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[teacherartexchange] help with narrative painting research


From: TERESA NOGUERA (nogueratt_at_TeacherArtExchange)
Date: Thu Apr 06 2006 - 10:03:38 PDT

Dear all,

My name is Teresa Noguera, I am an MPhil/PhD student
at Brunel University in London (England) and I am
writing to you as I would like to ask for your help,
advice and/or opinion. I am new to this discussion
group and I am not quite sure how the system works. In
addition, I am quite computer illiterate, so I would
like to apologize beforehand should my ICT
incompetence inconvenience any of you, it is not my
intention to do that.

My research aims to investigate the effect of
narrative painting training on children?s (Yr 3, 7-8
year olds) conceptualization of narrative content and
form/structure. Amongst the (initial/tentative)
objectives of the research are:
To examine children?s views of narrative
To investigate children?s decision making processes
and the rationale behind their choices on narrative
content and form (structure).
To examine possible differences and similarities
between children?s choices and rationale.
To investigate if narrative painting has any effect in
children?s decision-making processes (and/or
To explore the effect(s) and to identify factors for

I was wondering if you would be so kind as to help me
by guiding me to narrative paintings/painters that I
could use in my research to teach children about
narrative painting, books/websites with ideas/lessons
on how to teach narrative painting/the elements of
painting and art that I could use to plan my lessons,
sharing with me your thoughts/experiences on the
How do you go about composing/creating your artwork?
What kind of decisions do you make? What is the
rationale behind those decisions/choices? Are these
choices any similar/different to the choices you would
make were you to compose/create a piece of work in a
different medium (e.g. written, oral?)?
Are your choices based/influenced, in any way, on your
knowledge, skill and expertise on the medium (and its
elements)? Would your choices be different if your
knowledge, skill and expertise were greater/lesser?
How? Why? (I do hope this makes sense to you)

I would also be most grateful if you shared your
opinions regarding my research, I do appreciate and
value constructive criticism.

Thanking you in advance for taking the time to read
this, and looking forward to your comments and

Yours truly,

Teresa Noguera

--- TeacherArtExchange Discussion Group digest
<> wrote:

> TEACHERARTEXCHANGE Digest for Wednesday, April 05,
> 2006.
> 1. NOVICA - Bali and Java - Animal Themes Masks
> great pictures for teaching resource
> 2. Illuminated Middle Ages
> 3. Re:printmaking
> 4. Re: non-chemical printmaking
> 5. Pysanky Eggs - How to from Sue Stevens
> 6. Re: Pysanky Eggs - How to from Sue Stevens
> 7. NEW! "ATCs in the Classroom" - site by Craig
> Roland
> 8. Re: Pysanky Eggs - How to from Sue Stevens
> 9. Why did I leave?
> Subject: NOVICA - Bali and Java - Animal Themes
> Masks great pictures for teaching resource
> From: "Christine Besack" <>
> Date: Wed, 5 Apr 2006 07:11:56 -0400
> X-Message-Number: 1
> Hi All, Here are some great Balinese mask images
> from Novica's website.
> Descriptions accompany the image and there is a
> picture of the artist and an
> artist's statement.
> Hope this helps,
> Christine Besack :)
> Subject: Illuminated Middle Ages
> From: Elizabeth Heisey <>
> Date: Wed, 5 Apr 2006 04:20:49 -0700 (PDT)
> X-Message-Number: 2
> You probably already know this symbol, but I didn't.
> Yesterday in my art history class we were on and
> around p 180 of Gombrich's The Story of Art. 16th
> edition, 1995. There is an angel in an illumination
> on
> that page: 'From a Swabian gospel manuscript??'
> Anyway, in it, Gabriel has his hand raised and first
> two fingers curved a little but mostly extended
> toward
> Mary. This is a hand sign I have seen dozens of
> times
> in Midieval art. I hope you can picture it. I never
> knew its meaning. But Gombrich explained the meaning
> to me for the first time: 'I am speaking'.
> I have of course transfered this useful tool to all
> my
> classes--a hand raised toward them in this certain
> traditional way means that I am about to speak. We
> had
> a good laugh but I hope to keep using it.
> I found two examples for you, the first one being
> exactly like the one from the book.
> Beth H
> __________________________________________________
> Do You Yahoo!?
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> protection around
> Subject: Re:printmaking
> From: "" <>
> Date: Wed, 5 Apr 2006 15:58:37 GMT
> X-Message-Number: 3
> wow, sounds like you have managed allot with this
> group! I have a coupl=
> e of small suggestions that have been successful
> with multiple age and a=
> bility levels allowing success for those less
> experienced and open enoug=
> h for students to take risks, push it further....
> *use balsa wood for wood block prints- it is soft
> and students can easil=
> y use a hammer to gently pound a nut or bolt, etc to
> create impressions =
> for designs, patterns, etc
> *draw on acetate with permanent marker (could be
> overlaid on mirror for =
> portrait, against the window for landscape...)have
> students "fill in" fo=
> r monotype (versus monoprint) -this year we used
> the leftover acetate o=
> ver the top of a drawing for a layered mixed media
> piece
> for video clip
> *use washable markers on acetate-could use original
> drawing underneath t=
> o guide
> *use wet media mylar, thin white plastic sheeting or
> other cut to size f=
> or the plate-use scraps, stickers, etc to develop
> the original-coat with=
> a release agent-when dry apply ink and print on
> damp paper
> *use same plate material as above-add release
> agent-when dry use water s=
> oluble drawing materials (watercolor crayons, oil
> pastels) then print on=
> damp paper =
> *chine coll=E9 - embossing - my, my seems I am all
> inspired by this myse=
> lf - maybe we need to do some printmaking in class
> soon :-) !!
> let us know what students end up working on~
> creatively, Linda in Oregon
> Subject: Re: non-chemical printmaking
> From: "Judy Decker" <>
> Date: Wed, 5 Apr 2006 14:39:04 -0400
> X-Message-Number: 4
> Greetings Claire and all,
> Carborundum prints are neat. You can even use water
> base block
> printing ink for them. Just spray the plate lightly
> with Pam before
> inking. To make a carborundum print - mix a fine
> grade with acrylic
> medium. I used a medium fine (don't remember the
> grit now). I put the
> mix in small squeeze bottles and the students drew
> their image onto
> the Plexiglas. They put their drawing under the
> plate. I did this with
> high school and with seventh grade (seventh grade
> did portraits - and
> could even put the actual photocopy of person under
> the plate if they
> wished - this really helped those who were not as
> confident with
> drawing). We did monoprint colors on one print -
> painting the plate
> with Createx and printing over the black print This
> had to be done on
> an oil base print since the paper had to be soaked
> again). We also did
> Chine colle - place tissue paper on the inked plate
> - dusting lightly
> with powdered wheat paste (that is what I had) -
> then placing damp
> paper and running through press. Student also had
> the option of hand
> coloring a print with watercolors.
> You can spread the mix with a brush - and can scrape
> section with
> those rubber nibbed tools (with angled end and
> pointed end).
> When completely dry - ink intaglio style and print
> on etching press
> with damp paper. We started using the oil base
> etching ink but ran
> out. I found the block printing ink worked just as
> good (and clean up
> sure went faster).
> I have a lesson plan for this method that I will get
> on Incredible Art
> Department soon.
> I had success using water base block printing ink to
> print Plexiglas
> engravings too. You can make simple engraving tools
> with nails and
> dowel rods.
> Judy Decker
=== message truncated ===

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