Monday, October 10, 2011

Communication Skills


The quote above the door of the classroom where  I taught for nine weeks reads, "The goal of  learning is not just to acquire knowledge, but to use  that knowledge in a variety of settings."

        According to Adler and Rodman, "subjects spent an average of 61 percent of their waking hours engaged in some form of communication." I believe art teachers can and should model effectively verbal, nonverbal, and media communication techniques to students in the classrooms, parents and custodians in the home, teachers and administrators in the workplace, and to the larger community that supports the education of young people. Such activities help foster active inquiry, collaboration, and supportive interaction in all groups of people for the unified support of the arts. There are basically five types of communication. Although, all five of these share common attributes, the following types each occur in a different context inside to the art classroom. 
More student work from Ritenour High School.
      Intrapersonal communication is by definition about "self talk" or the internal conversations that people have with themselves.  I sometimes include directions on the board for students to refer back to during a studio activity. By these means students can retrace their steps and ask themselves if they have followed the directions correctly. This is a introductory way to teach self-assessment to a very young student. I often include self-assessments along with a rubric. Students must fill out a brief questionnaire in which they retrace their activities in order to check on the inclusion of all the required processes or elements in a studio project. I use this intrapersonal communication technique with older students who are encouraged to develop discipline/focus in order to make higher grades. I also promote internal conversations through the practice of journaling in many of my classrooms. 
      Dyadic/interpersonal communication is the most common form of communication in my art classroom. Dyad, meaning “two” occurs when two individuals have a conversation. I spend approximately seventy-five percent of my time communicating one-on-one with each of my students. As they work, I circulate around the room to answer questions, give personal presentations and make positive observations about their work. Dyadic communication is often referred to as interpersonal communication. The difference between these two forms of communication is a simple number. Interpersonal communication usually involves three or more people speaking to each other face to face. When students are seated by twos or threes at individual tables in an art classroom, interpersonal communication is also occurs naturally inside of most art classrooms.
Another mural size painting from Ritenour High School.
      In small group communication the dynamic changes dramatically. A small group has a well-defined majority or minority depending upon the members of the group. In many cases the majority will determine how that small group functions. Small groups can also change in function according to who is most dominant inside of its makeup. If a classroom of young students is led by an older teacher, the majority of members do not rule but decide that the oldest single member should be obeyed for reasons such as: experience, strength, inheritance or knowledge. Peer pressure can also change the way people behave inside of group. Sometimes all members of a group may be equal, however, one member may have superior skills. In the cases of sporting events, one member who is exceptionally talented may be elected the head of that small groups' agenda. Families, classrooms and athletic teams are all different types of small groups. I frequently assign small groups inside of my classroom in order to ad new interest to the method of conducting class. I do not generally assign the prospect of earning important grades to small groups because students have a tendency to become dependant on only one or a two of its' members to carry most of the workload. I assigned discussions/observations to small groups in order to promote social interaction. Students need to learn how to engage each other actively in academic conversation, polite conduct and appropriate discussion long enough to understand what is socially acceptable. The art classroom is as good a place to begin this part of their education.
In the display case above are paintings 
by students at Ritenour High School.
      Public Communication happens when small groups get so large that not all of their membership has time to participate equally in all circumstances and discussions. At this point, one or two individuals are usually appointed to communicate ideas and opinions to the larger group. The audience is then given opportunities to express themselves at the end of a discussion, through written comments or body language. When I lecture to a large group of students, I do so in brief fifteen to twenty minute intervals at the beginning of a larger assignment. Aside from lecture, I frequently communicate with the public on the behalf of my students. I've listed below the most common occasions in which I anticipate art teachers to participate in a public forum.
  • Student art exhibits on school grounds or in community centers such as: libraries, conventions, malls, or other public buildings are traditionally hung by art teachers. These kinds of public exhibitions promote student self-esteem and also share the progress of art students with their friends, teachers, and parents.
  • Art teachers sometimes give interviews to the local press in order to promote educational programs.
  • Art teachers help homeroom teachers communicate through art everyday by sharing ideas for classroom bulletin boards and displays.
  • Art teachers also contribute to cross-curricular agendas established by administrators and their fellow educators. I've included many samples of this type of work on my education blog.
  • Art teachers are often asked to contribute to local community events in order to promote the education of the public as well.
  • Art teachers can improve the visibility of their programs by actively communicating with the community.
       Mass communication happens when I send out information via the e-mail, through newsletters, or over the internet through a blog. I also will use whatever software programs school districts have acquired for these communication purposes. I have worked on the internet for eight years now in publishing and I do not find these technologies intimidating. It is important, however, to conduct oneself formally as a responsible participant on the web because it is a public forum where many eyes can view/read about your conduct for many years after the fact. Teachers should be selective about the resources they use over the internet. I discuss these resources in detail under MoStep1.2.11: Instructional Technologies.

