"Eagle" by Alexander Calder

"Eagle" by Alexander Calder in the Olympic Sculpture Park,
Seattle WA. photography by Steven Pavlov.

       Alexander Calder was born on July 22, 1898  and died on November 11, 1976. He was an American sculptor known as the originator of the mobile, a type of moving sculpture made with delicately balanced or suspended shapes that move in response to touch or air currents. Calder’s monumental stationary sculptures are called stabiles. He also produced wire figures, which are like drawings made in space, and notably a miniature circus work that was performed by the artist. Read more... 

"Blue Vase" by Cezanne

 "Blue Vase" by Paul Cezanne

       Paul Cézanne was born on the 19th of January 1839 and died on the 22nd of October 1906. He was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.

       Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic inquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all."

"The Gates of The Cemetary" by Marc Chagall

"The Gates of The Cemetery"
by Marc Chagall, painted in 1917, oil on canvas

 

      "With World War I raging through Europe, Chagall stayed on in Russia after his marriage to Bella, instead of taking his bride back to Paris. He was called up for military service right after the wedding, but ended up in a rear echelon job in Petrograd where he continued to paint in off-duty hours. In 1917, the year Russia was torn by revolution, Chagall returned to Vitebsk as Minister of Art for the town, and founded a school. During this period he painted a number of landscapes that demonstrated his technical virtuosity in this genre. It is not surprising that in such troubled times Chagall should have been deeply concerned again with death, and that among the landscapes are paintings of cemeteries. In this picture of the cemetery gates, the angular geometry of his Paris work is back in full force, only now, instead of being used arbitrarily as abstract design, it bears resemblance to rays of light -dancing in atmosphere, bounding off reflecting surfaces, and casting long shadows. The Hebrew characters on the gate remind us that while Chagall was a teen-age art student in Petrograd, he had also worked briefly in a sign painter's shop." Abrams

       Marc Zakharovich Chagall was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints. Read more...

"Boum Boum Bird saying its prayer at the onion skin head" by Joan Miro'

"Boum Boum Bird saying it's prayer at the onion skin head" by Joan Miro'.

       MIRO, Joan Born in Montroig, Catalonia, Spain, April 20, 1893. Studied at the School of Fine Arts and the Gali Academy in Barcelona. Had his first exhibition at Dalmau's in Barcelona in 1918, at which time he appeared to have been influenced by Van Gogh. Arrived in Paris in 19 19. Met Picasso and painted a series of Cubist still lifes. Had his first Paris exhibition at the Galerie Licorne in 1921. An anarchist, opposed to all rules and tradition, he discovered a kinship with the Surrealists. In 1924 he signed his first Surrealist picture "Terre Labouree," and, in 1925, participated in the exhibition of this group at the Galerie Pierre. Since then he has been considered one of the foremost representatives of Surrealism. With Max Ernst, he designed decors for the Ballets Russes production of Romeo and Juliette, and in 1 93 1 he did dehors for Jeux d'Enfants for the Ballets de Monte Carlo. In 1937 he painted a large mural for the Spanish Pavilion of the International Exposition in Paris. Forced by the war to return to Catalonia in 1940, he continued to paint, took up lithography, and collaborated with Artigas in the production of ceramics. He returned to France in 1944, and has since divided his time between Paris and Barcelona. He visited the United States in 1947 and executed a large mural for the Plaza Hotel in Cincinnati. Miro is represented in most of the museums of modern art throughout the world.

"Matador" by Buffet

"Matador" by Buffet

       Buffet was born in Paris, France, and studied art there at the École Nationale Supérieure des Beaux-Arts (National School of the Fine Arts) and worked in the studio of the painter Eugène Narbonne. Among his classmates were Maurice Boitel and Louis Vuillermoz.

       Sustained by the picture-dealer Maurice Garnier, Buffet produced religious pieces, landscapes, portraits and still lifes. In 1946, he had his first painting shown, a self-portrait, at the Salon des Moins de Trente Ans at the Galerie Beaux-Arts. He had at least one major exhibition every year. Buffet illustrated "Les Chants de Maldoror" written by Comte de Lautréamont in 1952. In 1955, he was awarded the first prize by the magazine Connaissance des arts, which named the 10 best post-war artists. In 1958, at the age of 30, the first retrospective of his work was held at the Galerie Charpentier.

