​Some of my best units start with a cryptic assignment. This one began with a simple request: bring in a stuffed animal from home, one you wouldn't mind destroying. Not too tiny (that gets fussy fast) and not too large (that gets overwhelming), about the size of a basketball is the sweet spot. I polled my classes ahead of time to see who might need a donated animal, made a quick thrift store run for a few backups, and offered extra credit to anyone who brought in more than one. The mystery of it hooked them immediately.

​Before we started cutting into anything, I borrowed models from our biology department: a mannequin, a full skeleton, some printed anatomy resources, and had a sample piece half-finished so I could stay a step ahead of my students. I introduced the work of Jason Freeny and Leonardo da Vinci's anatomical studies, along with Louise Bourgeois and Robert Rauschenberg for their soft-sculpture and mixed-media sensibilities, plus contemporary artists Deborah Simon and Precious Okoyomon. Then I explained the twist: everything in this dissection would be handmade; the tray, the pins, the organs, and the labels.

​Setting the Bar
 
I always give students two tiers of goals so nobody hits a ceiling too early (more on why I do that here).
 
To meet expectations, they needed to:
1.Include at least 4 sewn organs
2.Create a decorative dissection tray and pins that coordinate with their subject
3.Include creative dissection labels
 
To exceed expectations, they could:
1.Incorporate more than 4 sewn organs
2.Add bones or other biological details
3.Include unexpected touches: tools, interactive elements, or extra layers of detail, etc.
 
Four Phases, Four Rounds of Feedback
 
I split this project into four phases, pausing after each one for critique, sometimes written peer-to-peer, sometimes an oral share, and once a post-it-note gallery walk where every student left three pieces of feedback for classmates.

​Phase 1: Pins.
Students each needed ten sculpted pin toppers, enough to pin the ears, limbs, and dissection flaps open. We talked through how a topper should reflect the animal: bees and honeycombs for a bear, bananas for a monkey, dog treats for a pup. A porous air-dry clay, hand-painted and sealed, gave us toppers that felt custom to each subject rather than generic.

​Phase 2: Dissection Boards.
Rather than default to a plain rectangle, we treated the board shape itself as an expressive choice, a dog-house silhouette for a Snoopy, a hat shape for Curious George. Layered cardboard gave us a sturdy base, and fabric (much of it donated scraps and old clothing) covered it. Then came the fun part: trimming with ribbon, braided rope, pompoms, or cut-out patterns so the board felt as considered as the figure sitting on it.

Phase 3: Dissection and Sewing.
This is where the real anatomy lesson happens, how to pin a figure so it holds its pose, how to cut so the fabric doesn't shift on you, and how to sew organs that read as both biological and beautiful. We used a mix of yarn and upholstery thread, and I taught a specific cutting and pinning sequence that made this step dramatically less frustrating than it sounds. Students also had to make a judgment call I love posing to them: sew your organs in permanently, or leave the option open until the whole piece comes together?

​Phase 4: Labels.
The last layer is where the piece turns from craft project into something genuinely gallery-worthy. We discussed permanent versus removable labeling, how to keep a label from overwhelming the organ it's pointing to, and how the label design itself can be pulled into a student's overall concept, one student's rabbit dissection used carrot-shaped labels on orange paper, connecting form and content in a way that elevated the whole piece. 

Why This Project Works
 
It's silly. It's a little morbid. And it works because it sits exactly at the intersection of biology, sculpture, and sewing. This is the kind of cross-curricular territory that makes administrators pay attention and students genuinely excited. Pacing varies a lot from student to student, so I always list "extras" students can do to improve their work. More on that HERE.
 
Here's my materials list with links to Amazon:
Materials: (Only * items are “necessary”)
*Stuffed Animal
*T-Pins https://amzn.to/4AdlO0y
*Cardboard (4 or 5 layers glued)
*Felt and scrap fabric https://amzn.to/4xELxwW
* Air-dry clay for pin heads https://amzn.to/4d5zgcL
*Paint (We used watercolors) https://amzn.to/46ba80t
*Sewing Needles https://amzn.to/4yr58ks
Yarn or thread https://amzn.to/4xICcVd
Canary Cardboard Cutters https://amzn.to/4hb0uRE
Duct Tape https://amzn.to/4yIyniX
Clear Glaze https://amzn.to/4gQ6cH9
Exacto Knives https://amzn.to/4xRq4ks
Replacement Blades https://amzn.to/4ifVITZ
Spray Glue (for fabric) https://amzn.to/46HFThP
Assorted craft items to decorate boards
Hot Glue Gun https://amzn.to/4hdvksQ
Hot Glue https://amzn.to/4hbjnE6
Silicone mat to go under hot glue area https://amzn.to/4xBBjO1
*Biology References


If you'd like this lesson with print-outs, the full exact lesson sequence, organ-securing strategies, National Standards, student-facing 10-page packet, rubric, reference biology hand-out, critique pages, and the complete phase-by-phase timeline I use in my own classroom as part of my full lesson. LINK HERE.

