Festive Art

As much as the elementary art curriculum focuses on giving the students a wide variety of art making experiences…reflection, depiction, composition and expression, it is natural to be drawn toward the reasons for the seasons and to create images based on selected thematic happenings.  Of course, Advent, Christmas and winter provide for some of these opportunities.

I’ve seen variations of this Division II lesson, taught throughout the school district.  Its success lies in the contrast between cool and warm colours.

warm-cool-shades

The subject matter (trees/hands/cars/ornaments) can also vary.  The activity below demonstrates the most expressive qualities.  There is evidence that, although the teacher provided some limits regarding subject matter, the students were really in the drivers’ seats.

P1090419 P1090415 P1090413 These are a few examples of the warm/cool thing I found displayed in different schools.  In the example below, the selected media was coloured marker…one could also use oil pastel or paint pucks paint pucks.  These require skill where painting/drawing up against clean edges is involved.  Required materials; white bond paper for pencil crayon/marker, ruler and pencil.  Draw a triangular tree shape first, with emphasis on it filling a large space.  Do not cave to the temptation to template the trees for the students because the variety of height, width and size will create some excitement in your overall display.  Where possible, encourage the students’ unique interpretation.  Draw intersecting lines from one edge of the paper to another.  Don’t create shapes that are unrealistically small, depending on the media you’ve chosen.  I’m always into big and bold.

DSC_1496 DSC_1497Recently, while guest teaching, a class at St. Isabella School was in the midst of creating these pieces for an Advent celebration and will later bring them home to parents as Christmas gifts.

I enjoyed this approach because it offered experimentation with a variety of media.  Before I arrived on the scene, the students had coloured regular photocopy paper with Mr. Sketch markers in patterns and designs, either cool or warm colours. Whether this media is applied to coffee filters or regular paper, the colours will melt into one another with the addition of water.  They are also easy to clean off of desks with a regular wipe if you haven’t already created laminated place mats for this purpose.

Mr. SketchHoles were punched into the top of a water bottle, and when the pieces were completely coloured, they were sprinkled with water. Once dried, these were transformed into three coniferous trees

DSC_1633DSC_1638A teacher can release a bit of control, as she or he feels comfortable.  For example, for predictable tree size and shape results, you can draw this cut template on the back of standard white print paper before. An option would be to have the students flip the paper over and draw out their own tree designs before cutting.  Guaranteed, more funky and less pretty!

I had the students tape their heavy weight paper to their desk tops with masking tape.  For this activity, a paper with no tooth is preferred.  When paper accepts water, it bubbles or expands.  As it dries, if attached to a surface with tape, it will shrink again and flatten.

DSC_1636I showed the grade four students a Youtube video that demonstrates how artists use wet-on-wet technique in their watercolour paintings.

In a room without a sink, this is all you need to have. Before the water was used, I quickly walked around the desk pods and pulled a sponge filled with water across each of the compositions.  The students had already placed their palettes of paint pucks on a paper towel in the center of one of the desks.  If the student used warm colours for their trees, then they chose cool colours for their background palette.  If the student used cool colours for their trees, then they chose warm colours for their backgrounds.  As well, each desk pod had a single container with a small amount of water to dip into as they pulled the pigment into their composition.  It was suggested that using the lightest colour first would be a good plan so that the dark colour would not impact all of the other areas too quickly.

DSC_1645I talked to the students about how, at the horizon…where the sky meets the mountains/land, you typically see the lightest colours of blue.  As you look up into the deep sky, that is where you see the darkest blues.

Have the students choose their colours for their palettes (paper towel sheet) and ask them to put a wee drip of water on each puck to soften the pigment.  Included in their clean up, have the students dump their containers of water into the bucket and place their brushes bristle down in the water at the same time.

DSC_1637 After the activity, ask students to use a dry paper towel to wipe off their puck and place them side by side in order to dry separately. Art students need to participate in studio clean up from the very beginning of their education.

DSC_1643Recess!  And the backgrounds dry.  Don’t remove the tape from the desks until they are completely dry.  Have something planned for after recess that takes the students away from their desks and in their gathering space.

DSC_1642 DSC_1641Once the backgrounds are completely dry, the students cut out their trees, draw embellishments with silver and gold metallic sharpies, and arrange on their backgrounds, with glue sticks.

DSC_1649DSC_1654 DSC_1657DSC_1653One or two early finishers can prepare some papers in brown green and black, to be used for the trunks of the trees.

DSC_1650DSC_1646This is where I left the scene of the art extravaganza.  Next day…some printmaking as students used the butt end of their pencils, dipped into white acrylic paint, to create a peaceful snow flake thing.  This is a very step by step explanation, but I thought some of you might wish to try these out, if not this year, then next.  Thank you to the grade four teachers of St. Isabella, for letting me participate in this festive adventure.