Artworks by students at Union Elementary. The principle 
at this elementary school chooses one painting a 
year from all of the art classes to frame and install in the 
hallway permanently.

Artworks by students at Union Elementary.  
These permanent choices are hung directly on the 
concrete wall above. The temporary student 
artwork is pinned to the cork strip below and removed 
throughout the school year as new creations are produced.

This display is among several student art 
installations at Ellisville Elementary School.

My cooperating teacher was in charge of enlisting many of her own
students to decorate the public spaces in her elementary school.

This fountain's tiles were painting by her students.

A student textile mural from Ellisville Elementary.

Above and below are photos of the "trees" with ceramic
leaves decorating a hallway at Ellisville. The leaves
were sculpted in my cooperating teachers art class
by dozens of her young students.

Sunday, October 9, 2011

sculpt peruvian peasant and llama ornaments

Description: I discovered these charming little Mexican, folk ornaments in a flee market. These salt clay ornaments are hand-shaped. Unlike the molded variety, it is important to use the recipe that requires vegetable oil when crafting them.
Mexican folk art created by hand-shaped salt clay are shown
above. These brilliant colors were made with gel food
coloring.
Supply List:
  • table salt
  • flour (white unsifted)
  • gel food coloring (many colors)
  • vegetable oil
  • water
  • plastic wrap
  • glass mixing bowl
  • clean, even counter top
  • rolling pin
  • acrylic varnish
  • small tools to shape clay with
  • Lama and peasant templates
  • scissors
  • garlic press
Ingredients for a Stiffer Salt Clay:
  • 4 cups of all purpose flour
  • 2 cups table salt
  • 3/4 - 1 cup water 
  • 1 tablespoon glycerine or plain vegetable oil
Directions:
  1. Mix together the dry ingredients thoroughly by hand in a glass mixing bowl.
  2. Add in the water and oil and stir till the dough is stiff.
  3. Knead the dough on top of a flowered surface vigorously for approximately ten to fifteen minutes.
  4. Let the dough sit covered with a towel in the glass bowl for 30 to 40 minutes.
  5. You may wrap the dough in plastic wrap and refrigerate it over night at this point or continue to shape and work with it.
  6. You may also tint parts of the dough with gel food coloring. Remember the color will dry darker.
  7. The Mexican examples of clay dough ornaments shown above are tinted with gel food coloring but, you may choose to paint your ornaments instead. 
  8. Download and print out the templates for the lama and peasant examples above.
  9. Roll out some of the natural colored clay and place the templates on top. Cut along the outside edges with a small knife in order to duplicate the llama and peasant pictured above.
  10. Roll, cut and prick similar decorative additions as shown above.
  11. Always moisten the clay joints with a small amount of water as you work to form a "bond."
  12. Use the garlic press to squeeze out the thinnest, decorative, clay trims.
  13. Prick the thicker parts of your ornaments for better drying results. Do this on the back side of the ornaments!
  14. You may either "air dry" your ornaments for several days, this varies according to the humidity in the air, or bake them at 250 degrees for about three hours.
  15. Varnish the ornaments in order to preserve them for many years to come.
Additional Suggestions: Always store this type of finished salt clay ornament in air tight containers, preferably tin containers. Mice will destroy these if given the opportunity. 

Use a garlic press to create the 
delicate clay filigree shown above.

Peruvian peasant and llama template.
This template may be downloaded and sized in a
word document. Read the Terms of Use before
using it folks.  


