied into all other curricula, it requires its own specific materials in order to be a success. Art requires its own set of materials, its own environment, as much as science requires laboratories and microscopes, as much as mathematics requires calculators. Art classes will never be successful without the proper instruction, materials, and practical time. Incorporating art principles into the classroom is a quick and easy fix, but if earnest art education is going to be the goal, than an art room chalk full of supplies is the only option.

Sculpture documentation

Today I got to teach!!!!

I was really excited to, I could hardly sleep last night.

Although the end product turned out really well, I think there were a few details I could have paid more attention to.

I was quite breif explaining the principles of composition, and I should have explained some of the techniques for working with the wire as soon as we started working.

Kristen asked a few questions that really helped me. I would have missed some things if she hadn't asked me about them, for example, she asked for an example of line. Which enticed me to elaborate a little more.

I think that the process went well. The students developed multiple relationships with the sculpture, and interactions with the pace.

They had to create good lines and a sturdy foundation with the thick coat hanger wire. I asked them to create a sense of movement. I told them that they should avoid making the typical skeletal figures, because they don't have and volume. This was also part of the process to move away from 2 dimensional thinking

I wanted my students to develop a sense of mass and weight with the thinner wire, wrapping it to build up a body out of the spokes.

My group was much more comfortable with the soft wire. They were having some trouble forming the thicker wire, and they suggested that the coat hangers would be a little too tough for the age group of 10-12 year olds.

Once the soft wire got going, the figures really started taking shape.

Every once and a while I would give a recomendation and praise for things that I thought were working well.

I decided to leave mine partially exposed in order to reveal the process our group had taken.

I was quite pleased that my group engaged enthusiastically in all aspects of the lesson. They responded well to the provocation activity at the beginning of class when we impersonated our mythological creatures. We ended up circling our tables like a parade of bizarre animals! It was lots of fun.

My goals for today were to recreate an engagement in 3-d materials and 3-d thinking, artistic planning and problem solving, and some imagining.

I think we accomplished those things.