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Lesson Plans

Beauty and classroom activity

[ Thread ][ Subject ][ Author ][ Date ]
Cindy Cronn (
17 Nov 1998 08:21:42 U

Beauty and classroom activity 11/17/98

R. Moore's suggestion regarding Debi's ideas about Roman art reminded me of a group activity I have used with 8th graders. I photographed local buildings and provided examples of historic structures including the Pantheon, the Parthenon, Il Gesu, Notre Dame, a Romanesque monastery, etc. The students in small groups were to match up the local buildings with the best match from the historic buildings. Then we discussed the matches they made and found that, without a lot of knowledge about architecture, they were able to agree on many of the buildings. It was a more interesting way of helping students become aware of the history of the architecture in their hometown and also to ask them to take notice of buildings around them and their architectural detail. This activity was followed by a walk around the area to look at specific buildings and search for architectural detail.

Date: 11/16/98 11:01 PM
To: Cindy Cronn

artsednet-digest Monday, November 16 1998 Volume 02 : Number 1071

This edition includes :
Re: Cave paintings
Re:Object vs. Shape?
RE: Scratchboards
Re: Indian projects
Re: California art experiences
Re: Photography
ID/UA: Art and Ecology Project/ Art & Artists
Re: Beauty
Re: California art experiences
Re: artsednet-digest V2 #1058
1999 Catalog
Re: Art reproductions on the web: Haring
Van Gogh exhibit
Re: California art experiences
Cave painting
Substitute Lessons
anodized aluminum
Re: Substitute Lessons
ID UA My Activity
Re: Substitute Lessons


Date: Sun, 15 Nov 1998 23:35:03 EST
From: Bicyclken
Subject: Re: Cave paintings

In a message dated 11/15/98 6:33:48 PM Pacific Standard Time,
lindacharlie writes:

<< Any suggestions on cave paintings projects for elementary age children? >>

Have them paint or draw on sand-paper. This gives a texture like the caves and
they will look like the real thing.

Ken Schwab


Date: Mon, 16 Nov 1998 12:08:26 +0000
From: Ben Schasfoort <Ben.Schasfoort>
Subject: Re:Object vs. Shape?

I had an idea about why vector based programs use "objects" and not
"shapes", but I was not sure. In Dutch we have only one word for shape and
form. Therefore I wanted to know what "shape" is.

Numo told me:
"An object is something perceptible by one or more of the
vision or touch... It is a material thing. Or it is a purpose, aim or goal
of a specific action or effort."

"A shape is an enclosed line. It is something distinguished from its
surroundings by an outline."

My opinion about "object" in vector based programs.
A line is an object with all its characteristics: shape, thickness, length,
colour etc. Each combination of lines, closed forms, closed forms with
colour and text is (in vector based programs) one object if you group them.
You can change the whole object at once. An object in vector bases programs
is much more a thing with many characteristics than a shape with only two

Melissa said something equal (but in much better English).
"My surmise is that they are called objects due to the construction of the
items. In Illustrator or other vector based programs, any created item
(whether it be a square or a curved line) is formed from a series of
malleable but mathemetical lines between two dots. Independent
manipulation of the items might also play a part in the terms."

Ben Schasfoort


Date: Mon, 16 Nov 1998 08:03:03 -0500
From: "Sears, Ellen" <>
Subject: RE: Scratchboards

I spray over crayon with flat black paint. I just tried using the low odor
latex... don't use that. The other worked pretty well.

> ----------
> From: woolspeg
> Sent: Sunday, November 15, 1998 1:39 AM
> To:
> Subject: Scratchboards
> Just wondering--has anyone tried making their own scratchboards? Wondering
> if it can be done in any way that imitates the fine detail capabilites of
> the professional ones. Thanks. Peggy


Date: Mon, 16 Nov 1998 09:05:10 EST
From: Impowerco
Subject: Re: Indian projects

The Museum of the Native American (part of the Smithsonian) was extremely
helpful to me in development of a puppetry lesson plan. The mailing they sent
included a sample lesson, how-to diagrams, and history.