Thursday, October 6, 2011

Tips for managing behavior in the art classroom

The following tips for classroom management are collected from many expert teachers:
  1. Enforce the classroom rules promptly and with consistency.
  2. Teach art lessons with many demonstrations. It is human nature to learn through visual observation as well as spoken instruction.
  3. Be both sincere and accurate with compliments.
  4. Collect and create "procedural drawings" for your assignments so that these may be projected onto a white board or drawn by hand onto a chalk board. I often include these with my lesson plans here on my blog. This will eliminate constant repetitive requests for the information while you are helping individual students with immediate concerns. Young students especially need this kind of help!
  5. Start every day with a fresh attitude. Forget the confrontations of yesterday. 
  6. Except the fact that not all students will "like" you. 
  7. Include music in the classroom that is representative of the culture or ideas taught through the artworks. Music, if properly selected, can definitely add a peaceful dimension to an art classroom environment. If the music is improperly selected, it can work in the reverse.
  8. Positive reinforcement drives student enthusiasm for work.
  9. Teach age appropriate lessons in order to eliminate confusion and frustration.
  10. See your students as a collective body of individuals. Consider their unique interests and problems and this will enable the teacher to manage their behaviors productively.
  11. Establish your authority for several weeks prior to developing a more congenial relationship with students.
  12. Remember that you are your student's teacher, not their friend. Be a friendly teacher but not a teacher who is more consumed with friendship than those responsibilities you are paid to do.
  13. Give your students something to do as soon as they step into your classroom.
  14. Be flexible with lesson plans.
  15. Reinforce and praise positive student behaviors.
  16. Try to remain quiet and wait patiently for students to focus on you.
  17. If you have a mentor assigned to you, ask him or her for help with classroom management. These mentors have a wealth of experience in classroom management.
  18. Don't create classroom agendas that you cannot realistically comply with.
  19. Enlist students to help create practical rules for your classroom.
  20. Students should be involved with problem solving when rules have been broken.
  21. Constructively criticize students apart from their peers so that only they can hear your words if this criticism is only for a particular student. Otherwise, generalize the criticism to include every student who might break codes of conduct in the future.
  22. Students who behave poorly are often looking for attention. Locate these students towards the back of your classroom. You want to be able to see them clearly without letting other students observe and copy the poor behavior.
  23. Choose your battles carefully.
  24. More group participation than lecture.
  25. Some outdoor activities that promote objectives in the curriculum really improve behaviors.
  26. Give your students choices.
  27. Students will have confidence in you, when you have confidence in your own authority.
  28. Maintain a steady sense of humor and mutual respect for all of your students.
  29. Plan ahead when arranging your classroom. Develop practical access to frequently used areas of the classroom.
  30. Many discipline problems will disappear if you are enthusiastic about what and how you teach.
Classroom Management Strategies:
LLC- Discipline, Motivation and Classroom Management Seminars
Tackling Classroom Fears
Eleven Techniques for Better Classroom Discipline
Classroom Management: New-Teacher Toolbox
Classroom Management Topics from the NEA (National Education Association)
The Stages of Discipline
Dr. Mac’s Behavior Management Site
Four Steps for Better Classroom Discipline
Discipline Techniques that Backfire
Discipline for Promoting Responsibility and Learning
Fred Jones: Tools for Teaching
Resources for Handling 124 Behaviors at School and at Home
Classroom Tips from Teachers Like Your
Strategies for improving low-performing schools
Proactive Discipline

Lesson Plans That Promote Discipline:
Stepping Out

Discussion Board for Classroom Management:
teachers.net

Friday, September 30, 2011

Asian-American link resource for art education

Asian-American Collections from Museums:
More Web Sites:
Articles Listed by The Virtual Museum of the City of San Francisco:

Wednesday, September 28, 2011

make a miniature decoupage bottle

Mona Lisa smiles on this miniature
decoupaged bottle.
Brief Description: Turn miniature bottles into keepsakes.