       On 12 December 1958, Buffet married the writer and actress Annabel Schwob. His daughter Virginie was born in 1962, and later, daughter Danielle in 1963. His son Nicolas, was born in 1973, the same year that he was named "Chevalier de la Légion d'honneur".

       At the request of the French postal administration in 1978, he designed a stamp depicting the Institut et le Pont des Arts – on this occasion the Post Museum arranged a retrospective of his works. He created more than 8,000 paintings and many prints as well. 

"The Muse Inspires the Poet" by Rousseau

"The Muse Inspires the Poet" by Henri Rousseau.

       The above painting is of Guillaume Apollinaire and Marie Laurencin. Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and art critic of Polish descent.

       Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term "cubism" in 1911 to describe the emerging art movement and the term "surrealism" in 1917 to describe the works of Erik Satie. The term Orphism (1912) is also his. Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias (1917), which became the basis for the 1947 opera Les mamelles de Tirésias.

african masks from recycled materials: milk jug construction

Title: African Masks From Recycled Materials: Milk Jug Construction

Topic: recycling, African culture

Goals and Objectives:

• Students will make three-dimensional masks representing elements and principles of design used by African indigenous cultures.
• Students will use recycled materials to construct an original mask.
• Students will conduct research in the library or computer lab.

GLEs:

STRAND I: Product/Performance

3. Communicate ideas about subject matter and themes in artworks created for various purposes

A. High School Level I

·      Create original artworks using non-objective, architecture and anatomy subject matters.

STRAND IV: Interdisciplinary Connections (IC)

1. Explain connections between visual art and performing arts

A. High School Level I

·      Connect meanings of elements in art with terms in music, theatre, or dance

STRAND III: Artistic Perceptions (AP)

2. Analyze and evaluate art using art vocabulary

A. Art Criticism: High School Level I: With one artwork:

• describe artwork;
• analyze the use of elements and principles in the work;
• Interpret the meaning of the work (subject, theme, symbolism, message communicated);
• Judge the work from various perspectives:
• Showing a real or idealized image of life (Imitationalism)
• Expressing feelings (Emotionalism/ Expressionism)
• Emphasis on elements and principles (Formalism)
• Serving a purpose in the society or culture (Functionalism)

STRAND II: Elements and Principles (EP)

2. Select and use principles of art for their effect in communicating ideas through artwork

E. Unity: High School Level I

·      Explain how elements and principles create unity in artworks

STRAND II: Elements and Principles (EP)

2. Select and use principles of art for their effect in communicating ideas through artwork

F. Proportion: High School Level I

·      Identify and use realistic facial proportions

STRAND II: Elements and Principles (EP)

2. Select and use principles of art for their effect in communicating ideas through artwork

B. Emphasis: High School Level I

·      Identify and create emphasis (focal point) through contrast and convergence

Grade: 9^th – 12^th

Length of Class Period: 55 minutes

Frequency of Class Period: five days a week

Time Needed: six class periods

Facility & Equipment Requirements:

• One computer lap top
• Room with good lighting
• Large tables, approximately ten, each seating four students
• Two sinks
• Dry erase board
• Drying racks
•  Cabinets for storage
• Projector for viewing computer video, CDs and DVDs

Materials Per Student:

• empty clean milk jug
• sharp scissors
• masking tape
• newsprint
• white school glue
• paint
  

Vocabulary/Terminology:

• Indigenous - are ethnic groups that are defined as indigenous according to one of the various definitions of the term, there is no universally accepted definition but most of which carry connotations of being the "original inhabitants" of a territory.
• Tribe - A tribe, viewed historically or developmentally, consists of a social group existing before the development of, or outside of, states.
• Mask - a protective covering worn over the face
• Culture - the tastes in art and manners that are favored by a social group

Health & Safety Concerns: There are no health and safety concerns for this project.