DSC_1647

 

Where are you Brenda Draney?

It was blustery.  I thought about the slowest way I could possibly drive to the Esker Foundation, located on 9th.  I have attended other events related to the exhibit (film viewing, panel discussion, artist talk) since the opening of Fiction/Non-fiction.  There was no way weather was going to keep me from a painting opportunity where Brenda Draney would be doing some sharing…some wandering…some listening.  Everything I’ve been ‘incubating’ about since Mom’s passing (story, connection, identity, loss), would be a part of the afternoon’s experience…so, I was going to forge through the weather, regardless.

Once I arrived, I chose a seat that faced out toward the street…wide, tall windows stretched before me.  I could see onto the neighbouring roofs and watch the snow blowing.  Above me, the pod that houses the administrative space…a nest-like feature, caused an immediate sense of comfort and coziness.  Meeting Sharon, the artist across from me, led to a very quick and impact-full connection.  I felt happy.

I had dumped a pile of old black and whites into a zip lock bag before leaving home and proceeded to shuffle through them, looking for references. It didn’t take me long.  I won’t go into details…I won’t share the stories that connect me with the images…but, I will say that there was an immediacy.  Topics shared on my visits with Brenda and Sharon yesterday afternoon included, but certainly weren’t limited to; identity, memory, stories, mothers, objects of affection, nostalgia, art, teaching, journals, writing, voice.

At the conclusion of the afternoon, I felt so empowered and so grateful.  Brenda Draney is like an angel who was brought into my circle for the purpose of some reflection…some connection and some healing.  It was the most delicious of afternoons, and certainly a gift to myself.  Thank you, Brenda.

P1140140 P1140146 P1140147Technically speaking, it was a tricky thing to choose to use greys for the entire day…but, this session wasn’t so much about the technical aspects of watercolour (a completely foreign medium), but about meaning. I spoke to Sharon about the curtains that Mom had sewed on her treadle sewing machine, even when we were in military-poverty in those early years living in Ste. Sylvestre, Quebec.

Incubator: Brenda Draney from Latitude 53 on Vimeo.

Brenda Draney, Church 2012

Brenda Draney, Church 2012

Morning Sketch # 6: Rien Poortvliet

I know. I know.  I’m behind already…not so disciplined as I imagined I could be.  No excuses, just forging on.  Saturday morning came around and then Sunday morning and then Monday I was called into work, which was wonderful, but totally unexpected.  Through it all, I managed to get some gesso brushed onto my boards and some under painting done, but this morning I’m left with all sorts of bits.  The nice thing about it is that it’s raining outside and sipping coffee and painting at the feast table feels like a luxury that most don’t have this morning.

I’ve slipped my new cd into the player and music is perfect as well.

Sketches inspired by an artist done this quickly have little in common with the originals.  If you look at the details of the lower left corner of mine and then look at Poortvliet’s you will notice what I’m talking about.  There is that lovely tint of green going through Poortvliet’s passage, where mine became an acidic yellow.  This is only one example.  Notice that on the horizon, the brush in the background of mine is a cool grey (again) and Poortvliet used a warm grey.  Let’s not even talk about the gesture of the running deer, leaving the middle ground!  The more I do this, the more I understand that I need to practice drawing for both proportion and the dynamic angles of the figures.

I’m convinced that my drawings of the animals and landscapes are going to be consistently different for their texture and detail.  This is primarily because of the tooth of the panels I’m using and the obvious smoothness of Poortvliet’s papers.  An artist needs to always keep in mind the tooth of the surface he/she is using as this has huge implications for the work.

I’ve provided an image here of ONLY three papers and the tooth.  You can imagine that pigments and media act differently on each, so the difference between a board and paper would be extremely different.  The difference between a masonite board and a sheet of plywood has the same dramatic impact on the image.

Tooth

Poortvliet’s two images demonstrate the difference between an animal placed in the foreground and one moving into the background….larger and lower in the picture plane for close-up, smaller and higher in the picture plane for distant.  This is one of the ways that an artist creates the illusion of depth/perspective.

I also notice that I use a lot of pure colour…it has been difficult for me in this practice to mute colours.

P1120790 P1120791 P1120792 P1120801 P1120803

A Leaf Falls

“l(a” by e.e.cummings

l(a

le
af
fa

ll

s)
one
l

iness

Grade four students created non-continuous line drawings in order to capture the journey of a whole number of leaves from branches (outside of the picture plane) to rest in the pile of leaves below.  After creating directional line stories with marker, the students then used water colour to add the leaves…sticking with the journey that each individual line had taken.  I think these turned out wonderfully and displayed them before I left the school.  Time required one hour and a half.

This slideshow requires JavaScript.

I loved words. I love to sing them and speak them and even now, I must admit, I have fallen into the joy of writing them. Anne Rice