Sculpture Explorations Your Students Will LOVE!
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This page features a collection of 3D art projects for students, including sculpture and ceramics lessons designed for K–12 classrooms.
Birds with Attitude: [Avian Biology, Form/Function,]
Summer Art Camp ages 7 to 16: We began this project with a warm-up exercise using some Model Magic and feathers to make some cookie-cutter birds, form and ice-cream cone, pinch a beak, stick in a feather, wire legs, a dash of water color, and they were done. I asked the kids what these birds told us about themselves, and the ultimate answer was that other than their choice of colors, very little. They did learn to work with Model Magic for the first time and got thinking about birds. We explored the world of birds from raptors to canaries, flamingos to dodos, and kept asking about how the form of the bird helped it do what it did.
The long neck of the flamingo helped it get shrimp. The big eyes of the owl helped it see at night and catch prey. The powerful wings and short neck of the falcon made it one of the fastest birds on Earth, and the slow dimwitted dodo helped it get extinct.
Students wrote a list of 10 of their personality traits, and then for each one what a bird might have that would express that trait. Athletic might be strong wings or long running legs. Artistic might be bold mixed colors. Nosey might be a pointy long beak, curiosity, a long neck, and so forth. They also did a sketch with color that we shared and discussed.
While students formed bodies from 2 packs of Model Magic, I drilled blocks of wood with 2 holes to accept a heavy gauge wire that would become legs. When bodies were done and left to dry, students pained the bases, and shredded colored tissue paper of the colors they would use for their birds noted in their sketches. They needed to be shredded to about the size of postage stamps.
The next day the birds were covered with plaster gauze. I had pre-cut 2 x 4 inch pieces and stressed smoothing each layer as it was added. Students needed about 2 to 3 layers of plaster. After clean up, they were hard enough to be put on the leg bases. The wires easily poked through the plaster into the foamy interior.
We prepared small cups of clear acrylic, but white glue will work just as well. In a technique used in Japan, we coated portions of the bird body with glue, using the same damp brush you pick up a tissue and place it on the area then add more glue on top. The whole bird is covered this way with overlapping tissues. Where different colors overlapping, color mixtures will occur because the paper turns translucent. This technique can be done over bisque ceramic as well. For plaster it both colors the form and prevents chipping and flaking. It can be painted with details later should that be desirable. (Video at https://goo.gl/ESIaKN start at the 1:50 minute mark.)
The legs were wrapped with pipe cleaners for color and thickness, and a little claw of pipe cleaner added to the bottom. It's easiest to wrap the pipe cleaner by spinning the growing coil with the finger tips rather than wrapping the pipe cleaner through the legs. Practice a bit, you'll see. We also added a bit wrapped on the knees in a different color.
The final step was to add feathers and googly eyes. Eyes though can certainly be painted. Pipe cleaners were another option for decoration as well. As you can see, each bird's personality shines through. We experienced the richness of adding personality to our project as opposed to the cookie cutter approach.
Though these took longer to make, the depth of the learning and experience will be long lived. We learned a bit about avian biology, form/function, and ourselves in the process. Though we displayed our birds on a wood block, they would be interesting on small chunks of natural wood, bark, or displayed in a group on a small bare tree.
NOTES: If model Magic is not an option, any light clay, or even loosely crumpled aluminum foil will work as well to make the initial body form. Paper towels too can be ripped and added as a papier-mâché coating, then painted to keep the plaster from flaking. You can skip the cookie-cutter birds as well to shorten this project. I did them to prove a point of contrast, and we had never used Model Magic.
MORE Lessons Here
Summer Art Camp ages 7 to 16: We began this project with a warm-up exercise using some Model Magic and feathers to make some cookie-cutter birds, form and ice-cream cone, pinch a beak, stick in a feather, wire legs, a dash of water color, and they were done. I asked the kids what these birds told us about themselves, and the ultimate answer was that other than their choice of colors, very little. They did learn to work with Model Magic for the first time and got thinking about birds. We explored the world of birds from raptors to canaries, flamingos to dodos, and kept asking about how the form of the bird helped it do what it did.
The long neck of the flamingo helped it get shrimp. The big eyes of the owl helped it see at night and catch prey. The powerful wings and short neck of the falcon made it one of the fastest birds on Earth, and the slow dimwitted dodo helped it get extinct.