Budgets and Art are under scrutiny all across the country. As teachers we need to be ready to defend the relevance of our subject or face cuts. THIS POST will give you the ammunition you need to defend your program. However, if your program produces “copy-me” work LIKE THIS, then there are issues you need to address. I have created THIS resource for new teachers that focuses on Choice-based pedagogy, with a digital download available HERE. A video preview of the book can be seen on YouTube HERE.
 
This blog offers hundreds of free lessons, resources, and examples you can use in your classroom. I have even added a search function on the top-right column to help you find specific posts. With over 12 years (so far) of posts, you’ll likely find something helpful AND FREE to use.
 
If you’d like something more specifically tailored to your program, grade level, and intercurricular connections (to knock the socks off your administration) visit my app at https://app.artedguru.com and toggle between Teacher Lessons Plan & Independent Project. You can specify grade level, class period length, Media, Visual Style, Purpose, Historical/Cultural connections, and even add a wildcard selection like a specific theme, artist, or topic you’d like to incorporate. There are additional check boxes for pacing guides, estimated costs, sub plans, critiques, and 504/IEP accommodation.
 
I have also pulled my best lessons from my 37+ years of classroom teaching and organized them by art elements and principles. Book 1 (with over differentiated lessons for grades k-12) is HERE with a digital download available HERE. And book 2, with another 50+ lessons is HERE, and a digital download available HERE. A video preview of the book can be seen HERE. These books and the following all come with right to make copies for your students! That’s a big plus not many publishers allow.

​If you are looking for a new approach to Art History, I created THIS BOOK based on my unique approach. It teaches students to think visually rather than memorize facts. Instead of treating art movements as lists of dates and names, this workbook presents them as visual languages that can be analyzed, compared, and decoded. Students develop essential skills—observation, pattern recognition, categorization, and visual reasoning—that extend beyond the art room into other disciplines and everyday visual culture. Organized into clear, classroom-ready sections from Byzantine art through contemporary conceptual art, the book includes over 130 lesson prompts, assessments, reproducible resources, and access to a free color-image PDF for instruction. A digital download is available HERE and a preview PDF can be seen HERE.
 
If you are looking to do crafts with your students and avoid cultural appropriation, I have THIS BOOK with 140 open-ended, craft-based lessons prompts supported by illustrated cultural examples. A digital download is available HERE and a PDF of some inner pages can be seen HERE. Teachers are encouraged to start with their students—surveying cultural backgrounds, inviting research and sharing, and empowering students to help guide explorations of global craft traditions such as weaving, wrapping, stitching, carving, and more. Included are adaptable scaffolds, worksheets, assessments, and rubrics that work across grade levels and cultural contexts. Printed in black and white for easy copying, with a full-color PDF companion available for classroom use. It’s a teaching toolkit for building respect, identity, and authentic cultural understanding through making.
 
The last resource I will recommend are my workbooks. I personally use them daily in my classroom. Though I can teacher from the Teacher’s Edition, I like to get individual student editions so they can build a portfolio as we work. I use the advanced book for my independent classes, available in both teacher edition and student edition. Buying individual copies though may be outside most budgets, but the books can be purchased through Donor’s Choose and Amazon’s partnership.
 
Planning your year can be both exciting and daunting. It is a chance for a refresh, and starting over. THIS is how I approach each new year. If you are new to art education, THIS is the advice I wish I received my first year. 

​I have tried printing units before like Gelli Printing, and Foam Plate printing even as a Collaborative Project. But it wasn’t until I found a good water-based ink that I was ready to dive into etchings.
 
Printmaking connects students to one of the most important traditions in art history, especially the work of Rembrandt van Rijn, who helped elevate etching into a respected fine art form during the 1600s. Rembrandt scratched detailed images into metal plates, covered them with ink, and pressed them onto paper to create rich, expressive prints filled with line, texture, and emotion. THIS VIDEO is a nice introduction, and the Rijks Museum has a nice slideshow HERE. 

In this lesson, students explored a similar process by scratching into plastic plates and using water-based ink to create their own prints. While the materials are safer and more accessible for the classroom, the artistic thinking remains very close to historical printmaking methods.
 
Students had to plan compositions carefully, understand how lines hold ink, and think in reverse because printed images flip during the process. This technique also teaches patience, craftsmanship, and experimentation, since every scratch permanently changes the image.
 
Printmaking allows artists to create multiple originals while exploring texture, contrast, and expressive mark-making in unique ways. By trying etching-inspired printing, students experience a process that connects contemporary classroom artmaking to centuries of artistic innovation and communication.
 
In this particular lesson, I had students create monograms of their name and then incorporate symbols of their cultures and interests. They were allowed to use AI and generate ideas, but they got more points for hand-drawn images. (Normally, we would all do hand-drawn work, but this was a last project of the year, and I was limited to 6 days.) 2 to draw, 2 to etch, 2 to print.
 
If you have read my blog, you know that I set Multiple Goals for my students to keep them challenged and on task.
 