Cleanup Time & Strategy: Students will be instructed to put away art materials neatly in their containers, clean off their tables, and recycle their trash two minutes prior to dismissal.

Assessment: A formal assessment/grading rubric sheet from your specific high school should be filled out per student.

all articles and lesson plans are copyrighted 2018 by Grimm

High School age students work on their own mask designs.

Craft Papier-mâché Puzzle Cones

My finished version of puzzle Ice Cream Cones.

       I made these puzzle cones to gift to a very special little person. With these simple parts she can mix and match her favorite ice cream flavors: vanilla, chocolate, strawberry, lemon, blue berry, rocky road, chocolate chip mint and butter pecan. 

Supply List:

• paper mache pulp
• plastic cones
• masking tape
• variety of acrylic paints
• acrylic spray sealer
• brown paper bags
• a brown permanent felt tip marker
• one-piece wooden clothes pins
• newsprint
• white school glue or Elmer's wood glue

Step-by-Step Directions:

1. Wrap both the inside and outside of your plastic cone pieces with masking tape.
2. Squeeze a generous amount of glue into the inside bottom of each cone and stuff newsprint around an inserted clothes pin. You clothes pins need to stick outside of each cone approximately two inches. Let the form dry over night. (see picture below)
3. Cover the entire cone shape and pin sticking out with layers of glue and brown paper bag stripes. Let the forms dry overnight.
4. Crush and shape the scoops of ice cream from newsprint around the tops of the clothes pins. 
5. Mask both the inside hole and the outside ice cream scoop shapes.
6. Using a bit of glue and paper line the interior holes with a dryer finished paper surface and let these shapes dry overnight.
7. Now cover the outside surface of the ice cream scoops with paper mache pulp, following the instructions that come with that art modeling material. Let the scoops dry overnight. It may take longer than 24 hours for these surfaces to dry thoroughly.
8. I drew diamond shapes onto my paper cones using a permanent ink pen, but you can use paint if you prefer.
9. Paint your ice cream scoops to imitate what ever flavor of ice cream you prefer.
10. After the surfaces are dry, seal these with a clear acrylic spray.

"Wrap both the inside and outside of your plastic cone pieces with masking tape."

"Crush and shape the scoops of ice cream from newsprint around the tops of the clothes
 pins. and Mask both the inside hole and the outside ice cream scoop shapes."

The finished puzzle cones are ready for a little girl and her friends to play with!

More Ice Cream Related Content:

• ''You're Sodalicious Valentine!'' - Festive holiday cards kids can make for Saint Valentines Day. + printable, adorable, vintage Valentines 
• Color vintage sweet treats from the ice cream parlor and an ice cream birthday cake for kids to practice their coloring skills.
• How to make ice cream parlor deserts . . .  for your dollhouse

porcupine quill artifacts

Share with your students a selection of quill decorated, Native American artifacts in a slide show or newsletter or print them out to include in a journal.  Back to the Index.

Man's quilled buckskin vest, Oglala Sioux, South Dakota. CA, 1880

Quill Decorated Deerskin Moccasins

Quill Decorated Knife Sheaths

Woven quillwork on caribou hide, left - flat pouch, center - knife sheath, right - pouch

Quill decorated birchbark box and cover from Nova Scotia

clip art of native american baskets

       Share with your students a selection of Native American artifacts in a slide show or newsletter or print them out to include in a journal. The following artifacts are from the Chetimacha, Wintun and Tulare tribes. Back to the Index.

Cane baskets of the Chetimacha Natives, Louisiana. In the National Museum

"Sitting" type of cradle used by the Wintun Native Americans of Northern California

Upper, Ancient ceremonial basket of exquisite workmanship
 from Santa Barbara County, California. Lower, Tulare trinket
 basket from the Tulare Native Reservation, California.
Both are in the National Museum.

Basketry designs from different Indian tribes of North America.

material culture of north american plains indians

       Share with your students a selection of Native American artifacts in a slide show or newsletter or print them out to include in a journal. The following artifacts are from the Blackfoot and Dakota tribes. Back to the Index.