Students wrote a list of 10 of their personality traits, and then for each one what a bird might have that would express that trait. Athletic might be strong wings or long running legs. Artistic might be bold mixed colors. Nosey might be a pointy long beak, curiosity, a long neck, and so forth. They also did a sketch with color that we shared and discussed.
While students formed bodies from 2 packs of Model Magic, I drilled blocks of wood with 2 holes to accept a heavy gauge wire that would become legs. When bodies were done and left to dry, students pained the bases, and shredded colored tissue paper of the colors they would use for their birds noted in their sketches. They needed to be shredded to about the size of postage stamps.
The next day the birds were covered with plaster gauze. I had pre-cut 2 x 4 inch pieces and stressed smoothing each layer as it was added. Students needed about 2 to 3 layers of plaster. After clean up, they were hard enough to be put on the leg bases. The wires easily poked through the plaster into the foamy interior.
We prepared small cups of clear acrylic, but white glue will work just as well. In a technique used in Japan, we coated portions of the bird body with glue, using the same damp brush you pick up a tissue and place it on the area then add more glue on top. The whole bird is covered this way with overlapping tissues. Where different colors overlapping, color mixtures will occur because the paper turns translucent. This technique can be done over bisque ceramic as well. For plaster it both colors the form and prevents chipping and flaking. It can be painted with details later should that be desirable. (Video at https://goo.gl/ESIaKN start at the 1:50 minute mark.)
The legs were wrapped with pipe cleaners for color and thickness, and a little claw of pipe cleaner added to the bottom. It's easiest to wrap the pipe cleaner by spinning the growing coil with the finger tips rather than wrapping the pipe cleaner through the legs. Practice a bit, you'll see. We also added a bit wrapped on the knees in a different color.
The final step was to add feathers and googly eyes. Eyes though can certainly be painted. Pipe cleaners were another option for decoration as well. As you can see, each bird's personality shines through. We experienced the richness of adding personality to our project as opposed to the cookie cutter approach.
Though these took longer to make, the depth of the learning and experience will be long lived. We learned a bit about avian biology, form/function, and ourselves in the process. Though we displayed our birds on a wood block, they would be interesting on small chunks of natural wood, bark, or displayed in a group on a small bare tree.
NOTES: If model Magic is not an option, any light clay, or even loosely crumpled aluminum foil will work as well to make the initial body form. Paper towels too can be ripped and added as a papier-mâché coating, then painted to keep the plaster from flaking. You can skip the cookie-cutter birds as well to shorten this project. I did them to prove a point of contrast, and we had never used Model Magic.
MORE Lessons Here
Toilet Paper Sculpture: [Recycling, Art Therapy, Writing, Problem Solving]
In my art camp program we do a week of experimental art. This year we tried something based on this video (vimeo.com/5969143) about Calvin Turrentine's toilet paper sculptures. His technique is simple and relatively quick. Toilet paper made from recycled paper works best. This may be because of extra additives used to make the tissue. They can take a while to dry, but we put them in an oven set at warm overnight and they were all dry in the morning.
Before even showing students the surprising material we began by writing a list of ten things the students feared or did not like. We shared our lists and some got a bit longer than ten. Then next to each thing we added an opposite, a solution, or cure for the fear or dislike. So for fear of the dark, a torch or flashlight might be a solution. For a hatred of broccoli, chocolate might be an opposite they loved. Fear of heights could be balanced with a parachute.
Then I explained that we would be creating protective creatures that had to include some reference to the thing that would counteract their fear or dislike. So if rushing crowd make me fearful, a snail might be the symbolic animal for that fear. For fear of darkness, a little dragon that spits fire or a creature that has a flashlight as part of their body might be just right.
We sketched out two ideas each and had a quick discussion of what would be best for our materials. I showed the video and they understood the mission. On top of our sketches we used red pencil to trace out a wire skeleton. This helped them see the shape their wire armature would take. It looked like a stick figure. Tissue is very light, so a minimal wire armature is generally enough.
We readied our spaces with paper blotters, foam plates to catch water, each child had a roll of paper to share between two, and a small water bottle each. Regular water bottles with a pinhole in the cap will work fine for this. (We did speak about recycling bottles and how the paper was a recycled product.)