To meet expectations they had to:
1. Create a line image and reverse it (We used Google Docs)
2. Etch an image of their initial and incorporate cultural and interest symbols
3. Create 6 prints total, 1 of which should be clean and of high craftsmanship
 
To exceed expectations:
1. High level of detail
2. Incorporate crosshatching/stippling
3. Hand color 1 or more prints
 
In this video, I explain the process we used. Though we have focused on monograms, this could easily be done with any subject, portraits, landscapes, still lives, or even abstract works. Had I more time, this lesson would be an introduction to a longer independent etching assignment where students choose their subject using their own resources and without the aid of AI.

Adding images to Google Docs or Word programs is helpful though in mirroring the image so to make etching in reverse more easy, but you can also use a light table and flip the image and trace from there. Another method is to slightly oil the paper to make it translucent.
 
We used a sharp pin tool to scratch our plastic plates. The same used for ceramics. A sharp nail, needle, exacto, or anything that will scratch the surface you are working with will suffice. Fine sandpaper (400 grit) was great to keep the point sharp on our "pokey tools."

Here are some images of our process and the results. 

If you would like to investigate other lessons by ArtEdGuru, use the search option on the blog’s home page, or try out my app at https://app.artedguru.com. It is connected to hundreds of choice-based lessons and dozens of my books and blog posts to generate authentic lessons for your students.

Etching (Printmaking) Material Links:

• Printing Press on Amazon: https://amzn.to/4dyzwRa
• Cheaper Option: https://amzn.to/4eULUxc
• Water-based ink (soy)16 oz. https://amzn.to/4uCP1yR
• Scratch Tool (Awl) https://amzn.to/3Rdf2G5
• Chip Board for pressing ink: https://amzn.to/3Rdf2G5
• Newsprint 500 sheets: https://amzn.to/4eUcdn9
• Affordable printing paper: https://amzn.to/4digIXl 
• Acrylic Sheets (many sizes): https://amzn.to/4nMeS4p 

Though we used acrylic sheets, opened soda cans, opened milk cartons, and many items that are smooth but can be scratched, can work as a printing plate. 

​A soft Launch of app.artedguru.com , currently in beta testing mode.

​As we enter this era of AI, something I have noticed is that teachers are beginning to explore the use of AI in generating lesson ideas. Often they end up with disappointing “AI Slop,” built without the experience of actually being in a classroom, or culled from obvious but thin resources.
 
For the past few months, I have been building a database with over 1000 of my intercurricular lessons created over nearly 40 years, along with my books, video transcripts, and blog content to build a R.A.G. (Retrieval-Augmented Generation) a software framework that Large Language Models (LLMs) use by fetching up-to-date or private data.
 
I have ZERO experience coding, but I am aware that Claude AI is a powerful tool that can walk you through a complicated process. I can communicate with Claude in plain English, and if I get lost, I can say so, and it will simplify information for me and break normal coding steps into tiny bites. I certainly know how to copy and paste, and that’s 80% of what I am doing. Here you can see a little of that coding work below. 

Claude walks me through setting up accounts. It will even point me to free resources before we use anything that requires payment. (I do have a paid Claude account, as well as ChatGPT.) When I get lost or frustrated, I send it screenshots, LOTS of screenshots, and it will tell me where to navigate and what to click. Sometimes it’s scary. Why am I trusting this “thing?!?” I am using programs I have no idea what they actually do, but Claude holds my hand—virtually. You can see that in my chats below.

It has not been smooth. At a critical moment, the preliminary app stopped working and kept giving errors. We made circles for 2 days, and I thought I would give up. Honestly, 6 to 8 hours of frustration. Then I asked Claude to write a complete statement about the problem and I copied it over to Chat GPT. Together, they solved the coding problem within 30 minutes, and we were back in business. They both have their strengths.
 
Originally, this was going to be an App for art educators, but I realized that for my entire career, I have been connecting art to math, geometry, science, literacy, chemistry, and more. I have a whole video series about that HERE. I even have a free poster (below) about this, you can download HERE on TPT. (I am even working on a student-facing version of the app that will be a more colorful experience to foster independent learning!)

I built the app so that ALL teachers of ALL subjects can generate art-connected lessons. That’s called STEM/STEAM education. These lessons can even be used to create Gold Standard PBL experiences! Research shows that the “A” in STEAM is a powerful tool that elevates STEM lessons into enduring ones. That “A,” the art, makes these experiences more personal, internal, expressive, and relevant to the student.
 
I encourage you to try the app out. It’s free! "Kick the tires," and use the feedback option to let me know if you like it, what’s problematic, what you wish it did, etc. I know as of May 1st, the links to PE and Theatre lessons are thin, but I am going to work on that this summer. My plan for app.artedguru.com is to keep it free through August or September of 2026. 

I understand that AI is controversial, and I have already gotten some pushback, people saying they don't want AI lessons, but I need to be clear, AI is not generating ANYTHING, it is used as a librarian or curator, pulling exclusively from my repository of resources faster than I can. 