Medicine pipe of the Blackfoot

Wrapped medicine pipe of the Blackfoot

A buffalo hide shield from the Northern Blackfoot

Bag decorated with porcupine quills and beads from the Dakota

Fleshing tools. (The two short fleshers are of bone; the one on
the left is of iron; and that on the right, of bone, with an iron blade.)

A woman's dress of elkskin

A meat drying rack from the Blackfoot

Stone-headed pounders

A man's shirt from the Blackfoot

anatomical portrait study lesson

The first sheet of the assignment,
the skull and the eye balls. 

Description: Our art class will study and illustrate the basic structure of the human head for this assignment. Students should accurately diagram and label the bone and tissue layers beneath the skin on three separate pieces of drawing paper.

      Human anatomy, which, with physiology and biochemistry, is a complementary basic medical science is primarily the scientific study of the morphology of the adult human body. Anatomy is subdivided into gross anatomy and microscopic anatomy. Gross anatomy is the study of anatomical structures that can be seen by unaided vision. Microscopic anatomy is the study of minute anatomical structures assisted with microscopes, which includes histology and cytology. Anatomy, physiology and biochemistry are complementary basic medical sciences which are usually taught together.

      In some of its facets human anatomy is closely related to embryology, comparative anatomy and comparative embryology, through common roots in evolution; for example, much of the human body maintains the ancient segmental pattern that is present in all vertebrates with basic units being repeated, which is particularly obvious in the vertebral column and in the rib cage, and can be traced from very early embryos.

      The human body consists of biological systems, that consist of organs, that consist of tissues, that consist of cells and connective tissue.

      The history of anatomy has been characterized, over a long period of time, by a continually developing understanding of the functions of organs and structures in the body. Methods have also advanced dramatically, advancing from examination of animals through dissection of preserved cadavers to technologically complex techniques developed in the 20th century.

      Generally, physicians, dentists, physiotherapists, nurses, paramedics, radiographers, artists, and students of certain biological sciences, learn gross anatomy and microscopic anatomy from anatomical models, skeletons, textbooks, diagrams, photographs, lectures, and tutorials. The study of microscopic anatomy can be aided by practical experience examining histological preparations under a microscope; and in addition, medical and dental students generally also learn anatomy with practical experience of dissection and inspection of cadavers A thorough working knowledge of anatomy is required by all medical doctors, especially surgeons, and doctors working in some diagnostic specialties, such as histopathology and radiology.

      Human anatomy, physiology, and biochemistry are basic medical sciences, which are generally taught to medical students in their first year at medical school. Human anatomy can be taught regionally or systemically; that is, respectively, studying anatomy by bodily regions such as the head and chest, or studying by specific systems, such as the nervous or respiratory systems. The major anatomy textbook, Gray's Anatomy, has recently been reorganized from a systems format to a regional format, in line with modern teaching methods.

Subjects: Medical Illustration

Instruction Time: Approximately three class periods

Materials needed:

• Three sheets of drawing paper
• Scissors
• Colored pencils and pens
• Stencil of skull
• Photographs, diagrams, and pictures of human skulls and muscular structure to make a reference to

Objective(s): Show-Me Content Standard: Visual Art Standards for Missouri Schools 2009

Strand I: Product/Performance – Select and apply two-dimensional techniques, and processes to communicate ideas and solve challenging visual arts problems for 7th, 8th, 9th, and 10th Grades

• Create smooth, continuous value through even pressure
• Create a range of 4 smoothly graduated values through varied pressure
• Define edge through variations in pressure or angle
• Use media in various ways to create simulated and invented textures
• Demonstrate proficiency using a single drawing media
• Blend values/colors to create new values/colors

Strand IV: Interdisciplinary Connections, Explain the connections between Visual Art and Communication Arts, Math, Science or Social Studies

Show-Me Science Curriculum Guide Human Anatomy and Physiology – Characteristics and Interactions of Living Organisms: 1. There is a fundamental unity underlying the diversity of all living organisms

• Define anatomical and directional terminology to appropriate structures.