When completed, we used watercolor and a soft brush to paint the figures. We would add details like eyes, or lines with marker once they were dry. The paper surface is very wrinkly so a smooth surface would be unrealistic. Adding thinner and smaller layers of tissue though does give a better finish at the end. It might be fun to try and make self portraits from the material and explore the idea of ourselves at 90 years old.
Toilet paper is very versatile, cheap, and it's quite possible that a custodian can provide you with a case at no cost to your budget. Win-win! The process is shown in pictures below the video.
MORE Lessons Here
In my art camp program we do a week of experimental art. This year we tried something based on this video (vimeo.com/5969143) about Calvin Turrentine's toilet paper sculptures. His technique is simple and relatively quick. Toilet paper made from recycled paper works best. This may be because of extra additives used to make the tissue. They can take a while to dry, but we put them in an oven set at warm overnight and they were all dry in the morning.
Before even showing students the surprising material we began by writing a list of ten things the students feared or did not like. We shared our lists and some got a bit longer than ten. Then next to each thing we added an opposite, a solution, or cure for the fear or dislike. So for fear of the dark, a torch or flashlight might be a solution. For a hatred of broccoli, chocolate might be an opposite they loved. Fear of heights could be balanced with a parachute.
Then I explained that we would be creating protective creatures that had to include some reference to the thing that would counteract their fear or dislike. So if rushing crowd make me fearful, a snail might be the symbolic animal for that fear. For fear of darkness, a little dragon that spits fire or a creature that has a flashlight as part of their body might be just right.
We sketched out two ideas each and had a quick discussion of what would be best for our materials. I showed the video and they understood the mission. On top of our sketches we used red pencil to trace out a wire skeleton. This helped them see the shape their wire armature would take. It looked like a stick figure. Tissue is very light, so a minimal wire armature is generally enough.
We readied our spaces with paper blotters, foam plates to catch water, each child had a roll of paper to share between two, and a small water bottle each. Regular water bottles with a pinhole in the cap will work fine for this. (We did speak about recycling bottles and how the paper was a recycled product.)
When completed, we used watercolor and a soft brush to paint the figures. We would add details like eyes, or lines with marker once they were dry. The paper surface is very wrinkly so a smooth surface would be unrealistic. Adding thinner and smaller layers of tissue though does give a better finish at the end. It might be fun to try and make self portraits from the material and explore the idea of ourselves at 90 years old.
Toilet paper is very versatile, cheap, and it's quite possible that a custodian can provide you with a case at no cost to your budget. Win-win! The process is shown in pictures below the video.
MORE Lessons Here
Toilet Paper Sculptures from Jennifer Suarez on Vimeo.
Sculpted Eye-wear: [Recycling, Problem Solving, Tool use, Fashion, Cultures]
Cyrus Kabiru is an artist that currently creates in Nairobi (Africa) and makes delightful eye-wear made from found items. His Recycled glasses are decorative as opposed to functional but have a great sense of character about them.
Having a bin in your classroom for such items may be a great start to many such projects. Old radios, phones, monitors, keyboards and the like produce a great deal of interesting "stuff" that can be re-purposed into works of sculpture. Contact your in-house IT department or local repair shop for items. Bringing your school Tax ID form with you also means that outside businesses can write off the donation so it's a win-win for all.
See more of this artist's work at his website HERE, or in the article we found HERE.
MORE Lessons Here
Cyrus Kabiru is an artist that currently creates in Nairobi (Africa) and makes delightful eye-wear made from found items. His Recycled glasses are decorative as opposed to functional but have a great sense of character about them.
Having a bin in your classroom for such items may be a great start to many such projects. Old radios, phones, monitors, keyboards and the like produce a great deal of interesting "stuff" that can be re-purposed into works of sculpture. Contact your in-house IT department or local repair shop for items. Bringing your school Tax ID form with you also means that outside businesses can write off the donation so it's a win-win for all.
See more of this artist's work at his website HERE, or in the article we found HERE.
MORE Lessons Here
Picasso Nylon Portraits: [History, Expression]
As with most projects we began with some writing, lists of our positive and negative traits. We looped two pieces of thick aluminum wire, about 30 inches long. The ends were placed into wooden blocks that I had pre-drilled. We added a drop of 527 glue for good measure, but the fit was tight so it may not have been necessary. Older students bent their wires to conform to the edges of the base securing it with tape, our younger ones did not.
