artsednet-digest wrote: > > artsednet-digest Saturday, March 13 1999 Volume 02 : Number 1301 > > This edition includes : > Interdisciplinary lesson plans > Re: Elementary parents > Re: simulated etching > Oil Painting > Re: Oil Painting > Re: Oil Painting > Thank you > Cornell > RE: Building curriculum bridges -long - maybe too long? > Multicultural skin tone colors > Washington Convention > National, State and Local Standards > Re: Re: Wanted: Native American ideas > [Fwd: PUPT: A broader query on plastic wood]long post on paper mache > > ---------------------------------------------------------------------- > > Date: Fri, 12 Mar 1999 17:33:44 -0600 > From: "dana" <dacuncius> > Subject: Interdisciplinary lesson plans > > The following web site has the most wonderful collection of lesson plans > that are art and core subject interdisciplinary ready!! > http://artsedge.kennedy-center.org > Dana > > ------------------------------ > > Date: Fri, 12 Mar 1999 19:46:15 -0500 > From: lindacharlie <lindacharlie> > Subject: Re: Elementary parents > > Stephanie Ignazio wrote: > > > interesting grade 6 ideas? > > I have NO preference. I just want to keep them busy till JUNE!!! > > My three 6th grades are currently involved in drawing Egyptian style > figures according to the conventional 18 1/2 units tall. I showed them a > poster I got from the Detroit Inst. of Arts of an Egyptian wall painting > which clearly shows the grid used by the ancient artists and gave them a > handout of an Egyptian figure blocked out on the grid. They have a > choice of working in groups of 2 or 3 on an almost life size painting or > individually on a small section of what will become a scrolled "Book of > the Dead." These works will be part of our Egyptian "Valley of the > Kings" for the art show in April. They are really into it. If you'd like > more details about this stuff, just ask :) > Linda 4" deep in Michigan spring > > ------------------------------ > > Date: Fri, 12 Mar 1999 20:22:12 -0500 > From: "Donna Janeczko" <redhen> > Subject: Re: simulated etching > > 'Don't know if this will be any help at all, but once when I wanted college > students to understand the concept of intaglio printing, we used Styrofoam > tray material. Line designs were impressed on the Styrofoam with pens and > pencils. Ink was applied heavily with a brayer, making sure that some got > down into the impressed lines. The surface ink was then wiped off, leaving > only the ink in the impressed lines. > > When it came time to print the plate, because Styrofoam "gives" more than > hard plastic, pressure applied with a press or with a brayer on the back of > the printing paper generally yielded a high percentage of successful prints. > > Art Ed. Materials Garage Sale at: > http://members.tripod.com/~LittleRed_2/ > > ------------------------------ > > Date: Fri, 12 Mar 1999 22:01:39 -0500 > From: Double Bubble <doros> > Subject: Oil Painting > > How does one get around the smell of using oil paints, turpentine and > lineseed oil in senior high school art classes. I have just started > using oil paints with my senior grades and have started to receive > complaints from a few people in the school. One of them from the other > art teacher who also uses my room following my class. I have to admit > that the odour is unavoidable and coming into the room from another part > of the school it strikes you immediately. The room is well ventilated > and windows are open when students are painting even in the middle of > winter when my room almost turns into an icebox. I don't know which is > worse the scent of turps or having to freeze. None of my students in my > class have complained but the other teacher says some of her students > are getting headaches and not feeling well ( could also be the flu > season). > I realize that there are some health and safety concerns but everything > as far as ventilation is provided within the class. I am also using a > low odour turpentine. I feel that oil paints should be experience by > all senior students and do not want to deprive them of this. > Any suggestions from teacher who work with oils would be greatly > appreciated. > > ------------------------------ > > Date: Fri, 12 Mar 1999 21:12:28 -0500 > From: John & Sandra Barrick <astroboy> > Subject: Re: Oil Painting > > It's a wonderful smell- but some people cannot tolerate it. It's > also one of my oldest "Scent" memories. You could use alkyds, which > are water based oil paints (don't ask). You could and should use > ventilation. Are these annoyances coming from art students or people > in the halls. After awhile people get used to the smell. I am amazed > that it is offending the other art teacher. Since you are sharing > space- maybe next time switch to alkyds. Have the students cover > their paintings with a tarp or cloth. make sure they clean brushes > and have a drum to put old linseed oil and other thinners/etc. Wrap > the palettes to protect the smell some. > Good luck! > S > > Double Bubble wrote: > > > > How does one get around the smell of using oil paints, turpentine and > > lineseed oil in senior high school art classes. I have just started > > using oil paints with my senior grades and have started to receive > > complaints from a few people in the school. One of them from the other > > art teacher who also uses my room following my class. > > Any suggestions from teacher who work with oils would be greatly > > appreciated. > > Sandra Barrick > http://home.fuse.net/astroboy/Sandra.html > > astroboy > > ------------------------------ > > Date: Fri, 12 Mar 1999 23:47:02 EST > From: AbeleSmith > Subject: Re: Oil Painting > > The fumes are toxic and can be hazardous to one's health. Just because the > turp has no scent doesn't mean it's not in the air for the children to > breathe. Let them paint with oils in college when they can make better > choices. > > Terry in Garland, TX > > ------------------------------ > > Date: Fri, 12 Mar 1999 21:46:26 -0800 > From: "Rob Morey" <raboo> > Subject: Thank you > > This is a multi-part message in MIME format. > > - ------=_NextPart_000_006D_01BE6CD1.C7CE3FE0 > Content-Type: text/plain; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > Sharon: > > Thank you so much for sharing your story. You are a special teacher and = > the member of an elite group. Teachers are a dime a dozen, but good = > teachers, the ones who are there to put forth all of their energy for = > all of the right reasons, are priceless. I really feel sorry for the = > teachers who have been so stressed out over the problems that they are = > having with their co-workers and their associates, (that can be so = > incredibly draining.) However, I don't feel sorry for them because of = > the problems that they have been describing, but because I think they = > have their priorities all mixed up, even though they have the very best = > of intentions. If a teacher walked into my class, interrupting my = > lesson to ask for something stupid so stupid and selfish as a foam-core = > guitar or a birthday card for their grand-child, ( and they have,) the = > answer is a plain and simple NO, with a following of, "Please don't = > interrupt my class again." If they get upset, well, to bad. If they are = > such light weights about that kind of stuff, then I sure don't what them = > on my team. I need to have strong, committed people on my side. Why do = > we put up with the long hours and the less than adequate pay and the = > public criticism? We do it for the kids, period. If we are there for = > any other reason, then we are there for all of the wrong reasons. We = > are not decorators of hallways and bulletin boards and such. We are = > educators and if we don't demand respect from our peers, then they = > aren't going to give it to us. It may seem unfair, but that is life. = > Frankly, the day that I start stressing out over anything else other = > than my job as a teacher and how well I teach, that is the day that I = > will quit teaching, because I will have become ineffective. =20 > Keep up the wonderful work.