Phase 1: Clarify goals and establish set

• Students will study the differences between anatomical portraits and regular portraits.
• Students will learn about the necessity of anatomical drawings in scientific study.
• Students will draw their own versions of anatomically correct portraits to the proficiency of 80% required by the State of MO.

Phase 2: Demonstrate knowledge or skill

Task Analysis:

• Students should visit the web sites provided by the teacher in the following bibliography.
• Students will then work from a variety of pictorial references supplied in the classroom for the assignment.
• The first drawing will illustrate a human skull, the second the muscle tissues of the human head, and the third the outside skin and hair of a anatomically correct human portrait.
• Correct placement of eye, nose and mouth holes are demonstrated in the classroom sample and should be also cut from student drawings in a like manner
• Anatomical portraits should be colored in naturalistically.
• Staple all three drawings together in order of their appearance in real life skulls

Phase 3: Provide Guided Practice

• The instructor will provide materials needed to describe visually the muscles and bone structure of the human head.
• The instructor will describe and write out the details concerning the process of an anatomical portrait study.
• The instructor will demonstrate the process involved with the layered drawing requirements.

Phase 4: Check for understanding and provide feedback – A standardized rubric will be used to analyze and critique each individual student’s artwork.

Phase 5: Provide extended practice and transfer – Students will be encouraged to create even more projects at home. Materials used during class may be duplicated in their own home. A handout for children to take home and color will be provided.

Reflections: Reflections are attached to rubric. There is room enough for both the instructor and student to respond.

Human Anatomy Bibliography:

• The accurate depiction of skeletal muscles and muscle groups from The Internet Encyclopedia of Science
• Skull Models
• Medical Illustration

Resources: The lesson plan adaptations and written content, excluding State Standards, is written and copyrighted by Kathy Grimm, 2009. The use of the ideas and 10% or less content constraint on previously published materials is met in accordance to United States copyright law. Some scientific definitions come from public domain resources. Interested parties may visit the following link to read about Fair Use and Teachers http://home.earthlink.net/~cnew/research.htm#Purpose%20of%20use

audubon's legacy lesson

Description: Audubon, a French-American ornithologist, hunter, and artist, developed his own methods for drawing birds. First, he killed them using fine shot. He then used wires to prop them into a natural position, unlike the common method of many ornithologists, who prepared and stuffed the specimens into a rigid pose. When working on a major specimen like an eagle, he would spend up to four 15-hour days, preparing, studying, and drawing it. His paintings of birds are set true-to-life in their natural habitat. He often portrayed them as if caught in motion, especially feeding or hunting. This was in stark contrast to the stiff representations of birds by his contemporaries, such as Alexander Wilson. Audubon based his paintings on his extensive field observations.

      He worked primarily with watercolor early on. He added colored chalk or pastel to add softness to feathers, especially those of owls and herons. He employed multiple layers of water-color, and sometimes used gouache. All species were drawn life size that accounts for the contorted poses of the larger birds as Audubon strove to fit them within the page size. Smaller species were usually placed on branches with berries, fruit, and flowers. He used several birds in a drawing to present all views of anatomy and wings. Larger birds were often placed in their ground habitat or perching on stumps. At times, as with woodpeckers, he combined several species on one page to offer contrasting features. He frequently depicted the birds' nests and eggs, and occasionally natural predators, such as snakes. He usually illustrated male and female variations, and sometimes juveniles. In later drawings, Audubon used assistants to render the habitat for him. Going beyond faithful renderings of anatomy, Audubon employed carefully constructed composition, drama, and slightly exaggerated poses to achieve artistic as well as scientific effects. Read more...

• Audubon Society - Visit the legacy of James Audubon

Subject: Fine Art/Biology

Instruction Time: Three sessions at least

Materials needed:

• White drawing paper
• Audubon prototype
• Colored pencils and watercolors

Objective(s):
Show-Me Visual Art Standards for Missouri Schools
Strand I: Product/Performance – Select and apply two-dimensional media, techniques, and processes to communicate ideas and solve challenging visual art problems for all high school grades.