Based on the pre-writing writing, students bent the wire to make two silhouettes expressing opposite feelings. Where the two heads touched we wrapped the intersection with masking tape to keep them from slipping too much. The nylons were purchased in bulk on Amazon, ten pair for $7.50 with free shipping. We stretched them over the wire form and down to the wooden base, stapling it to secure it. The wires needed to be re-worked a bit to fix positioning, but I let students know that they would become warped and distorted and that was a good thing.
The next step was to coat the sculptures in gesso, we did one coat knowing that the paint would add an additional layer. It seemed to work fine. Had we more time, two coats may have provided a stiffer surface. While they dried, students sketched the form from two directions showing off the two silhouettes. We spent some time reviewing the broad selection of Picasso portraits, and discussed which ones looked happy, brooding, sad, angry, and what specifically made them think that. Was it certain colors, shapes, patterns? I have a poster in my room (http://goo.gl/aRV4BP) that helps my students understand the emotional values of colors. It is very helpful in getting students to think more abstractly about their work and is based on my book, "The Emotional Color Wheel." It also goes into depth on the emotional values of shape as well.
Students began to see more clearly the connection to expressive color and shape and the subject of a portrait. Students returned to their lists and begin to make color and shape connections to the emotional values that they listed into their sketches. They consider pattern, texture, shape, and form as they draw. Once sketches were approved they began to paint their sculptures, seeking out advice if they hit a roadblock. I reminded them of Picasso's images from time to time, noting the color variations, patterns, and textures. We also noted that even though the works were abstracted, evidence remained that the subject was a face. This was not an abstract expressionist project, they needed to remain, on some level, portraits. This project and the examples are from grades 2 through 11.
MORE Lessons Here
As with most projects we began with some writing, lists of our positive and negative traits. We looped two pieces of thick aluminum wire, about 30 inches long. The ends were placed into wooden blocks that I had pre-drilled. We added a drop of 527 glue for good measure, but the fit was tight so it may not have been necessary. Older students bent their wires to conform to the edges of the base securing it with tape, our younger ones did not.
Based on the pre-writing writing, students bent the wire to make two silhouettes expressing opposite feelings. Where the two heads touched we wrapped the intersection with masking tape to keep them from slipping too much. The nylons were purchased in bulk on Amazon, ten pair for $7.50 with free shipping. We stretched them over the wire form and down to the wooden base, stapling it to secure it. The wires needed to be re-worked a bit to fix positioning, but I let students know that they would become warped and distorted and that was a good thing.
The next step was to coat the sculptures in gesso, we did one coat knowing that the paint would add an additional layer. It seemed to work fine. Had we more time, two coats may have provided a stiffer surface. While they dried, students sketched the form from two directions showing off the two silhouettes. We spent some time reviewing the broad selection of Picasso portraits, and discussed which ones looked happy, brooding, sad, angry, and what specifically made them think that. Was it certain colors, shapes, patterns? I have a poster in my room (http://goo.gl/aRV4BP) that helps my students understand the emotional values of colors. It is very helpful in getting students to think more abstractly about their work and is based on my book, "The Emotional Color Wheel." It also goes into depth on the emotional values of shape as well.
Students began to see more clearly the connection to expressive color and shape and the subject of a portrait. Students returned to their lists and begin to make color and shape connections to the emotional values that they listed into their sketches. They consider pattern, texture, shape, and form as they draw. Once sketches were approved they began to paint their sculptures, seeking out advice if they hit a roadblock. I reminded them of Picasso's images from time to time, noting the color variations, patterns, and textures. We also noted that even though the works were abstracted, evidence remained that the subject was a face. This was not an abstract expressionist project, they needed to remain, on some level, portraits. This project and the examples are from grades 2 through 11.
MORE Lessons Here
SCULPTURE HEADS OF EXPRESSION: [Assessment/Evaluation]
After a year of sculpture, and exposure to wire, wood, foam, plaster, clay, and more, students were given rather free reign to create their final project. There were daily assessments for set up and clean up, and staying on task, and I think the results were pretty great. Keep in mind too, my sculpture class is equivalent in our district to an Art 1 but in 3D. Many of my students have had very little previous art exposure except for a semester in middle school and some elementary experiences.
