First I'd like to say thank you to everyone who replied with
suggestions for strategies and programs to help me with my SE Photoshop
students. Ultimately, the three developmentally disabled students
transferred out. The program was just way too hard for two of them
even with an aide, a student partner, written instructions, and a
slower pace. One student has been with me for two years now and is
back in my drawing class doing well. She's the highest
functioning/hardest working DD student I've seen and if she couldn't do
it, I'm not sure who could. She just couldn't remember even the
two-step key sequences from day to day. It was very disruptive to the
pace of the class as a whole and the aide was completely insensitive to
the fact that she was asking for 20 minutes per day of my time while
others were waiting, even after she was given simple directions to
follow. I feel the students could have stayed with a competent aide,
although I don't think this would really be an authentic learning
experience, just the aide doing the work. I like my DD students to be
learning and improving. I do think they could have done well with a
simpler program with a more visual interface, maybe Kidpix or Painter,
which I offered to buy, and I have notified my principal and the
district S.E. director that we should be providing an alternative and
hiring, if possible, aides who know or are willing to learn the program
with their students. After 2 months, I've finally been granted the 5
simple, inexpensive, texts I asked for to assist the aide and the DD
students and my students with auditory processing disorders. I offered
to pay for them myself and get reimbursed to get them quickly but . . .
Hopefully, I'll get them before the semester is over! The district
doesn't act unless someone sues them. Anyway a lesson learned. I
will be exploring the various suggestions you all gave me so students
can participate in the future.
Thiebaud and Diebenkorn are two of my very favorite American artists,
too, and it's true that many fine artists just need a general grasp of
linear perspective unless they want to draw architecture or machines
realistically. I personally never learned it until I was a student
teacher. However, it's actually very useful for some people in figure
drawing (I am an organic curve person,myself, love observational
drawing, and only think about perspective once in a while), and it is
an essential understanding for those who want to cartoon, animate,
etc., popular out here in CA. I have to say that I've had great
success teaching one-point perspective to high school students with
Harold Olejarz's excellent online tutorial and then having them design
their own fantasy environment. I used to do this in junior high, but
with the cuts, many arrive without having learned perspective, or
without having mastered it. Most of my kids love this project and do
it very well. Funnily enough for artists, they get a sense of
satisfaction from knowing they have got it "right". For those who can
SHOW me that they understand 1 point already, they get a choice of
assignments, (2 point or 3 point environments, buildings, sci-fi
machines, etc. and can do distorted perspective if they show me that
they understand 3 point. This works well for me as everyone gets to
work at the level they feel comfortable at and no one gets to avoid
On Oct 8, 2010, at 12:01 AM, TeacherArtExchange Discussion Group digest
> TEACHERARTEXCHANGE Digest for Thursday, October 07, 2010.
> 1. Wayne Theibaud - A different "perspective" - Riverscape
> 2. Theibaud vs. Diebenkorn
> Subject: Wayne Theibaud - A different "perspective" - Riverscape
> From: Judy Decker <firstname.lastname@example.org>
> Date: Thu, 7 Oct 2010 09:37:15 -0400
> X-Message-Number: 1
> Greetings Art Educators,
> Here is a wonderful example from Wayne Theibaud that shows my
> philosophy on traditional perspective lessons (They are BORING - why
> bother?). I taught a traditional perspective lesson in 1976 or 1977.
> Never again. I think I hated it more than the students.
> Check out this newer work: "River Intersection"
> If that link is too long (or breaks) - simply go to:
> http://www.nytimes.com/pages/arts/design/index.html > Scroll down to Closer Look (in middle column) - "Riverscape, From
> Higher Ground"
> I love the way the viewpoint changes.
> Also see the article "Sweet Home California" - slide show included.
> http://www.nytimes.com/2010/10/03/arts/design/03wayne.html?ref=design > You will see several "scapes" in the slide show. Many teach Theibaud
> for the desserts - I like his "scapes" so much better.
> From the article:
>>> Mr. Thiebaud’s imagined delta landscapes — where azure furrows meld
>>> with emerald levees, violet fields and confetti orchards and a river
>>> with phosphorescent banks flowing dizzily in several directions —
>>> are among the 75 paintings and drawings to be featured in
>>> “Homecoming,” a retrospective at the Crocker Art Museum in
>>> Sacramento, the city he has called home since the 1950s. The
>>> exhibit, on view from Oct. 10 through Nov. 28, coincides with the
>>> opening of a 125,000-square-foot wing, designed by Charles Gwathmey
>>> and Gwathmey Siegel Associates, that nearly quadruples the museum’s
>>> gallery space.
> There is a wealth of information available FREE from New York Times.
> Someone on Art Education or ArtsEducators Yahoo Group asked me to post
> when more Opinion pieces (relating to education) were online. Here is
> the link for that section:
> http://www.nytimes.com/pages/opinion/index.html > I check Arts/Design index frequently, but rarely check the Opinion
> section. Dr. Marvin Bartel had alerted me to the article I posted.
> Judy Decker
> Reminder: When you post a reply, remember to remove the email address
> of the original sender before you click "Send". Your efforts
> (especially Getty members) will reduce the amount of Spam everyone
> Hmmm...... thinking about just adding that as a signature now so I
> don't need to type it each time......
> Subject: Theibaud vs. Diebenkorn
> From: San D Hasselman <email@example.com>
> Date: Thu, 7 Oct 2010 14:01:08 +0000
> X-Message-Number: 2
> If you are interested in taking this exploration of "scapes" the next
> step further, I would recommend comparing the two artists' works,
> Wayne Theibaud vs. Richard Diebenkorn (one of my favs).
> http://www.theartstory.org/artist-diebenkorn-richard.htm >
> San D
>> Date: Thu, 7 Oct 2010 09:37:15 -0400
>> Subject: [teacherartexchange] Wayne Theibaud - A different
>> "perspective" - Riverscape
>>> To: firstname.lastname@example.org
>> Greetings Art Educators,
>> Here is a wonderful example from Wayne Theibaud that shows my
>> philosophy on traditional perspective lessons (They are BORING - why
>> bother?). I taught a traditional perspective lesson in 1976 or 1977.
>> Never again. I think I hated it more than the students.
>> Check out this newer work: "River Intersection"
>> If that link is too long (or breaks) - simply go to:
>> http://www.nytimes.com/pages/arts/design/index.html >> Scroll down to Closer Look (in middle column) - "Riverscape, From
>> Higher Ground"
>> I love the way the viewpoint changes.
>> Also see the article "Sweet Home California" - slide show included.
>> http://www.nytimes.com/2010/10/03/arts/design/03wayne.html?ref=design >> You will see several "scapes" in the slide show. Many teach Theibaud
>> for the desserts - I like his "scapes" so much better.
> END OF DIGEST