• Select and apply drawing media and techniques that demonstrate both sensitivity and subtlety in use of media and informed decision making

Strand IV: Interdisciplinary Connections, Explain the connections between Visual Art and Communication Arts, Math, Science or Social Studies

• Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods.

Show-Me Standards for Biology
Strand 7: Scientific Inquiry – Science understanding is developed through the use of science process skills, scientific knowledge, scientific investigation, reasoning, and critical thinking

• Concept B. Scientific inquiry relies upon gathering evidence from qualitative and quantitative observations. - Determine the appropriate tools and techniques to collect, analyze and interpret data.

Phase 1: Clarify goals and establish set

• Students will study the watercolors and drawings of the famous orinthologist John James Audubon by observing a slide presentation, reading the attachment about him following this lesson plan and visiting web sites.
• Students will copy prototypes of Audubon’s work and develop their skills in watercolors and colored pencils.

Phase 2: Demonstrate knowledge or skill

Task Analysis: rewrite below

1. Students will research the life of Audubon through a selection of provided materials.
2. Students will select a prototype of James Audubon.
3. Make tracings or stencils to transfer the prototype to fine watercolor paper and paint.

Phase 3: Provide Guided Practice

• The teacher will show a slide presentation of John James Audubon’s life.
• The teacher will assign to each student a prototype to work from.
• The teacher will demonstrate methods of watercolor and drawing to the class during the sessions.

Phase 4: Check for understanding and provide feedback – A standardized rubric will be used to analyze and critique each individual student’s artwork.

Phase 5: Provide extended practice and transfer – Students will be encouraged to create even more projects at home. Materials used during class and the research conducted on their own computers at home may be duplicated in their own home environment at very little expense.

Reflections: Reflections are attached to rubric. There is room enough for both the instructor and student to respond. Copies of reflections are returned to students to keep in their three ring binders. (phase 4 above)

Resources: The lesson plan adaptations and written content, excluding State Standards, is written and copyrighted by Kathy Grimm, 2009. The use of the ideas and 10% or less content constraint on previously published materials is met in accordance to United States copyright law. Some scientific definitions come from public domain resources. Interested parties may visit the following link to read about Fair Use and Teachers http://home.earthlink.net/~cnew/research.htm#Purpose%20of%20use

posters and bulletin boards in the classroom

Posters and Bulletin Boards in The Classroom by Kate Coplan

To improve the appearance of an unattractive corner of a
Fifth Grade classroom in Baltimore, the teacher mounted
some children's art papers on walls and cabinets, placing
artistic objects nearby. With the colors nicely coordinated,
the arrangement made a pleasant reading corner.

       There are two major views in so far as classroom bulletin boards are concerned. One maintains that they must be showcases for students' work, with the youngsters themselves largely responsible for both content and presentation. The use by the teacher of posters and designs suggested or originating elsewhere is frowned upon, even though this might mean a vastly improved representation.

       The second view‚ with which this writer is in hearty accord‚ argues that the teacher, because of his broad experience and training, should provide most of the ideas and leadership, democratically inviting student participation, and using student work wherever practicable.

       However, if he is by talent or temperament artistically inadequate, he may legitimately borrow ideas, materials and/or techniques from any available source, in order to make classroom bulletin boards brighter, more attractive, more potentially educative. Certainly it is not plagiarism, but justifiable resourcefulness to adopt existing tools tending to stimulate learning, or to assist more readily in the dissemination of information.

       Where would the world be today if the great scientists, inventors, explorers, historians and medical researchers had ignored earlier developments in their respective fields, or failed to take into account the findings and accomplishments of their predecessors and contemporaries? Surely in teaching, as in other areas, there is the obligation to seize upon any constructive means likely to further the desired goals.