We had spent quite a bit of time in previous projects gaining an understanding of the expressive qualities of color, shape, and form. These are detailed in my book, "The Emotional Color Wheel" from Firehouse Publications. I have a poster in my room of an "emotional color wheel" and students compile their own color relationships but use my example for back up.
The introduction was rather simple. We would create a self expressive sculpture that used the human head as a point of reference. I had foam mannequin heads available but they were free to create their own should they wish. The head did not have to be used as a whole object and could be cut it up, destroyed even to achieve their expressive sculptures.
They began, as most of my projects do, with some writing. Creating lists and expounding on them. We explored three major areas.
1: The idea of what people think they know about us versus what we know is true about ourselves. Sometimes we are truly open with those around us, and sometimes we are more guarded. Stereotypes too may make impressions that may or may not be true. For this mode students created two lists and possible symbols for items in those lists. It could be expressed as an inside versus outside sculpture, or one with two sides.
2. Students explored areas of personal interest and goals. Creating lists and symbols students explored the idea of a sculpture that expressed what they were interested in now, and what they hoped they might evolve into.
3. Social issues were explored as well, creating a short list of issues they knew of personally or had impacted their family. Some issues included domestic violence, cancer, PTSD, ADHD, teen pregnancy and more. They explored the idea of a sculpture that would either teach or bring attention to their issue of choice.
All students had to create sketches and complete the writing, many prompts are included in my book, "The Art Student's Workbook," though lined paper and a good set of leading questions is all that is needed. Each student sat one-on-one with me to discuss their idea, their choice of media, and I asked them about what they would need to do to properly set up, clean up, and store their work. Most often their ideas were fine, but some had concepts too complicated to complete in the three to four weeks I had allotted to the project. By asking them through a discussion about what they wanted to express, we were able to narrow their visual choices in a way that was true to the idea and would not overwhelm them.
We had periodic discussions throughout the process, and I spent much time sitting with them and asking questions about their work to help keep them on target. Those who finished early helped those who needed additional attention. The results speak for themselves and were displayed at our end of the year exhibition. Each work was accompanied by a short explanation so viewers would have a better grasp of what they were seeing. They were well received; even my most troubled students did well.
This is an example of a lesson that is highly personalized, expressive, and artful, but begins with a similar idea or foundation (a head). There are important limitations that help guide students but do not squash their creativity. The element of personalization, expression, and choice is key to all my lessons. Here, at the end of the year, they were able to use far more materials than I normally allow, but I know I would have the same diversity if I did this same project with heads as a theme and clay as a material. You can see that the element of personalization/choice negates the possibility of "cookie-cutter" results.
MORE Lessons Here
After a year of sculpture, and exposure to wire, wood, foam, plaster, clay, and more, students were given rather free reign to create their final project. There were daily assessments for set up and clean up, and staying on task, and I think the results were pretty great. Keep in mind too, my sculpture class is equivalent in our district to an Art 1 but in 3D. Many of my students have had very little previous art exposure except for a semester in middle school and some elementary experiences.
We had spent quite a bit of time in previous projects gaining an understanding of the expressive qualities of color, shape, and form. These are detailed in my book, "The Emotional Color Wheel" from Firehouse Publications. I have a poster in my room of an "emotional color wheel" and students compile their own color relationships but use my example for back up.
The introduction was rather simple. We would create a self expressive sculpture that used the human head as a point of reference. I had foam mannequin heads available but they were free to create their own should they wish. The head did not have to be used as a whole object and could be cut it up, destroyed even to achieve their expressive sculptures.
They began, as most of my projects do, with some writing. Creating lists and expounding on them. We explored three major areas.
1: The idea of what people think they know about us versus what we know is true about ourselves. Sometimes we are truly open with those around us, and sometimes we are more guarded. Stereotypes too may make impressions that may or may not be true. For this mode students created two lists and possible symbols for items in those lists. It could be expressed as an inside versus outside sculpture, or one with two sides.
2. Students explored areas of personal interest and goals. Creating lists and symbols students explored the idea of a sculpture that expressed what they were interested in now, and what they hoped they might evolve into.
3. Social issues were explored as well, creating a short list of issues they knew of personally or had impacted their family. Some issues included domestic violence, cancer, PTSD, ADHD, teen pregnancy and more. They explored the idea of a sculpture that would either teach or bring attention to their issue of choice.