My students loved it! It has become one of my favorite (and a favorite of my
students) lessons.



Date: Mon, 16 Nov 1998 06:51:31 -0800 (PST)
From: (Bunki Kramer)
Subject: Re: California art experiences

>San Francisco doesn't have much of a gallery scene--but the new Museum
>is outstanding to visit. Los Angeles' galleries are widely dispersed,
>but it has 2 new museums worth the trip. San Diego--great beaches,
>lukewarm art.

Whoa, Joseph. San Francisco has a GREAT! gallery scene plus galleries
tucked behind and beside shopping places downtown. There's the Ansel Adams
gallery, the Maiden Lane Galleries (one in particular...the Circle
Gallery...showing lots of Victor Vaserely work...father of Op art), LOTS of
open studios abound with local artists, the newly built San Francisco
Museum of Modern Art with the Calder exhibit showing until Dec. 2nd, I
think, the Palace of Fine Arts showing the Picasso exhibit of his "war
years paintings", the Mexican Art Museum, the Yorba Buena Gardens
exhibits....I could go on and on. Then there's the Oakland areas and
Berkeley areas nearby which also teem with art, museums and galleries and
open studios.

If you visit the SF Museum of Modern Art, eat at Buca's on Howard Street.
Quaint italian food for dinner and italian eclectic surroundings. Average
prices. Huge family-styled meals. Closed on Mondays.

For a music teacher visit, I'd suggest getting tickets to see Phantom of
the Opera. It would be a "must see" experience. Yoshi's in Oakland is a
world class jazz club. Haven't been but hear it's great. "Rent" is also
playing in SF.

Besides all that and more, the rugged San Francisco coastline offers truly
magnificent natural "art" to see. Try the Cliff House for dinner. You must
come and visit! Toodles.......

Bunki Kramer - Los Cerros Middle School
968 Blemer Rd., Danville, California 94526


Date: Mon, 16 Nov 1998 12:05:39 -0700 (MST)
From: cindy lee beatteay <degree>
Subject: Re: Photography

I am presently developing a photography curriculum for eighth graders that
can last an entire year and is integrated with other subjects. However,
many of the lessons can be done by elementary students. Children of all
ages love this medium and have done some amazing work here in ALB,NM.
where all schools lack money for "Art". Peviously classes have shared one
camera between all students. The students are given alot of preparation in
how to compose a picture, different subject matter, how the camera works,
how to hold a camera steady,etc,etc... The students each took two pictures
and their results were published in a wonderful book called Through
Childrens Eyes, published by Art in the schools inc. Alb, NM.

Film and Developing is something that you can usually get donated and
even take the kids on a field trip to a Photo lab to see it being done.
Once you have your shots you can do lessons in Photocollage and Montage by
zeroxing all the photos and having the students each make an original
I have found so many ideas for learning through this medium and there
are several books available on teaching children photography. I hope this
helps. Cindy


Date: Mon, 16 Nov 1998 13:57:37 -0700
From: "Kerin Allen" <>
Subject: ID/UA: Art and Ecology Project/ Art & Artists

Kerin Allen
Art and Ecology Project: Lesson
Overall theme: Nature used as an inspiration for artists
Specific issue: Nature inspired designs that work to restore or enhance
a water
dependent environment
Lynne Hull
Desert Hydroglyphs in Utah are hand carved symbols in shapes derived
from animal tracks or animal body parts. The abstracted,
petroglyph-like shapes are carved out of rock in low, dry areas to
collect and hold runoff rain. Individual descriptions follow.
1) Scatter (1986): Three hump-backed incisions descend to pock
marks. All casually nest in small, medium, large progression.
2) Floating Water Moon (1993): An incised crescent harbors three
snake-like writhings across the low quadrant. Three more wriggle
outside the incised curve, waiting.

