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. 

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.

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.

Once my students know how to use a wide variety of media, set up for the day, and can clean up independently, I like to toss them a theme to explore. They can essentially choose any media they would like—but I’ll encourage a student who has done 4 acrylic works in a row, ‘how about we try something else?’
 
The theme for this series was “Me and My Shadow.” I showed them about 9 examples of where shadow was an important expressive element. (See the PDF below)

When my students do independent work, part of that is to complete some scaffolding worksheets in my book HERE, (Teacher’s Edition HERE) and some samples can be seen in this previous blogpost HERE. Part of that scaffolding means that on their own they need to seek out 4 examples by artists other than those I presented, and reflect on 3 ways they can approach the subject. They’ll likely do Idea #1, but if that falters or proves to be too difficult, we have 2 back-ups.
 
They do a thumbnail sketch to share with me and a peer. Then a full size sketch that gets a written peer review, and then they start of their chosen media. I have 80 minute periods, so these independent projects take us about 2 to 3 weeks from introduction to grading. As they work I check for daily participation. (More on that HERE) Our rubric addresses how deeply they explored the media, how personal a connection they made to their work, their attention to detail, daily “Studio Habits,” and documentation of their process (written reflections, critiques, research, etc.)

As a teacher, I operate as their media specialist. If they need individual tips on how to use their media, what will work over plaster, or how to achieve a particular texture, I’m there for them. I circulate, check progress, re-focus, check in individually, and mostly offer encouragement.

Though this lesson was done by my art 3 students, I have done open-ended lessons like this with my middle-schoolers as well, once I know they are being responsible with our materials (and not before). More on scaffolding media HERE. 

I appreciate the diversity of the results in these open-ended explorations. How about you? 

​I have long desired to do a unit based on 3D Tessellations but knew it would be challenging as I had never come across a lesson on something like this. 2D Tessellations are certainly fun and not too difficult. My approach (HERE) throws out the grid so even elementary students can do them.
 
But I wanted to be able to do what I have seen M.C. Escher do on rare occasions, and I did make some discoveries along the way. Below are 3 examples by the master himself. 

​After 3 weeks of struggle with my Art 3 high school class, we discovered that cubes, assembled with tessellations by rotation, can likely be done by middle school students. If you double the squares on each face, it looks more impressive and can be done by most high school students.
 
Other forms are far more challenging. For example, a 20-sided figure, an icosahedron, is made up of triangles. 5 triangles make up a portion of the form’s face. 3 does not go into 20, nor 5 easily… so creating a tessellation for such a form becomes more challenging. You can tessellate perhaps 50% of the form, but then overlaps and additional spaces need to be justified, or turned into additional figures so no empty spaces exist… otherwise it’s no longer a tessellation.
 
Here is a video that shows you my struggle and process with non-cube forms. They are not impossible; they are just very challenging. 

​​Tessellations with forms other than a cube CAN be done, but I would leave those for your design students, advanced classes, or those who find cubes too simple.  Below are some of my Art 3 results. Some were able to do it well, and a couple struggled and “cheated” with empty spaces.  

THIS VIDEO is an interesting one from TikTok on tessellations.

We created stands for some forms with coat-hanger wire and epoxy clay. They display nicely, and were appreciated by the math department, and used as an example of my intercurricular approach to my administration.
 
But let’s get back to cubes, which I think most classes can handle. If you create tessellations by reflection with squares, they can become cubes more easily. The video below shows the process of creating tessellations in this method. (THIS is a playlist of other tessellation techniques)

Once students have made a pile of possible shapes, then it is time to test them before moving onto a form. If they cannot make it work on a sheet of copy paper, then it will not work on a cube. This will save you a ton of wasted time.

Once you confirm that the tessellation actually works, then you can move on to the cube form. I used high-quality watercolor paper, but you could put paper over a cardboard or foamcore cube for a rigid structure.
 
The following two videos will walk you through my process of making these impressive 3D cube tessellations. I think you could reasonably do this with grades 6 and up, perhaps as low as 4th grade if they were artistically inclined. 

​One final note on displaying these. For some reason, if a cube is set on its axis, as I have done here by “threading” a coat-hanger wire through it, it feels more visually impressive. Certainly, you can sit them flat on a shelf but they feel more static that way. 