All students had to create sketches and complete the writing, many prompts are included in my book, "The Art Student's Workbook," though lined paper and a good set of leading questions is all that is needed. Each student sat one-on-one with me to discuss their idea, their choice of media, and I asked them about what they would need to do to properly set up, clean up, and store their work. Most often their ideas were fine, but some had concepts too complicated to complete in the three to four weeks I had allotted to the project. By asking them through a discussion about what they wanted to express, we were able to narrow their visual choices in a way that was true to the idea and would not overwhelm them.
We had periodic discussions throughout the process, and I spent much time sitting with them and asking questions about their work to help keep them on target. Those who finished early helped those who needed additional attention. The results speak for themselves and were displayed at our end of the year exhibition. Each work was accompanied by a short explanation so viewers would have a better grasp of what they were seeing. They were well received; even my most troubled students did well.
This is an example of a lesson that is highly personalized, expressive, and artful, but begins with a similar idea or foundation (a head). There are important limitations that help guide students but do not squash their creativity. The element of personalization, expression, and choice is key to all my lessons. Here, at the end of the year, they were able to use far more materials than I normally allow, but I know I would have the same diversity if I did this same project with heads as a theme and clay as a material. You can see that the element of personalization/choice negates the possibility of "cookie-cutter" results.
MORE Lessons Here
Stuff Portraits & Images: [Recycling, Proportion, Engineering]
This idea is inspired by the work of Jane Perkins and THIS article.
Instead of doing a conventional portrait, the basic image could be drawn onto canvas, base colors added and then objects glued to the surface based on hue. Though it may take a while to collect "stuff," the images show that the results are stunning. I would thing canvas board would make a great surface to work on and hot glue would be a good gluing material.
The image could be just about any subject from a portrait of an historical figure, to a family member, even a self portrait made from stuff the subject likes most; candy wrappers, toys, collage words and more. It could even become a political statement, like a war scene made from toy soldiers.
Instead of a figure or portrait, a scene, or historical artwork could be re-imagined with objects like the pictured sample based on van Gogh's Sunflowers below. The possibilities are endless. MORE Lessons Here
This idea is inspired by the work of Jane Perkins and THIS article.
Instead of doing a conventional portrait, the basic image could be drawn onto canvas, base colors added and then objects glued to the surface based on hue. Though it may take a while to collect "stuff," the images show that the results are stunning. I would thing canvas board would make a great surface to work on and hot glue would be a good gluing material.
The image could be just about any subject from a portrait of an historical figure, to a family member, even a self portrait made from stuff the subject likes most; candy wrappers, toys, collage words and more. It could even become a political statement, like a war scene made from toy soldiers.
Instead of a figure or portrait, a scene, or historical artwork could be re-imagined with objects like the pictured sample based on van Gogh's Sunflowers below. The possibilities are endless. MORE Lessons Here
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Embellished & STEAMed: [Biology, Research, Writing]
I find that organic forms can allow students to be looser with their work. When a portrait is "wrong," it's obvious, but when I leaf or tree is a bit "off," it still looks like the organic form that was intended. Often I focus on plankton, viruses, or microbes, but this year we focused on pollen and seeds.
Students began with some writing. They wrote down their cultural origins--Irish, German, Native American, etc. They also listed their birth date. We took this information to the library and researched what flowers coordinated with their birth month, some birth days were associated with specific flowers too, and most countries have a national flower. With these in hand, students researched image databases to discover what the pollen and seeds of those flowers looked like on a microscopic level. They took note of the ones they felt were most interesting, and printed them out as references.
We looked at the forms and students tried to determine the best materials to use in building their models. Some used cardboard, some foil, others paper, another used wire to engineer an armature to be both strong enough to hold materials, and be light enough to remain portable. Students had to create a labeled x-ray sketch before they could begin with actual materials. Once this was approved by the teacher, they were able to set up their workspace and begin to gather materials.