Patricia Johanson
Fair Park Lagoon in Dallas combines two Texas plants as design
models to form sculptural elements that translate into pathways, islands
and microhabitats. Designed in tandem, they stabilize the shoreline,
restore the water habitat of the lagoon and provide an educational
arena. Individual descriptions follow.
1) Saggitaria Platyphylla (1982): This twisted root design
incorporates the shoreline while interspaces offer refuge to the
waterlife. Wide terra-cotta paths meander into leaf-shaped islands,
visitor seating and overlooks.
2) Pteris multifida (1982): Based on a Texas fern, this design
works to create bridges and causeways that span interspace flower
basins and fish ponds.

Jody Pinto
Papago Park in Arizona was inspired by the universal symbol of life,
the tree and the ancient Hohokam irrigation canal system. This
functional design harvests life-giving rainwater, terracing it back into
the replanted desert gateway. Axis markers stand as memorials to the
Summer Solstice.
a) Papago Park (1992): Seven quarried branches stem horizontally
from a canal trenched trunk. Natural desert foliage, terraced seven
times, complete the tree shaped design. Two vertical stone axis markers
form the base of the tree while five others stand aligned with the
summer sunrise.


Date: Mon, 16 Nov 1998 14:23:32 -0800 (PST)
From: "R. Moore" <ronmoore>
Subject: Re: Beauty

A theme that has been coming up in discussions of the "Beauty" walk in
Philosophers' Forum is what we might call "the dark side of beauty." Much
as we admire beauty in nature and in artworks, and much as we want to
cultivate an awareness and appreciation of this beauty, we have to
acknowledge that fixation on beauty in personal apppearance can have a
highly detrimental effect on people (of all ages). I wonder whether there
is any transferance between the fondness for beauty that we try to
cultivate in our young people and the obsession with physical appearance
they seem so often and so sadly to demonstrate. Do you suppose that a
more penetrating discussion of what true beauty is (or what beauty really
tells us about its objects) would be helpful in forestalling this
tendency? (I'm pondering this question from the point of view of a person
who is both a professional aesthetician and the father of a teen-age
Ron Moore


Date: Mon, 16 Nov 1998 17:29:33 -0500
From: Joseph Augusta <jaugusta>
Subject: Re: California art experiences

Bunki Kramer wrote:

> **************
> Whoa, Joseph. San Francisco has a GREAT! gallery scene....

San Francisco is my favorite US city, but prefers its art to be imported
from major art centers such as New York, Los Angeles and Chicago.

The best contemporary art is exhibited, in California, in the Los
Angeles/Santa Monica area.

Best wishes,


Date: Mon, 16 Nov 1998 14:38:41 -0800 (PST)
From: "R. Moore" <ronmoore>
Subject: Re: artsednet-digest V2 #1058

Debi B-H has raised a very nice point about getting to know the grandeur
of Roman architecture through modern renditions. It is amazing how many
modern buildings echo in one way or another Roman design. I think it
would be very worthwhile to invite students to undertake a project of
finding "Rome at Home," looking for examples large and small of Roman
influence in the modern world. This might well extend beyond architecture
to road design, military uniforms, bridges, plays, and so on. As a
follow-up project, it might be fun to explore the degree to which we tend
to think of these vestiges of the past as contributing to a present sense
Ron Moore


Date: Mon, 16 Nov 1998 18:00:53 EST
From: CRIZMACinc
Subject: 1999 Catalog

We are currently pulling together our mailing list for our 1999 catalog, so if
anyone wants to make sure they receive one, please email us with your address
(home or school). If you think a colleague (classroom teacher, Spanish
teacher, social studies teacher, or librarian, etc.) would want a catalog they
can request one via email or through the web site.
email: crizmacinc
web site:
Thanks! We look foward to a great 1999!
Amy Metcalfe
CRIZMAC Art & Cultural Educational Materials, Inc.