=20 > Rob > > - ------=_NextPart_000_006D_01BE6CD1.C7CE3FE0 > Content-Type: text/html; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> > <HTML> > <HEAD> > > <META content=3Dtext/html;charset=3Diso-8859-1 = > http-equiv=3DContent-Type> > <META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR> > </HEAD> > <BODY bgColor=3D#ffffff> > <DIV><FONT color=3D#000000 size=3D2>Sharon:</FONT></DIV> > <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV> > <DIV><FONT color=3D#000000 size=3D2>Thank you so much for sharing your = > story. You=20 > are a special teacher and the member of an elite group. Teachers are a = > dime a=20 > dozen, but good teachers, the ones who are there to put forth all of = > their=20 > energy for all of the right reasons, are priceless. I really feel = > sorry=20 > for the teachers who have been so stressed out over the problems that = > they are=20 > having with their co-workers and their associates, (that can be so = > incredibly=20 > draining.) However, I don't feel sorry for them because of the = > problems=20 > that they have been describing, but because I think they have their = > priorities=20 > all mixed up, even though they have the very best of intentions. = > If a=20 > teacher walked into my class, interrupting my lesson to ask for = > something stupid=20 > so stupid and selfish as a foam-core guitar or a birthday card for their = > > grand-child, ( and they have,) the answer is a plain and simple NO, with = > a=20 > following of, "Please don't interrupt my class again." = > If they=20 > get upset, well, to bad. If they are such light weights about that kind = > of=20 > stuff, then I sure don't what them on my team. I need to have strong, = > committed=20 > people on my side. Why do we put up with the long hours and the = > less than=20 > adequate pay and the public criticism? We do it for the kids,=20 > period. If we are there for any other reason, then we are there = > for all of=20 > the wrong reasons. We are not decorators of hallways and bulletin = > boards=20 > and such. We are educators and if we don't demand respect from our = > peers,=20 > then they aren't going to give it to us. It may seem unfair, but = > that is=20 > life. Frankly, the day that I start stressing out over anything = > else other=20 > than my job as a teacher and how well I teach, that is the day that I = > will quit=20 > teaching, because I will have become ineffective. </FONT></DIV> > <DIV><FONT color=3D#000000 size=3D2>Keep up the wonderful work. = > </FONT></DIV> > <DIV><FONT color=3D#000000 size=3D2>Rob</FONT></DIV></BODY></HTML> > > - ------=_NextPart_000_006D_01BE6CD1.C7CE3FE0-- > > ------------------------------ > > Date: Sat, 13 Mar 1999 07:48:04 -0700 > From: "Henry Taylor" <taylorh> > Subject: Cornell > > Anyone out there done a Cornell unit recently? I want to put together a > middle school lesson plan. I'd really like to see some different takes on > the subject. > > thanks > - -henry > > ------------------------------ > > Date: Sat, 13 Mar 1999 12:52:14 -0500 > From: "Sears, Ellen" <ESears.us> > Subject: RE: Building curriculum bridges -long - maybe too long? > > Rob - thanks for your support. > > We have a pretty small school, and most of our MS teachers are strong in > other areas (Language Arts has a science minor, math's is music, music is > science... and on and on.) As a group of teachers, they are very > supportive, but I am looking for something more formal, permanent. > > The fine line I am encountering lately is balancing between getting art 'out > there' and doing my job. Do I turn down the science teacher that is doing > simple machines when we can work together on kinetic sculptures and motion > machines? What about when he starts light and reflection and comes to me > for info on kaleidoscopes? Do I let him walk out the door, or do I welcome > his questions and grab stuff together during my planning? (and kaleidoscope > poetry for the LA teacher... ) What about the math teacher that invites me > into a 7th grade room to do a lesson on perspective drawing and dilation > (proportion and enlargements)? they don't know what they don't know - > unless I tell them - HAHAHAHAH!!! I've really got to sell myself (read > 'art') - but it gets to be too much - I can either laugh about it, and > explain or explode. If I'm going to explode, I close the door. The other > day I told one teacher they were the 12 in my room in a matter of 3 hours. > They know. So what's the plus side? If I have a class, I only stop to help > if they are working on something, it's only a couple of minutes - but I get > to tell them how art relates to what Mr. M. is working on in his class, or > Mrs. P. - I take it as a teachable moment. Good PR. > > I sent a post before about creative scheduling and inclusion of the arts > teacher into 'common planning time'. I didn't get