Most students chose to work with plaster over their forms. One worked with raw foil. We also used hand mixed plaster powder in these sculptures in new ways. Most students used a thin layer of liquid plaster to smooth their plaster bandage forms. Texture was something to consider. We discovered that if we put plaster into small bottles, it could be dispensed onto a dry plastered surface to add additional texture. This applied texture sets up very fast and worked very well. The only problem was that the bottle had to be filled with water and flushed out into a bucket every 10 minutes so it would not harden in the bottle and ruin it. We used fabric paint bottles, the kind used for puffy paint worked best.
When forms were near complete, we had had additional discussions. I made it clear that these were not to become clinical models, but works of art. Art, by definition needs to be expressive. So they had to find a way to connect themselves to the work they were making. I also stressed that we would be adding layers of embellishment. They could use colors from the flag(s) of their countries of cultural origin, colors associated with their birth month, or colors that expressed their own emotional values. (Detailed in my book, "The Emotional Color Wheel.") This ensured that colors are not arbitrary and are based on specific choices. I let them know that when we grade the projects, they need to explain their choices, and that the worst possible answer would be, "'Cause I like it." Even if they do like it, choices need to be based on expressive decisions they could explain that also follow their sketching and writing process. They were allowed to make broad deviations when they shared their thought processes.
As the project neared completion, students completed a critiquing form for their own work, and the work of a neighbor. They shared their information and were allowed an additional day to complete work in light of the critiques. Students shared their successes and struggles with the process, and as you can see, ended with some very interesting works of biologically inspired sculpture with a personal twist.
MORE Lessons Here
I find that organic forms can allow students to be looser with their work. When a portrait is "wrong," it's obvious, but when I leaf or tree is a bit "off," it still looks like the organic form that was intended. Often I focus on plankton, viruses, or microbes, but this year we focused on pollen and seeds.
Students began with some writing. They wrote down their cultural origins--Irish, German, Native American, etc. They also listed their birth date. We took this information to the library and researched what flowers coordinated with their birth month, some birth days were associated with specific flowers too, and most countries have a national flower. With these in hand, students researched image databases to discover what the pollen and seeds of those flowers looked like on a microscopic level. They took note of the ones they felt were most interesting, and printed them out as references.
We looked at the forms and students tried to determine the best materials to use in building their models. Some used cardboard, some foil, others paper, another used wire to engineer an armature to be both strong enough to hold materials, and be light enough to remain portable. Students had to create a labeled x-ray sketch before they could begin with actual materials. Once this was approved by the teacher, they were able to set up their workspace and begin to gather materials.
Most students chose to work with plaster over their forms. One worked with raw foil. We also used hand mixed plaster powder in these sculptures in new ways. Most students used a thin layer of liquid plaster to smooth their plaster bandage forms. Texture was something to consider. We discovered that if we put plaster into small bottles, it could be dispensed onto a dry plastered surface to add additional texture. This applied texture sets up very fast and worked very well. The only problem was that the bottle had to be filled with water and flushed out into a bucket every 10 minutes so it would not harden in the bottle and ruin it. We used fabric paint bottles, the kind used for puffy paint worked best.
When forms were near complete, we had had additional discussions. I made it clear that these were not to become clinical models, but works of art. Art, by definition needs to be expressive. So they had to find a way to connect themselves to the work they were making. I also stressed that we would be adding layers of embellishment. They could use colors from the flag(s) of their countries of cultural origin, colors associated with their birth month, or colors that expressed their own emotional values. (Detailed in my book, "The Emotional Color Wheel.") This ensured that colors are not arbitrary and are based on specific choices. I let them know that when we grade the projects, they need to explain their choices, and that the worst possible answer would be, "'Cause I like it." Even if they do like it, choices need to be based on expressive decisions they could explain that also follow their sketching and writing process. They were allowed to make broad deviations when they shared their thought processes.
As the project neared completion, students completed a critiquing form for their own work, and the work of a neighbor. They shared their information and were allowed an additional day to complete work in light of the critiques. Students shared their successes and struggles with the process, and as you can see, ended with some very interesting works of biologically inspired sculpture with a personal twist.
MORE Lessons Here
Origami: [World Cultures, History, Geometry, Engineering]
Paper-folding can either be a rewarding inter-curricular lesson, or a true nightmare. I have found the best way to teach it is to find those who can handle Origami well in your room, and teach that core groups a few models, then have them be group teachers for your other students. There will always be students who have trouble folding a sheet of paper in half, and I stress to them to try. When I have to grade work, I grade the attempts. If we make 10 simple models, if you have 10 little "origami rocks" it's okay.