Date: Mon, 16 Nov 1998 18:34:21 -0500
From: "John Bundy" <jibundy>
Subject: Re: Art reproductions on the web: Haring

I go to the outlet malls in Feb. and Mar. and I often get the $12 calendars
or $3 or less.
- -----Original Message-----
From: MarshArt <MarshArt>
To: <>;
DaynaB62 <DaynaB62>
Date: Sunday, November 15, 1998 2:20 PM
Subject: Re: Art reproductions on the web: Haring

>I feel I have struck paydirt.And not on the Web. Went to Barnes & Noble
>Booksellers. They have tons of calendars of artists . I bought one of Keith
>Haring for about 12 bucks. I now have 12 visuals of his work.


Date: Mon, 16 Nov 1998 18:46:59 -0500
From: kprs <KPRS>
Subject: Van Gogh exhibit

Just a note about the Van Gogh exhibit in Washington. I went last
weekend (instead of Teachers' Convention in Atlantic City), and have a
few tips if anyone intends to go sans tickets.

Get there between 6:30 and 7:30 AM and stand in line...if you do you
will get tickets to see the show at 10:00 am...the drawback is you have
to wait in line until 10:00. The homeless seem to be in line after the
morning line to get the next 'batch' of tickets which is given out at
11:00 am (I imagine they will be 'turning' a profit on those tickets,
which as I understand amount to 140 tickets every half hour until
4:30). Scalpted tickets and tickets through brokers go for $100, while
the ones you get for standing around are free.

The show is PACKED, but worth both the wait, and standing on your tippy
toes.(OK so I'm short) I had seen these paintings last Easter at the
Van Gogh museum in Amsterdam (as these paintings don't "travel"...but
the VG museum is under renovation). It is neat to think that these
paintings are the ones that his family held on to, a direct line from
Vincent, to Theo, to Theo's wife, and then to her son, and then to the
state of Netherlands and into the permanent collection of the VG museum.

Also worth seeing at the museum are the terra cottas of Bernini and his
followers from the Hermitage, St. Petersburg. Cool stuff. Bernini's
baroque sculpture still takes my breath away...

Chuck Close is still at the Hirschorn, and worth the
material added that wasn't in the Museum of Modern Art's show, including

San D


Date: Mon, 16 Nov 1998 17:19:49 -0800 (PST)
From: (Bunki Kramer)
Subject: Re: California art experiences

>> Whoa, Joseph. San Francisco has a GREAT! gallery scene....
>San Francisco is my favorite US city, but prefers its art to be imported
>from major art centers such as New York, Los Angeles and Chicago.

Never said it was imported or not. But, in fact, you might say EVERY major
gallery has "imported" stuff. I just said it is "here" in SF. Period. Maybe
you need another visit to our "favorite" fair city and look around some
more. Toodles........

Bunki Kramer - Los Cerros Middle School
968 Blemer Rd., Danville, California 94526


Date: Mon, 16 Nov 1998 21:46:04 -0500
From: "Diane L." <mselle>
Subject: Cave painting

Here's an easy cave painting lesson:

materials: plaster of paris, heavy duty aluminum foil, charcoal (if you
have some from a camp fire, even better), red, yellow tempera.

Method: pre cut 15" sheets of heavy duty foil.(cut two for each student).
Have students create a very irregular shaped low ovalish containers. Sides
should be one and a half inches high. Walls and bottom will be sturdy if
you form properly. Try it youself first. Prepare plaster, when thick enough
pour into containers which serve as molds. Do not smooth top, let plaster
set into its natural position which will look like the walls of flatish,
but textured cave stone. Let harden. (happens fast) Draw cave images with
charcoal on plaster. Then, using fingers, dip into thinish tempera and
finger paint, I believe I read somewhere that some cave painters painted
with their fingers. When finished either leave in foil or remove. To hang,
you must make holes in plaster before it sets. You could poke two pencils,
not near edge, but about one inch down from the top, into plaster and leave
until clay hardens.Remove pencils. Thread rawhide lacing, or twine, into
holes as hanging device. Remember to have students sign name.