For example, in my Facebook Group, someone will ask for a wire sculpture lesson, and I know I have one but forget when I posted it, and I may actually have 3 different posts on wire sculpture, a video or three, and it may be in one of my books too. The app pulls ALL THOSE together into one spot for teachers to access. After nearly 40 years, it's hard to remember what files are where, and when I did them...
​
You should see my desk! It's a wonder I know where anything is!!! ;-) 

​Every lesson you generate eats up data, and data is the new commodity in this age… Because the use of data actually costs me money for every lesson you generate, I’ll need to implement a small monthly fee in the spring (if the platform is “successful.”) Claude is suggesting we offer 3 free lessons and that the 4th will prompt a subscription portal for $8. This will be low enough to cover the data fees for nearly unlimited lesson generations and independent explorations for each subscriber. I hope I can offer a district plan too, so teachers do not have to use their own funds to subscribe. 

Below is a student-facing version, based on my choice board you can see and download for free HERE. It is currently password-protected until I am ready to release it. 

​For now, it’s “free to you.” Please use the feedback option to let me know how well it’s working for you and any glitches you notice (like if it always suggests the same thing or something off-topic). Think of that feedback as a “tip” for the free service I am offering. 

​I have addressed my process of independent projects in detail in THIS POST, as well as how I hold my students accountable for their work in THIS POST.  
 
I love the philosophy of Timm Gunn, fashion designer and teacher of Project Runway, “Make it work!!”

In the art classroom we make artwork for ourselves, but once we move into the “real world” we may need to make work of others to earn a living. “Others” will have expectations, wants, needs, parameters, be that color, size, media, materials, etc. So in this version of my independent artwork exploration, I give my student 1 parameter they must incorporate in some way. It can be major or minor, subtle or extreme. They get to decide, how they will meet that expectation. It’s problems solving, for an artist.
 
I went around my room and found 30 materials I thought could be used, in some way, as media. Some were obvious like cardboard, plaster, wire, clay, others were left-over materials we have not used in years but I wanted cleared out of my room like seashells (not enough for a class project, but enough for 1 or 2 people), some artist’s concrete, Halloween décor, plastic fence material from a failed experiment, 3 half-gutted computers, a gord that had been in my closet for 19 years… you get the idea. I made enough cards that each student would get a different material. If you have large classes, just try not to repeat a material within the same class period.

​Students picked cards blindly from a bin. Then we went around and shared what we picked. I noted some things students might do with that material if they seemed incredulous with their pick. For example: with the plastic fencing, they could frame it and tie items to it, they could put stuff within the voids to make a large pixelated image, they could hang it, and dangle items from the mesh, they could roll it and turn it into a sculptural armature.

Then I gave them 5 minutes to trade if they wanted to, with an option to return their card and pick from any left-overs I had in my jar (again blindly).
 
We then started into our research component. They had to find other artists that have used similar materials to create artwork. If not an exact match, something reasonably related would suffice. Below is my independent research packet for download. It is included in my books: The Workbook For Art Teachers and The Advanced Workbook for Art Teachers. (Both have student editions)

​In the packets you can see we stop at points along the way for peer and group feedback. That is important and helps shape the direction of work.
 
As you can see the variety of work is profound. It takes time though to familiarize your students enough media that you will be comfortable with them exploring on their own. This is way I reserve lessons like this for my 2nd year art students, toward the end of their semester with me as a way to close out their year. My 3rd and 4th year students do many more independent assignments regularly. If this is the first time you are letting students experiment like this, THIS VIDEO from @BethanyThiele is a great way to get students thinking creatively. It can be a great way to open an exploration like this.

Like this lesson idea? Generate your own complete, standards-aligned 
lesson plan in minutes with the ArtEdGuru Lesson Generator — 
built on 40 years of real classroom experience. Free to try.

​Try the ArtEdGuru Lesson Generator ​app.artedguru.com 

Grid portraits are nothing new. They’re an easy way to connect to the Renaissance, teach students a manageable way to achieve likeness/realism, it ties to Geometry, and teaches to break big jobs into smaller, manageable pieces for success.
 
In the past I have explored gridded portraits in many ways on my blog:
Traditional grid portraits with an expressive twist
Post-It Note Collages
Grid Collage Portraits
Portraits inspired by Kehinde Wiley
Chuck Close-style Painted Portraits
 
This lesson is actually a simplified version of one that I did many years ago and published during the Covid pandemic I titled Puzzle Collage.
 
We begin with an overview of the Renaissance. (I have snapshots of the major western art movements HERE. And a resource HERE) I focused on portraits and how they used grids. I held up my own image and noted how complicated it was to draw and make it look realistic. Then I showed them one small square of my portrait (enlarged) and asked how hard would that be to draw? They all agreed, easy! I explained that’s what we were going to do, but we needed our own images of ourselves, or a family member or a best friend. But the photos were ones we had to take ourselves.
 