Supply List:
  • miniature bottle
  • tiny metal star
  • decorative string
  • Mona Lisa graphic
  • blue butterfly wings (below)
  • Mod Podge
  • soft brush
  • scissors
  • glitter
  • white glue
Directions:
  1. Thoroughly clean and dry the bottle you intend to work with.
  2. Cut out the pictures that you wish to include in the project. I've included a set of blue butterfly wings for you to download below.
  3. Glue the pictures and glitter in place with ordinary white glue.
  4. Now layer the Mod Podge on top of your work with a soft brush and let this dry. 
  5. String the star onto a twine and wrap this firmly around the bottles neck and knot. 
Additional Suggestions: These little hand-crafted vases are perfect for miniature collections.

Blue butterfly wings.
This template may be downloaded and sized in a
word document. Read the Terms of Use before
using it folks.

All instructions, template and photographs copyrighted by Grimm 2017

Watch Aggie Craft paint and decoupage a bottle.

craft a vintage envelope tag book

A student's sample of a vintage envelope tag book.


Brief Description: My daughter decoupaged this little envelope tag book several years ago. There are also letters tucked inside of each page as well.

Supply List:
  • You may either purchase envelopes or make your own. I've included a template below.
  • scraps from newspapers, magazines
  • Stamps and inks
  • small additional charms, tokens etc...
  • yarn
  • scissors
  • white glue
Directions:
  1. As with most collage craft projects, the object of this process is to basically cut and paste. One needs very few directions when this is the case.
  2. As for the template, down the image below, drag it into a Word document and size it according to the size you would like for a envelope tag book. 
  3. You will need some kind of paper, preferably not too light weight.
  4. Use glue sparingly as you go into order to keep the envelopes in shape.
  5. Tie the pages together with an interesting bow or yarn.
All instructions and photographs, templates are copyrighted by Grimm 2017


The envelope tag book template.
This template may be downloaded and sized in a
word document. Read the Terms of Use before
using it folks.
More Tag Book Crafts:

Tuesday, September 27, 2011

35 questions for promoting aesthetic inquiry in k-12 art classrooms

Questions for Promoting Aesthetic Inquiry: Students should never be allowed to answer questions with a simple "yes" or "no." Teachers should always encourage and wait for the students to give a reason(s) for their answers. This practice will develop complex thinking skills.
  1.  What is the difference between bad art and good art?
  2. What is the difference between bad art and something that isn’t art at all?
  3.  If something is carelessly constructed, from junk, can we call it art?
  4. Why do people disagree so much about how art should look?
  5. If I think some art is ugly, can it still be called art?
  6. If an artwork costs a lot of money, does that mean it is better than less expensive art?
  7. If art is kept inside an art museum, does that mean it is more important than art that is kept inside our homes?
  8.  If an object is useful, is it considered art?
  9. Are you born an artist or can you learn to be an artist?
  10. Is a very old piece of art more valuable than a newly created piece of art?
  11.  How do you become an art expert?
  12.  If I’m making an artwork, am I working or playing?
  13.  Should artwork be used to sell things, if so when is it the correct thing to do? When is it wrong to use artwork to sell things?
  14.  Can people make art in a factory or does it need to be made by hand?
  15. Can art be about ugliness?
  16.  Are animals, insects, or plants considered art?
  17.  Can you describe for me what a beautiful portrait of a lady would look like, and why you think that is the way she should look?
  18.  Does artwork mean only one thing to every person? Can one artwork have multiple meanings?
  19.  Who makes the best art in your opinion?
  20.  Can more than one person work on one artwork at a time?
  21. Should a gallery sell an artwork for less money if it was created by a woman, instead of a man?
  22.  Does a painting of a city need to look real in order for us to enjoy looking at it?
  23.  Is there such a thing as art that should never exist?
  24.  Why should artists invest so much time in their work when they could be easily entertained in a theater or with a book?
  25. Can we consider anything art?
  26.  Should the government pay artists to create artworks that offend some people?
  27. Should artists need to prove that they are capable of painting something realistically? If so, why?
  28.  Do artists need to sell their work?
  29.  If one painting is bigger than another, does that mean it is better?
  30. If you could copy another artists’ work exactly, would your copy be as valuable?
  31.  Can monkeys or elephants make art?
  32. If art is easy to make is it less valuable or less important?
  33. Can you name something that is not art but people might think that it is?
  34. How long do you think it would take to make important artworks?
  35. Who makes the best art?