I did this lesson at camp, with 5-6 year olds. It was more complex, we made
our own paints from berries, etc. The results were great.

Also, remember not to let plaster go down sink drain.


Date: Mon, 16 Nov 1998 20:53:12 -0600
From: "Jasmine Preston" <jdp30>
Subject: Substitute Lessons

I am looking for suggestions for lessons to use with a substitute. We have
a real shortage of subs in our district, so we never know who or even if
when we're gone. My classes are 90 minutes long at high school. I am sure
that the fewer materials the better. I have done plenty of sub plans
before, I just seem to be drawing a blank. I just want a one day,
completely contained, need-no-help-from-the-teacher lesson.




Date: Mon, 16 Nov 1998 23:11:18
From: wendy sauls <wsauls>
Subject: anodized aluminum

hi ya'll,

does anybody know of a source for anodized aluminum? the stuff i've seen
and want is colored (all colors!) and thin enough to cut with shears. i
would like to get some sheets and wire - i think it would be a great
sculptural medium for us (ms'ers) to try. i "discovered" it at an art
show, the artist made jewelry with it. it looked like it was either hot
glued together and/or riveted. i should have asked them, but was afraid
they'd think i was trying to rip off their thang, you know!


Wendy Sauls
Art Teacher, Kanapaha Middle School, Gainesville, FL
Doctoral Student, Art Education, Florida State University
home page:


Date: Mon, 16 Nov 1998 22:41:20 EST
From: Mcracker
Subject: Re: Substitute Lessons

How about a video that parallels something you are doing in class? The two
nights on Frank Lloyd Wright would be more than 90 mins., but was excellent.
Or last week's Mon. program on Dale Chihuly-- how many kids know about the
teamwork reqired in the glass studio? I just got a 57 min. one today on Chuck
Close, or the one from this summer on Calder -- many on this list have raved
about it. If not long enough, plan a group activity that reacts or responds to
the video -- or a written response. Why can't the sub continue with the kid's
project -- with the help of the students, of course....or is this in case you
are gone on an intro day? For a class on aesthetics, you might check out
Puzzles about art: An aesthetics Casebook by Battin, Fischer, Moore and
Silvers. (ISBN )-312-00307-2).


Date: Mon, 16 Nov 1998 23:25:17 EST
From: Todojunto
Subject: ID UA My Activity


Date: Mon, 16 Nov 1998 21:13:16 -0800
From: Maggie White <mwhite>
Subject: Re: Substitute Lessons

Jasmine Preston wrote:
> I am looking for suggestions for lessons to use with a substitute. We have
> a real shortage of subs in our district, so we never know who or even if
> when we're gone. My classes are 90 minutes long at high school. I am sure
> that the fewer materials the better. I have done plenty of sub plans
> before, I just seem to be drawing a blank. I just want a one day,

Hi, Jasmine,

Your district sounds like ours. When I find a sub that can actually
handle teaching art, I try to book him/her as soon as I know I'm going to
be gone. It's sooo-oooo nice to be able to leave and know that someone
other than the students are in charge!

My funnest plan is for each student to take an ice cream cone and use it
in a surrealistic drawing. They may transform it into something new,
place it in an unusual setting, or have it contain something other than
ice cream. I show them some of Magritte's work and explain the
assignment the day before, and they really get into it.

Another one I do is wire sculptures. They have one class period (85
minutes) to shape a 3' piece of wire. The pieces are pre-cut by me in
advance. They may add colored wire or heavier wire as needed, but they
must cut it themselves.

If they've had linear perspective drawing, they enjoy doing small posters
of their names, initials, or team names in perspective, then coloring
them with markers.



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