I set up a blank area in my room for selfies, but also allowed students to scroll through their phones to find clear images of faces they might use. I did not allow students to select images from the internet or celebrities. 20% of my rubric addresses a personal connection to the world you create. More on my rubric here.
 
While students worked, I printed a stack of about 150 pages of 8 x 10 square grids on photocopy paper. This would be reprinted with student images so their grids would be overlaid by their faces. It was a helpful step.
 
Images then had to be uploaded to a Google Document I shared with everyone to print from. I gave the whole class editing rights. I also gave students a new option. They could upload their image to AI and have it simplified and converted to a line drawing, like in a coloring book. On the first page of the shared Google Doc, I pasted this prompt that students could copy and paste into their own AI platforms. 90% of my students did.

“Convert this portrait into detailed black-and-white line art for a coloring book. Use varied line weights for depth and hierarchy. Preserve facial structure and expression accurately. Replace shading with contour lines only where necessary. Remove background or simplify into minimal outline shapes. No grayscale, no halftones, no color. Clean vector-style illustration on pure white background.”
 
I loaded my printer with my gridded paper and printed their faces. Then we made 2 x 2 inch grids on larger paper, and began the normal transfer process, one square at a time. Nothing different than any other grid portrait project… but here’s where we take a turn into new territory…
 
When complete, students then got a new drawing paper and laid it underneath with 2 pieces of blue tape to make sure the image wouldn’t slide. Layered underneath, we added 4 sheets of carbon paper and transferred the original image to the second piece of paper. When that was complete, the original drawing was signed and set aside for later use.

Students then selected 4 or 5 backing papers to put behind the carbon copy portrait. This could be ANY papers you have available. For me it was newspaper, construction paper, and hand-painted papers we created from leftover painting projects. (More on that here) You could even use fabric or wrapping paper as well. I did speak to students about using their color knowledge in selecting colors. They could go for analogous colors for a harmonious image, or contrasting colors for something more energetic.
 
These papers are lined up BEHIND the carbon portrait and stapled along the outside edge, a staple about every 3 or 4 inches. This prevents the papers from fanning out as you cut and preserves the accuracy of cutting. Without this step, this becomes nearly impossible. Students then cut out small sections of the portrait following the contours of the image, choose one layer from the pack, and paste it ONTO the ORIGINAL drawing piece by piece. As they go, they should vary the layers they use for a more dynamic image. It will be helpful to have staple removers around.
 
We used Elmer's glue and glue sticks to lay our prices back into the original drawing piece by piece. Those who were able to fill in the whole page with collage papers were then given paint markers to trace contours to make the image pop visually.

What I like most about this project, from the teaching point of view, was that every student was engaged. Those who lagged and did not transfer much collage paper, and had to stop, had really good results. Those who worked fast, always had something they could do to stay on task. (Paint pen outlines, adding patterns, additional textures, fabric embellishments, etc.) As I talk about in THIS blogpost, it’s important to always have multiple goals for student success… and your sanity as a teacher.


For more art education resources, please visit firehousepublications.com 

​I have long wanted to do Gelli printing, but my budget would not allow it. I was able to secure a grant through Donors Choose and got enough Gelli Arts Plates and Heavy Body acrylics for a class. Though I have done printing in the past, and monoprinting, I have never done Gelli printing before. Knowing the supplies had arrived, I shoed my students the new supplies, and a couple videos about how magical they were and I challenged my Art 2 high school class to search up new and novel techniques. I created a research paper where they listed the steps in the processes they found on YouTube, TikTok, or whatever social media platform they wanted.

I of course did the same and found some helpful videos like this one:

​My class had just finished exploring grid drawings based on their own photographs. Images of friends, pets, vacation photos, etc. So I wanted them to use the same images, at least once, in this new media. I created a shared Google document, and included directions on how to turn images black and white, and adjust their contrast to be very high. We found the best images were about 50% black and 50% white. Grays DO NOT transfer well, if at all.
 
While students completed their previous projects and were doing their research, I was testing prints. I came up with a 5 part, step-by-step guide for them. I also includes how they were to sign, name, and number their work. You can see that along the bottom of the steps guide.

​I told them to NEVER throw away their work, no matter how ugly. We found that after they got good at printing, they could put additional layers on top of early prints they did not like, and they got some interesting results! (If you have paint pens, those can be used to embellish “weaker” prints) I also explained, AND SHOWD THEM, that my first prints were AWEFUL. I have more than 30 years experience teaching art, So they should expect that their first print will be horrible. The next will be bad, the third will be *meh* and then they’ll start getting something interesting. They laughed but I showed them Failure TAUGHT ME.
 
Also, part of their grade was based on how many prints they made, not how successful the prints were. I have 90-minute periods. Prints need 20 minutes to dry under a heavy book. (That can be sped up with a hair dryer thought) With that in mind, assuming each student gets 1 Gelli plate, my students were able to do 2 prints per day. While they waited for their prints under the book, they uploaded new images, did feedback for peers on my project documentation form, or watched videos for novel techniques. They could earn additional points by using techniques I had not shown them.
 