If you'd like some printable form templates you can copy for students, I created this resource HERE with lots of non-tessellation lessons. If you like this lesson and are interested in others, I have THIS book of K-12 art lessons, and THIS follow-up for over 100 combined unique, choice-based art experiences. To get early notifications of my lessons and others I am experimenting with, join my Facebook Group.

​As I was gearing up for a large intercurricular unit on architecture, coordinating with my Earth Science colleague for THIS lesson, there would be several times where my students' work would be in the hands of the science students for feedback. This meant I would need an in-between lesson to keep my students meaningfully occupied. I decided to balance that highly detailed lesson with something fun and silly, with high engagement guaranteed.
 
Homework was to bring in something silly and of little value from home that fit in the sandwich baggie I gave them. The weirder the better. This might include dust bunnies from under your bed, a doll’s arm or head, a trinket from a vacation, or something from the family junk drawer. It had to fit in the baggie. Those that “forgot” were to dig through their backpacks for junk: candy wrappers, lint, labels, paperclips, whatever. (I also had a jar of “junk” just in case: beads, ribbon cuttings, glitter, crafty items, etc.)
 
It was then that I shared with students that they would be making a package design to sell their product, as they might see in the dollar store. We analyzed the packaging and concluded the following.

Front needed: Price, Title, catchphrase, and dynamic image.
Back needed: QR code/Barcode, ingredients/materials list, company name, bonus imagery.
 
These were the elements that must be included to meet expectations, along with a centered top hole to hang the product by.

To exceed expectations, they could include: gradients, shading, dynamic compositions, and an uncanny sense of realism (Like “Wow! That really does look like it belongs in a store!”). I also permitted them to lie… what if those dust bunnies were from under Justin Bieber’s bed?! What if those broken glasses once belonged to Ariana Grande? What if your pencil shavings were magical, or had medicinal properties?!
 
Baggies were 6.5 inches wide, so I cut copy paper to 8.5 x 6.5 inches. We folded that in half, and that was for our sketches. I also created a Google Doc and shared editing rights with everyone, so if there was text they wanted printed (typically ingredients/materials lists) I would print it for their final paper. I also made QR codes of 2 sizes, 1 in. and ½ in that would lead people to the lesson on my school’s blog, which was glued to the back of their hang tags. As students worked, I circulated often and offered composition ideas one-on-one with Post-it notes.
 
When sketches were complete, we did a peer critique before moving on to the final paper. I chose to use cardstock from my school’s supply closet, but good drawing paper would work as well, cut to the same size as the sketches. Uploads to the Google document were printed out, and I made rulers, compasses, glue sticks, scissors, and lettering stencils available for students to use. I allowed students to use any available drawing media, like color pencils, markers, and Sharpie pens.

Though our project was interrupted by the architecture unit, students were excited to return to it with gusto. Those who finished early were given packaging tape to cover their label and make it look shiny like a real glossy product. Once done, they were stapled, graded, and displayed as a shopping kiosk in our school’s atrium. We hung short explanations of our work on index cards to foster their literacy skills and reflect on their process.

I should note that 1 product of the 50 students made was not hung because it was “PG,” and escaped my initial sketch review because I missed the “lingo.” Nothing major, but not what we were aiming for. So when doing this lesson, remind students to keep work strictly school-appropriate.
 
If you like this lesson and are interested in others, I have THIS book of K-12 art lessons, and THIS follow-up for over 100 unique, choice-based art experiences. To get early notifications of my lessons and ones I am experimenting with, join my Facebook Group.

​To be perfectly honest… I'm tired of teaching.
 
36 years and I am looking so forward to retirement. It's hard getting out of bed at 5:15 am and going to work. To listen to the radio on the way in, why we still don't have a pay increase, or how the department of education is going away, or how vilified teachers are becoming...
 
That said, I do like my school, I LOVE that I have 8 sinks, and supplies-a-plenty. When I am teaching, for the most part, I still enjoy it. I also know if I "phone it in" with lessons I have done for the last 35 years, I would rather stick a fork in my eyes.