       James B. League, an enthusiastic and capable young teacher in Baltimore's elementary schools, has created many successful classroom bulletin board displays. Out of his experience he has evolved the following philosophy:

       "In order to proceed with maximum understanding it seems necessary to outline certain objectives or goals to be desired of visual materials. Without this statement, one flounders in confusion. The statement of objectives is also necessary from the point of view of establishing sub-goals to be used as means of arriving at the final goals. All material included in this statement is developed from my own classroom teaching experience, and is stated from my personal viewpoint only.

Objectives:

• To create the maximum aesthetic 'value' with the abilities and materials available to each teacher
• To create visual displays that have mind-appeal as well as eye-appeal
• To provide high standards of visual display to serve as a basis of experience for children to develop their own background and eventually their own skills in this area
• To develop the teacher's outlook to a point where he is sensitive to many ideas as potential points of departure for display or visual set-ups 
• To remember that fundamentally visual material should be, after all, an integral part of the educative processes, and therefore a primary responsibility of the teacher, himself

       "The following list of points serves to establish some reasons why it can be argued that the teacher needs to take the dominant role in planning, preparation, and execution of visual materials. (This is counter to the position that children should perform this function, and the teacher take a rather subordinate role, because schools are more interested in developing healthy personalities than beautiful art products).

   1. The preparation of quality displays requires a perception and/or appreciation of several factors, among which are:

•  a. an intellectual awareness of the salient points of the topic or subject to be displayed . . . i.e., how to create and capitalize on clever captions and related materials such as pictures, books, mock-ups, etc.
•  a sensitivity to certain principles of color and design as adjuncts of the message to be conveyed
• the ability to gauge the viewers' reaction- e.g., appropriate materials for age and/or mentality groups

   2. The final display should be more than a sum of its parts (i.e., color, design, caption, etc.). Rather, it should possess an organic unity which is the end product of intelligent planning

   3. The display should have 'sales' value as well as aesthetic value. It is the teacher who understands fully the message (however subtle or bold) he wishes to have communicated by the display materials

    4. In the final analysis, it is the teacher who must grow in experience and skill in the development of effective displays. He will need to use these skills at a high level of efficiency for many years to come. The sense of design, and 'healthy personality' can be developed in children in countless other ways

   5. The teacher, himself, needs to develop a forward look to keep his displays stimulating, and at the aforementioned high level of efficiency of execution

       "Certainly I do not advocate leaving the children out of the picture. That is not my intention at all. I should like to make these additional points, and a more resourceful teacher could probably come up with many others:

       1. In order to help the children to develop good display principles, one bulletin board in the room can be turned over to them. This could be done on a monthly rotating committee basis, four or five boys and girls working together. Such a setup would give all the children experience during the year in the planning and execution of exhibits. Being responsible for a single board, and knowing what was expected of them, they would probably feel more secure

       2. Because the teacher, in a sense, takes the dominant role, does not mean that the children are excluded during the preparation and execution activities. They could be included in various ways:

• Designing and cutting letters from folded squares of construction paper, if no commercial alphabets are available 
• Dismantling previous displays 
• Preparing the backgrounds for new displays, by painting or lining
• Helping in choice of pictures in planning stage
• Assisting with mounting of pictures, maps, charts or other items
• Getting books from library when these are to be used
• Putting jackets on books
• Filing dismantled materials for future use
• Lending material from their personal collections: shells, stamps, baseball cards, rock specimens, etc.

       3. Children, quite naturally from a maturational point of view, lack the sensitivity and intellectual awareness to prepare displays with the necessary depth of understanding to carry a teaching message effectively

       4. Finally, children themselves love to see their own creative products displayed to best advantage"

Sample Bulletin Boards from Suburban Baltimore Schools: (coming soon)

• Bulletin Board Displays from Kindergarten Classrooms
• American History Bulletin Boards
• Science and Math Related Ideas for Bulletin Boards
• Ideas for Sharing Books through Bulletin Board Displays 
• Bulletin Board Ideas About Religion

More Articles by Kate Coplan:

• How to Communicate Through Visual Display
• About The Use of Color In Bulletin Boards
• Creative Poster Ideas
• Attention-Getting Bulletin Boards
• Helpful Hints About Crafting Displays
• Taking Care of Display Materials