The other thing I learned from all the videos I watched, and practicing, and failing is that image transfers can be very temperamental, but you can increase your success with 3 factors.
1. Run your images through a laser printer OR photocopier 2x (or more) This puts extra toner on the paper so it resists the ink better.
2. The amount if ink you use is VERY important. It must be very thin, and you need to work fast. If the air is dry, it can actually dry before you get your paper on top. I found that if you looked VERY CLOSELY at the ink on the plate you could see a slight textural difference that was key. If the paint was too thick, it left little trails on the surface, almost like wet fur. If it instead looked like the texture of leather, then it was perfect.
3. Ink, Press completely, and pull FAST. If you can count to 5 slowly before you pull the image off the plate, it’s probably too long. You must use the flats of your hand FAST to rub all over the back of the image when it’s on the plate, and pull it off fast. Students chat, lose focus, and then they complain it didn’t work… Show them how to work fast.

​To keep things simple, I required my students to do 3 layers. 1st layer was the transferred image. 2nd layer was to add paint and lay textures on it to manipulate that layer. 3rd wat the final color (usually white) to pull the paint off the Gelli Plate. Students could do more than 3 layers, or experiment with less if they had the required stuff done. (For me that was 5 prints with 3 layers. 90% of my students did more, some a lot more)
 
Gelli printing is fun, fast, and engaging. You do not have to print using image transfers. There’s a huge world of possibilities out there. Many people just use stencils, textures, organic materials like leaves and more.
(We used thicker paper to print with)

At the end, we had a lot of leftover paint. We took a day at the end to clean up all our supplies, and use the rollers to spread paint on paper to use for collage in a future lesson. Painted papers are always a good material for collage and I hate to waste good paint. 

​Below is my project progress documentation page. If you like resources like that I have them in my books The Workbook For Art Teachers, and even more in my Advanced Art Workbook For Teachers. 

Like this lesson idea? Generate your own complete, standards-aligned 
lesson plan in minutes with the ArtEdGuru Lesson Generator — 
built on 40 years of real classroom experience. Free to try.

​Try the ArtEdGuru Lesson Generator ​app.artedguru.com ​

Teaching can feel like juggling, with flaming torches. You’re managing materials, personalities, wildly different skill levels, and that inevitable moment when a student asks, “Am I done yet?” while others are just getting started. Over the years, I’ve learned that the problem isn’t motivation, it’s what happens when students reach a single finish line. One simple shift in how I structure goals has saved my sanity and kept students meaningfully engaged from start to finish.
 
I have addressed in previous posts (click bold words for links) on how:

• I plan my year
• Scaffold Art Lessons
• Dealing with “Am I Done Yet?”
• Meeting Project Expectations

 
Instead of setting a single clear goal for students to meet, my advice is to set multiple goals for every art exploration. This way when some meet your main goal, there is another they can aim for, and another, and another to keep them all on task and pushing their own abilities.
 
Students, in general, enjoy art class, but often their goal is to earn an “A.” I recognize that and for every project I outline 3 things they can do to earn 90% of an “A.”  Then I have them note 3 additional things they can do to exceed expectations and get closer to 100%. I tell them, “Everyone can earn an “A,” but to earn 100% takes additional focus and work.” I address this more HERE.
 
Every assignment I do now incorporates this idea of “What can students do to improve the quality of their work AND STAY ON TASK meaningfully?” No one likes busy work. “Just make another one” is sort of the lazy way out. Telling them to do a “free project” often leads to wasted materials. But if I have a concrete technique they can employ to improve their work, that will engage them and perhaps challenge their artistic growth.
 
These are my common “exceed expectations” goals.

• Use color Triads, Complements, Analogous colors…
• Complicated/detailed pattern
• Varied widths of line
• Detailed crosshatching or stippling in shadows
• Unexpected media use
• Using researched techniques I did not teach you
• A miniature version of the same project
• Incorporate sophisticated textures thoughtfully
• Increase the sense of depth in 2D work
• Use rich cool colors in your shadows
• Use rich warm colors in your highlights
• Incorporate gradients
• Experiment with an unexpected media within your work

 
How about an example? 

This is from my color wheel project. Students have to hand-mix colors to create a symbolic color wheel, plus add a tint or shade to the composition. They outline with paint pens, and meet expectations.

Meet Expectations (Earn 90%)
1. Overlap shapes and incorporate personal symbols
2. Give every shape/space a unique, hand-mixed color
3. Incorporate tints or shades

Exceed Expectations (Move closer to 100%)
1. Layer colors to include gradients within shapes
2. Add patterns within patterns
3. Incorporate both tints and shades

Meeting expectations means that students have covered the main theme of the lesson. (learning to hand mix colors). I design my lesson in a way that meeting expectations is fairly easy if they stay on task. (More about that HERE)

About 75% of my students will be able to move on to at least one of the "exceed expectations" techniques. This means they will stay on task and enhance their work.