any responses that I > could use with my principal. He is aware of what I would like to see - > total integration - but he doesn't know how to do it. He did offer to let > me teach with the Language Arts and Social Studies teacher as a team - > because they are loosey goosey subjects - Arghhhhh! The funny thing is, I > am a math teacher and very interested in the sciences. (I used to teach > Language Arts too... but not Social Studies - I have never been associated > with Social Studies, I have never bonded with Social Studies - get the > idea?) > so I am working on a new plan... > > Just this year we have gained 3 new teachers that have changed the dynamics > of some of the grades. Several teachers have been meeting as a study group > - - researching constructivism. We are looking into vertical teaming as > opposed to grade group teaming. Now I am going for being a member of a team > that has common methods/practices. > > My principal's answer is that the PE teacher gets along fine just being in > the gym - he doesn't feel the need to share - nor does the music teacher and > so on. In other words - he is very sympathetic and open to my suggestions, > but he doesn't know what to do about it. > > My husband teacher a K-1 class here. He is a Presidential Award winner in > science... and we do a lot together (for school!) - people get to see how we > incorporate the two subjects - and we have come up with many art based > performance assessments. You know how juvenile teachers can be - if someone > else has it/does it etc - they want to too. So anyone that is trying to do > the same, maybe start with one teacher and work from there. > > And as far as 'borrowing' supplies - HAHA - borrowing consumables - that's > an oxymoron, right? I offered to order a classroom set of markers etc, for > MS and they can pass it around. I put extra on the student supply list and > collect it at the beginning of the year, I help go through the bid list with > interested teachers and point out the supplies they need in their room (the > biggest help) - but I can spare some paper - I'm funny about paint - I have > cheaper brushes to loan out - it has gotten much better. > > But most of all, it's not us and them (math can be fun and creative, and so > can science), and we really don't teach art - or kids - we value sharing > knowledge - art, music, math - okay even social studies (smile) - with > people of all ages. So I've got to make it work. > > so Rob - I continue to battle in the name of art (okay that sounds a little > like 'us and them' )- I take any and every chance I can get to connect it to > other subjects. Where to draw the line? At personal favors (can you draw > this?... Yes - and so can you, let me show you.), book report covers and > science fair lettering. > > Ellen > > ------------------------------ > > Date: Sat, 13 Mar 1999 00:30:47 -0600 > From: Scurfield <scurfield> > Subject: Multicultural skin tone colors > > I am going to be ordering some sets of tempera paints, markers, > construction paper, etc. in multicultural skin tones. The only brands I > am at all familiar with are Crayola (markers and paints) and Pacon > (construction paper). Does anyone have any imput on which brands you > think have the best (i.e.true-to-life) colors? > Marcia Scurfield > > ------------------------------ > > Date: Sat, 13 Mar 1999 13:57:01 EST > From: Brie29 > Subject: Washington Convention > > Anyone going to Washington need a room mate??? I'm thinking of going from the > 24th to the 26th or 27 but the rooms are spendy! Anyone need a room mate to > cut expenses? Gabrielle NBCT in Minnesota, > > ------------------------------ > > Date: Sat, 13 Mar 1999 14:01:27 EST > From: Brie29 > Subject: National, State and Local Standards > > Hey all! This weekend I'm doing a paper on how the standards movement has > impacted art education. Yes, I'm well aware of the standards and all of the > prfessional material written about it. What I really need to know is how do > they impact our daily teaching in art education? Do they impact your teaching? > Do you just do what you have always done or what??? Anyone that has the time > to answer this through Monday night, I would greatly appreciate any response > at all- yay, nay etc. Thanks so much, Gabrielle NBCT in Minnesota with snow > > ------------------------------ > > Date: Sat, 13 Mar 1999 14:10:55 EST > From: Brie29 > Subject: Re: Re: Wanted: Native American ideas > > Sandpainting always intrugues my students. I baught a book a couple of years > ago > on sandpainting and read about it so that I really knew the history. Now I but > sand at a gardening supply store- about two dollars worth and color it in > buckets with powdered tempera. (Use rubber gloves) Having already studied > traditional Navajo work and symbols, I do a demonstration of how traditionally > sandpainting was part of a healing ceremony and it sould also have singing and > chanting with it. At the end of the ceremony the sand was always dispursed in > the desert because the sand grains would contain the illness. As times have > changed with the Europeanization of traditional Navajo culture, sandpainting > has been changed from a sacred ceremony to a secular art that people can > practice for money. The sacred symbols are NOT used and the sand is glued down > so the paintings are permanent. Students then can work with personal symbols > or use traditional (non sacred symbols) to create and glue down their own > paintings our ofd sand. They love it. > > ------------------------------ > > Date: Sat, 13 Mar 1999 16:57:52 -0500 > From: KP RS <KPRS> > Subject: [Fwd: PUPT: A broader query on plastic wood]long post on paper mache > > This is a multi-part message in MIME format. > - --------------A00E897451FD0FBCC82F6820 > Content-Type: text/plain; charset=us-ascii > Content-Transfer-Encoding: 7bit > > I am on another list--that of puppet makers/performers, and they are > discussing paper mache methods...thought some of you might be interested > as they are using common ingredients that would lend themselves to > everything from puppets to sculpture in both the elementary level and > highschool level. > > San D > > - --------------A00E897451FD0FBCC82F6820 > Content-Type: message/rfc822 > Content-Transfer-Encoding: 7bit > Content-Disposition: inline > > Return-Path: <owner-puptcrit.edu> > Received: from lists.village.virginia.edu (lists.village.Virginia.EDU [220.127.116.11]) > by pop.cybernex.net (Mail-clerk/Homer) with ESMTP id QAA01526 > user; Sat, 13 Mar 1999 16:52:22 -0500 > Received-Date: Sat, 13 Mar 1999 16:52:22 -0500 > Received: (from domo@localhost) by lists.village.virginia.edu (8.8.5/8.6.6) id QAA90541 for puptcrit-outgoing; Sat, 13 Mar 1999 16:46:59 -0500 > X-Authentication-Warning: lists.village.virginia.edu: domo set sender to owner-puptcrit@localhost using -f > Received: from lincoln.midcoast.com (lincoln.midcoast.com [18.104.22.168]) by lists.village.virginia.edu (8.8.5/8.6.6) with ESMTP id QAA55464 for <puptcrit.edu>; Sat, 13 Mar 1999 16:46:53 -0500 > Received: from [22.214.171.124] (modem-c-090.midcoast.com [126.96.36.199]) by lincoln.midcoast.com (8.8.7/8.7.3) with ESMTP id QAA02235 for <puptcrit.edu>; Sat, 13 Mar 1999 16:46:44 -0500 > Message-Id: <firstname.lastname@example.org> > In-Reply-To: <36EAA7CA.71BCB23E> > References: <email@example.com> > <36E926EC.191AB61A> > <19990313.002140.5903.0.A.Langlinais> > Mime-Version: 1.0 > Content-Type: text/plain; charset="us-ascii" > Date: Sat, 13 Mar 1999 16:49:07 -0500 > To: puptcrit.edu > From: Dave&Ann Yates <monet> > Subject: Re: PUPT: A broader query on plastic wood > Sender: owner-puptcrit.edu > Precedence: bulk > Reply-To: puptcrit.edu > > Amanda, > > For strengthening in -between papier mache layers- I use gauze dipped and > wrung out in watered down Elmers- also cooked and strained flour glue works > well. I also use a paint brush to mold it into detailed areas. You can buy > assorted gauze mesh through theatre catalogues. > > Another use is to paint with glue-stretch and DRY the gauze layer onto wax > paper. After it dries it can be painted and then let dry again. when it is > dry shapes can be cut and then stitched onto exotic puppets.