A couple of weekends ago, a girlfriend and I made the 3-hour trek to Seattle for a shopping and art trip. We visited the Chihuly Garden and Glass on a dreary afternoon and we were very impressed. :)
As some of you may know, Dale Chihuly is from Tacoma, Washington and this Seattle museum proudly showcases some of his best work. It is situated right in the Space Needle's shadow and near the entrance to the monorail (which we took a ride on just for fun). We were also allowed to take unlimited photos here-which made me love this place even more!
I caved in and bought a DVD set in the gift shop....maybe a Chihuly project with my students is on the horizon.....
|Looking up at the colourful glass in the ceiling.|
|Coincidentally, this woman was wearing all of the chandelier colours. Ha!|
|This needs to be seen!|
|We managed to capture a rain-free Seattle moment (it started a couple of minutes later).|
|Monorail track going through the EMP Museum, designed by Frank Gehry.|
Inspired by a post on ink creatures at a faithful attempt, I decided to do some of our own during Intermediate Art Club (Grades 3-7). Students each recieved a piece of thick white sulphite drawing paper, half a straw, and a bowl of India ink with a brush. After blobbing the ink onto their paper with the brush, they blew hard through the straw in different directions. Their shapes/creatures/hair emerged! Details such as eyes and fangs were added with Sharpies.
It was a very messy art club today! Glue everywhere! We are in the process of making some heart boxes from clay molds. First, students formed a heart shape with clay, then covered it with plastic wrap, and finally added two layers of gooey papier mache. Next week, I'll slice the boxes in half and students will use acrylics to paint them. Thank you to Kathy @ art projects for kids for this idea.
Here are some pictures from the following week when I sliced the boxes open. I used a sharp utility knife to do so. Students then wiggled the hearts off of their molds, removed some of the plasic wrap that remained and then used acrylic paints to finish them. A couple of coats were needed.
There is something about a weaving that seems so much more lasting than other art forms. They seem to stand the test-of-time, making it through many spring cleanings. Or maybe I just think that because my in-laws still have a sweet little weaving that my husband made in elementary school tacked up to their dining room wall. (My husband vows that since he made it, it has never moved from that place).
There's also a satisfaction that comes from working with something tactile and maniplulating soft materials such as thick, heavy wool, that children seem to love.
For this grade 4 weaving project, I was inspired by a fabulous post over at New City Arts.
In these cardboard loom weavings, students were asked to tell the story of an important family memory. They made a sketch and planned out their colours beforehand, each representing a component of their story. Then they learned how to string the loom and weave.
The weavings took a while to get going, and many students had false starts, but after some one-to-one coaching and a few good lines in a row, they all got the hang of it. And then they loved it.
When they were finished, I had them make a good copy of their colour key to display with their weaving. I put them together side-by-side in a clear plastic sleeve to display outside the art room.
Here are some gems:
As follow-up to one of my fall lessons here, I wanted to share just a few pictures that I took of students' clay owls. The project was a huge hit, and the kids were very keen to wrap their owls up in little organza bags and give them as holiday gifts.
|The owls on display in the glass hallway cabinet. (I put in some pinecones and branches so they would feel at home.)|
For a few terms now, I have been doing a mask-making project with Grade 7s. It's very involved, but the kids love it and I've found that almost everyone experiences a successful result. I've also loosely tied it in with a Social Studies unit where students study ancient Greece (and Greek theatre). I take about 20 minutes of the class before the mask-making to look at examples of Greek theatre masks and talk about the exaggerated facial features. Students roughly design their mask expression and theme before the next class.
Working in pairs, students put on garbage bags to protect their clothing, and then the first partner (the model) puts on a shower cap to protect their hair. A generous amount of Vaseline is applied to the model's face, making sure to cover the eyebrows and sideburns well. The model then sits down in a chair, head slightly back, and an exaggerated expression is made. The other partner begins applying small plaster strips (pre-cut into pieces of about 1 x 3 inches) dipped in lukewarm water, directly to the face. (The plaster was purchased on a large roll at the art supply store.) Care is taken to avoid the eye area and the mouth. After applying strips all over the face, a second layer is added. Lastly, the nose area is covered and students have to breathe through their mouths for a little while.
A few minutes after the final strips are laid, I usually go around and check for weak spots in the masks before students remove them. If all is well, students start scrunching up their faces and wiggle the masks off. Masks are initialled with pencil on the inside, and laid to dry on balled-up newspaper.
The process is then repeated with the other partner. (It takes about 45 minutes to prep and cast each partner, so two blocks are needed to make sure everyone is casted.)
The next class, masks are dry and the exaggerated features can be built up using papier mâché pulp (I used Claycrete- a popular one found at art supply stores). As per package instructions, the pulp is mixed with water to create a clay-like consistency that can be molded and shaped into eyebrows, lips, noses, horns etc.
Some students take only one class block for this step (45 minutes), but others make take up to two, depending on how elaborate they want their masks to be.
|Nose, chin, and horns are built up|
|Eyebrows and lips are built up|
The pulp takes at least 48 hours to dry completely, and then paint can be applied. I have students use acrylics on their masks. With some colours, two layers of paint may need to be applied.
After the paint is dry, I give students several choices for finishing, such as adding gloss varnish, glitter, fabric embellishments (attached with a glue gun), or ribbons on the side of the masks.
Here are some of the amazing finished results. Students are hoping to perform with these masks in a play later this year.