A few will do all the techniques and earn 100% based on my rubric. All students, regardless of their ability level, will pass. Most earn 90% or above on projects, assuming they have been fully participating. 

Here's another example of my "Parody Products" lesson.

Meet Expectations (Earn 90%)
1. Front and back hangtag label (based on our exemplars)
2. Dynamic bold name in block letters (not stick letters)
3. Dynamic illustration

Exceed Expectations (Move closer to 100%)
1. Layer colors to include gradients within shapes
2. Incorporate the illusion of space/depth
3. Add shading and/or highlighting

Each example took the students the same amount of time. Though the first is simple, the student did layer colors. The others had a knack for art and progressed quickly. They looked to the "exceeds expectations" list to enhance their work with 3D block letters, layers of color, gradients, and even some shading. All achieved success, and all were meaningfully occupied.​

Designing assignments with multiple goals shifts the classroom from a race to “finish” into a studio where growth continues as long as time allows. Clear expectations give students confidence, while intentional extensions give them purpose beyond compliance.

Instead of asking, “Am I done yet?” students begin asking, “What can I improve?” That small shift keeps students engaged, differentiates naturally, and respects both their abilities and your materials.

​When the goal isn’t just completion, but continual refinement, everyone stays on task, learning deepens, and the work gets better.

THIS is my Project Progress Document. I copy it back-to-back and use it for all assignments now. 

Here's what kills sketchbooks in most classrooms: the second they feel like graded homework, they die. Students freeze. Pages stay blank. And you're stuck with 30 untouched notebooks by October.

The problem isn't the kids - it's the setup. Too many prompts. Too much writing. Grading that eats your weekends, and zero flexibility for students who need ownership.

What actually works? A 5-minute warm-up routine that runs itself. Choice-based prompts that still teach fundamentals. And an assessment that doesn't punish exploration. This post breaks down a system you can start tomorrow - no curriculum overhaul required.

Why Beginner Sketchbooks Die in Week 3 (And It's Not the Kids)
Most sketchbook programs fail because they're built for art students who already care. But beginners? They need something different.

The usual death spiral looks like this:
You start with 20 prompts printed and stapled. Students ask what everything means. Some finish in two minutes. Others stare at blank pages. By week three, you're chasing late work and wondering why nobody's excited.

The actual problems:

• Too much choice paralysis. Open-ended prompts sound creative but freeze beginners who don't trust their instincts yet.
• High-stakes grading. If sketchbooks count like tests, kids only draw what feels "safe."
• One-size-fits-all prompts. The same prompt for 30 different skill levels = frustration on both ends.
• Unsustainable feedback loops. You can't give detailed critiques on 150 sketchbook pages every week.

If it feels like homework, it dies by week three.
The fix? Flip the priorities. Consistency beats perfection. Momentum beats masterpieces. Your job isn't to curate genius - it's to build a habit that sticks.

The 5-Minute Sketchbook Opener System (Bell-Ringer Friendly)
This routine works as a daily bell-ringer or warm-up. It's fast, repeatable, and runs itself after the first week.

Here's the breakdown:
Minute 1: Give a "start fast" instruction. No erasers allowed. No talking for 60 seconds. Just hands moving. This removes hesitation and signals that today is about practice, not perfection.
Minutes 2-4: Students work through a quick prompt. Keep it tight - nobody should still be thinking at the 3-minute mark.
Minute 5: Optional share-out or quick reflection. Students write one sentence about their process, or circle something they tried. No formal critique.
Three starter lanes keep it accessible across skill levels:

• Lane A (Lines/Shapes): Simple construction practice. Great for beginners who need structure.
• Lane B (Value/Contrast): Light and dark exploration. Works for students ready to push beyond outlines.
• Lane C (Texture/Pattern): Surface quality focus. Ideal for detail-oriented kids.

Students pick their lane based on confidence or curiosity - not what you assign.

The management trick? Same routine every single day. Students stop asking questions. Subs can run it. And you get your first 5 minutes back for attendance and setup.
 
12 Choice-Based Prompts That Still Teach Fundamentals
These prompts give students control while keeping you focused on teachable skills. Each one includes a "choice slider" - students pick the subject, tool, or constraint.

Easy (Grades 6-8 or total beginners)

1. Blind contour of a classroom object. Eyes on object, not paper. Silly results = less pressure.
2. 10-shape creature. Use only circles, squares, triangles. No organic curves.
3. 3-value drawing. Light, medium, dark. That's it. Pick any subject.
4. Pattern fill. Draw one silhouette, divide it into sections, fill each with a different pattern.

Medium (Building confidence)

5. Negative space drawing. Draw the space around an object instead of the object itself.
6. Texture study. Four boxes. Four textures. Students pick what to study (fabric, bark, metal, etc.).
7. One object, three viewpoints. Top, side, and front. Or close, medium, far.
8. Same subject, two moods. Show happy vs. scary using only line weight and value. Hard (For students ready to experiment)
9. Story in 6 frames. Tiny thumbnail comics. Keep it wordless.
10. Memory → observation. Draw something from memory first. Then draw it while looking. Compare what you missed.
11. Limited tool challenge. Draw only with the side of your pencil. Or only with pen - no take-backs.
12. Transform prompt. Start with an object. Turn it into a creature. Turn the creature into an environment.