This is why I push myself to do NEW lessons that intrigue me, like 3D tessellations (pictured above), exploring cubism in new ways, using a sodium lamp so we can’t see colors anymore, painting on skateboards or exploring the off-beat cartoons of Gary Larson’s Far Side. I didn’t choose or design these lessons to meet State or curriculum requirements, I did them because I thought they would be fun. These NEW lessons keep me on my toes. They also provide material for this blog and my books at www.firehousepublications.com as I transition to retirement in 2028 or 2029.
 
I wrote a whole book on art education pedagogy, a synopsis of my 30+ years of teaching art, and in it I stress that teaching art is not about having fun, it’s hard work… but here’s my unwritten caveat for senior teachers like myself… If you have been teaching for a long time, and it’s difficult to come in every day, it is time to find the fun again.
 
Ditch the curriculum, and lean into “what would I want to creatively try?” Is it sewing, knitting, stained glass, encaustics, tie dye, puppetry, book-making, pinhole photography? What is some niche you’ve always wanted to play with but have not yet done. When you lean into that, then you have the motivation to come to your “school studio” and experiment, play, explore, create, and discover. When you come in with THAT energy, it is infectious. Your students will be excited as well.
 
Be candid with your students. “I want to try something I’ve never done before, but I think it will be fun. If you show me you can handle it, we can give it a try together!” As a seasoned educator you know that every project you do will essentially cover the major portions of your curriculum anyway. If lesson plans are required, enter the perfunctory information, but remember, you’re near retirement. Don’t sweat it. You know what you’re doing. Reward yourself with something fun, new, and motivates YOU.
 
That’s how I am making these last few years bearable, if not exciting!

​Students often come to me with fears about their skills. This is usually about realism, and getting it to “look right.” What if instead of diving deep into portraits or still lives, we dip our toes into realism in a fun way. I even allow students who struggle to print and *gasp* trace their contours. I let them know those who don’t rely on tracing will exceed expectations and get closer to a 100% on their grade, but tracing is a tool that is available if you need it (and addressed in my rubric)
 
I start with a bit of homework. Bring in 2 objects, or photos of two objects that are personally significant for you. You will have to draw them at some point, so be thoughtful in your selection. If one is really complex, then it’s okay to make the second one simpler.

I made some suggestions for objects students could focus on. Like something that represented early childhood, and another representing a career you hope to have one day. Maybe something you use to like has changed into a new passion. This way, the objects tell a story. 
 
I open with a slideshow and an introduction to M.C. Escher’s Metamorphosis image. I focused on his smooth transitions from one image to the next. Then I showed some 4 and 5-step transition examples. I note how the first and last images were the only ones that were realistic. The rest had to be made up.

We worked in scale sketches, the same size as our final paper in case their sketch came out very well, this gave then the ability to transfer it easily to better final paper. I always give students 3 items they must include to meet expectations and earn an “A” or 90%, and 3 more things they could do to exceed expectations and get closer to 100%.
 
Musts:
5-step metamorphosis
First and last image must be as realistic as possible
Include some unifying background element to tie the work together.
 
To exceed expectations they could…
Do more than 5 steps of transition.
Do detailed backgrounds
Incorporate gradients, shadows, and realistic textures
 
3 important tips for success.
A: Always start with the first and last image, leaving room for the middle three. B: Then do 1-step toward the middle with only small changes that imply the other image. C: The last image is the middle one.
 
This process helps the images retain a smoother transition. If you go from left to right, steps often get too big or too small and the transitions feel jarring.
 
Only if time allows do we address the background in detail or look to push the level of detail, gradients, shadows, etc. This keeps everyone on task. Those who work fast can be pushed to shade, add texture, or enhance their backgrounds.
 
Though this is not a new project for many readers, my approach may be.
Using realism as a smaller component
Using a detailed background to keep high-flyers on task
Incorporating personal student items helps with student buy-in.  

​If you like this lesson and would like more for any level K-12 THIS book will be helpful. It is organized by art elements and principles.  (A follow-up expansion edition is HERE.) It comes with the rights to make copies for your students, and if you have a special needs middle schooler, you can give them the elementary version of a lesson. Alternatively, if you have one that’s especially advanced, they can be given the high school version of the same lesson.