* Sews up like > fabric and with aniline dyes it creates beautiful color effects. Saves > purchasing expensive fabrics. It also can be rolled and twisted even > knotted while wet - Great for scenic effects too. If you want > "gauzier"effects-peel off the wax paper layer.. > > Annie > > > Amanda: > > > >If you want a light hand puppet head with good detail and a reasonable > >amount of durability to withstand a summer season of performances and have > >limited funds available (I assume this since in past queries you rule out > >Neoprene because of cost - too bad because it is a great material to work > >in) I would suggest that you use a stronger version of paper mache using > >straight elmers glue and brown paper grocery bags. Yes - you can get > >wonderful definition of facial detail if you remember the following: > > > > When working with brown paper bags you have to 'prepare' it first. > >Tear large pieces, 'work them' so that they are totally limp and floppy by > >repeatedly crumpling them, rubbing them against each other etc. until they > >are very floppy and this side of disintegrating. This now leaves the once > >stiff paper very receptive to absorbing the glue. Put Elmers glue on both > >sides, working it into the paper and let it sit for a couple of minutes so > >that the paper has a chance to absorbed the glue. You will find it will > >be a very, 'light leathery' consistency. Scrape off excess glue that does > >not become absorbed - you don't want it 'gooey'. Start tearing off small > >pieces and start working each individual piece over the clay > >sculpture/carved styrofoam overlapping each piece. Cover the entire head > >with a thin coating of glue and let it dry thoroughly. Do a second coat > >putting a little coloring into the glue so that you know which coat is the > >second and which is the first. Let dry thoroughly. Do a third coat. Let > >dry thoroughly. To hurry the drying process along we have, on occasion, > >used a hair dryer. > > > >When the head is thoroughly dry, and if it is paper over clay, cut a hole > >in the back of the paper mache head, remove the paper mache 'cap' and > >scoop out the clay. The reason I suggest using the 'cap' method instead > >of cutting it in half is for strength. No side seams to cause weakness. > >If it's a LARGE head then you will have to cut the paper mache head in > >half, separate it, remove the clay and then glue and patch the seam. If > >you've done it over styrofoam then leave it. > > > >Give a light sanding to the whole head, keep filling in the little > >imperfections with plastic wood/dap (you won't need much) until the head > >'is as smooth as a baby's butt'. This has now 'opened up' the mache for > >dampness. To seal it give a couple of coats of a good wood sealer. The > >head will 'drink in' the sealer which, when dry, will protect the paper > >mache from the possibility of getting soft if it is exposed to dampness > >which, doing an outside show, it will be. If it is a hand puppet I would > >also suggest giving a couple of coats to the inside of the head before you > >glue the cap on since a sweaty finger will also cause dampness to be > >introduced into the head and possibly causing softening of the mache over > >the summer. No need to sand the inside. > > > >We have used this method on several of our figures - NANA from our > >production of Peter Pan has a mache head WITH a moving mouth - we have > >never had any problems with them. They are light, strong and after > >several years of touring and doing shows almost every day they show no > >signs of breaking down. > > > >If you work the mache carefully over the clay/styrofoam you will get > >lovely definition of features - not what is usually associated with 'mache > >heads'. It's time consuming. Haven't found any short cut in preparing > >the brown bags for the glue. Nice to do while listening to music or > >watching TV. Extremely cost efficient and non-toxic. > > > >Does anyone else on the list have anything to add to this method? > > > >David Syrotiak (the elder) > > > > > > > > > > > > --- Personal replies to: Dave&Ann Yates <monet> > --- List replies to: puptcrit.edu > --- Admin commands to: majordomo.edu > > - --------------A00E897451FD0FBCC82F6820-- > > ------------------------------ > > End of artsednet-digest V2 #1301 > ******************************** > > To post to the ArtsEdNet Talk Listserve, send e-mail to: > artsednet > *To unsubscribe from the listserv, send e-mail to: > artsednet-request > and type in the message area only: UNSUBSCRIBE > *To send a message to the List-Owner, send e-mail to: > artsednet > *ArtsEdNet web site: http://www.artsednet.getty.edu/
San D--could you give us the URL for the puppet/ performers list?