Important: These prompts are suggestions, not mandates. The routine matters more than prompt quality. If a student wants to draw the same thing for a week straight, let them. Repetition builds skill.

Assessment That Won't Kill the Joy (Small, Fast, Fair)
Grade process, not talent. Here's a micro-rubric that takes 10 seconds per page:

• 4: Consistent effort + tries something risky + uses time well
• 3: Solid effort + completed the prompt
• 2: Partial effort + distracted or rushed
• 1: Minimal attempt

Two grading systems that actually work:

Spot-check method: Grade 4 random pages per student each month. Stamp the rest for participation. Students know anything could be graded, so effort stays consistent.

Stamp method: Daily stamp for showing up and trying. Full rubric grading once per month on a page the student chooses.
Feedback can be one sticky note comment or one skill target written in pencil. You're not their private tutor - you're building independence.

Should You Make or Buy? Here's What Nobody Tells You
You've got two routes here, but let me be honest about what actually works in a real classroom.

DIY sketchbooks sound great in theory: staplers, cardstock, loose paper. Students decorate covers. It's budget-friendly and customizable. But here's what they don't tell you: setup eats your prep time, pages fall out by November, and you're constantly dealing with "I lost mine" situations. The inconsistency also kills your routine - some kids have 10 pages, others have 50, and you're managing 30 different formats.

Pre-made sketchbooks solve the chaos. Everyone starts with the same format. Your routine becomes predictable. Sub plans actually work. And beginners who freeze at blank pages get the structure they desperately need to just start drawing.

If you'd rather skip setup and give beginners a consistent place to practice, a simple option is Tobio's beginner sketchbook. It's designed specifically for classroom routines like this one - no setup, no lost pages, no format chaos. Students open it and go.

The reality? DIY works if you've got unlimited prep time and love troubleshooting. But if you want a system that runs itself from day one, giving students a proper sketchbook removes every friction point that kills momentum. The routine matters more than the container - but the container can kill the routine before it starts.

A 4-Week Rollout Plan (So It Becomes a Habit)
Don't dump everything on students in week one. Build the habit first, then add complexity.

Week 1: Routine only. No critique, no grading. Just practice showing up and drawing for 5 minutes. Set the timer. Start with simple prompts.

Week 2: Introduce the choice slider. Let students pick from 2-3 prompt options. Add one share-out day mid-week - quick show of hands, 3 volunteers.

Week 3: Drop in one "silly" prompt. Model imperfection by showing your own rough sketches. Normalize messy pages.

Week 4: First spot-check grade. Students also do self-reflection - circle their best page and write one sentence about why they picked it.

Missing work policy: Catch-up happens during the first 5 minutes on Fridays. No lunch detention, no shame spiral. Just a quiet space to get caught up.

By week five, the routine runs itself. Students know what to expect. You've got a reliable warm-up. And sketchbooks stop being the thing nobody touches after September.

​This exploration was initially inspired by the work of Hanna Jenson Fox. I saw several videos of her work on social media and thought they were pretty amazing. She thickly coats her canvases with layers and layers of paint and then carves images into the surfaces with linocut tools. This reveals the underlying colors. I had never considered carving into layers of acrylic paint before. 

​To make this work, I knew I’d need to reserve some room in my classroom to do this. I also knew I did not want to dedicate too much time to each layer. If each student needed a brush on their own canvas, this might eat up a large portion of my teaching time daily.

My solution was to cover 2 large tables in the back of my room with paper. We put our names on the back of canvas boards, then we taped them all from the back like a quilt. This prevented canvases from sliding or moving. (Yes, we’ll need to cut them apart later.)
 
I also have students in groups, 5 of them. So I named the groups for the days of the week. The Monday group knew to go paint ALL the canvases with the paint I left for them. I had sponge-like paint rollers for them, and gallon zip-lock bags to store them. This meant they did not have to take time to clean them. It was fine if one color merged with another when the colors changed every few days.
 
Students got into the routine, and I offered them an extra credit point if they could complete the work before the class bell rang. It never took more than 5 minutes to coat canvases. 

​After 45 to 50 days, we neared the end of our semester, and these layered canvases became their final project. For every independent assignment, student needs to do research. Though I love Hannah’s work I like students to find at least 4 artists they can consider, and even emulate.
 
David Allan Peters carves his canvasses into geometric compartments. Han Yung Joon carves portraits into canvas, and Gerhard Richter used an abstract expressionist approach to carving and mearing layers of paint. 4 very different approaches for students to explore.

Several students created drawings that were transferred to their canvases with white transfer paper; others just drew on the surface. But before carving on their own surfaces, I had a few extra canvases just for practicing on. This was very helpful for many.

You can see the results below. I’ll add more as students finish their work.