Some will excel in Origami and it will enrich their understanding of geometry, measuring, and proportion. But even for those who do not do it well, the exposure is valuable. A great resource for Origami Diagrams and directions is HERE. Tie this to some basic history of this nearly 100 year old art form to connection to cultures and history.
History of Origami: Composed of the Japanese words oru (to fold) and kami(paper and god), origami has a rich and complex history that spans culture, class, geography, and unique spiritual connection. Origami can be found outside most temples in Japan as a sign that a god resides within.
Classical and Traditional Origami Paper was first invented in China around 105 A.D., and was brought to Japan by monks in the sixth century. Handmade paper was a luxury item only available to a few, and paper folding in ancient Japan was strictly for ceremonial purposes, often religious in nature.
By the Edo period (1603–1868), paper folding in Japan had become recreational as well as ceremonial, often featuring multiple cuts and folds. It came to be regarded as a new form of art that was enabled by the advent of paper both mass-produced and more affordable. Written instructions for paper folding first appeared in 1797, with Akisato Rito’s Sembazuru Orikata, or “thousand crane folding.” In 1845, Adachi Kazuyuki published a more comprehensive compilation of paper folding with Kayaragusa; by the late 1800s, the term for paper folding had morphed from orikata (“folded shapes”) to origami.
Europe also has a tradition of paper folding that dates back to the twelfth century or before, when the Moors brought a tradition of mathematically based folding to Spain. The Spanish further developed paper folding into an artistic practice called papiroflexia or pajarita. By the 1800s, kindergarten-aged children in Europe and Japan were learning paper folding. (Information from PBS's site for "Between the Folds" an excellent video.)
MORE Lessons Here
Paper-folding can either be a rewarding inter-curricular lesson, or a true nightmare. I have found the best way to teach it is to find those who can handle Origami well in your room, and teach that core groups a few models, then have them be group teachers for your other students. There will always be students who have trouble folding a sheet of paper in half, and I stress to them to try. When I have to grade work, I grade the attempts. If we make 10 simple models, if you have 10 little "origami rocks" it's okay.
Some will excel in Origami and it will enrich their understanding of geometry, measuring, and proportion. But even for those who do not do it well, the exposure is valuable. A great resource for Origami Diagrams and directions is HERE. Tie this to some basic history of this nearly 100 year old art form to connection to cultures and history.
History of Origami: Composed of the Japanese words oru (to fold) and kami(paper and god), origami has a rich and complex history that spans culture, class, geography, and unique spiritual connection. Origami can be found outside most temples in Japan as a sign that a god resides within.
Classical and Traditional Origami Paper was first invented in China around 105 A.D., and was brought to Japan by monks in the sixth century. Handmade paper was a luxury item only available to a few, and paper folding in ancient Japan was strictly for ceremonial purposes, often religious in nature.
By the Edo period (1603–1868), paper folding in Japan had become recreational as well as ceremonial, often featuring multiple cuts and folds. It came to be regarded as a new form of art that was enabled by the advent of paper both mass-produced and more affordable. Written instructions for paper folding first appeared in 1797, with Akisato Rito’s Sembazuru Orikata, or “thousand crane folding.” In 1845, Adachi Kazuyuki published a more comprehensive compilation of paper folding with Kayaragusa; by the late 1800s, the term for paper folding had morphed from orikata (“folded shapes”) to origami.
Europe also has a tradition of paper folding that dates back to the twelfth century or before, when the Moors brought a tradition of mathematically based folding to Spain. The Spanish further developed paper folding into an artistic practice called papiroflexia or pajarita. By the 1800s, kindergarten-aged children in Europe and Japan were learning paper folding. (Information from PBS's site for "Between the Folds" an excellent video.)
MORE Lessons Here
Art To Bank On: [Geometry, Writing, Engeneering]
Students created banks in the form of an object that represented what they wanted to save up for. I have done this in clay, but here my example is done with plaster over cardboard. Both versions begin the same way, with some writing. I have the students complete a simple worksheet where they write down their goals. It is included in my book "The Art Student's Workbook," along with many others. The statements begin:
They then create symbols for each of their answers, and I encourage more than one answer for each, but if they get stuck, they can skip one, if they put two for another. Then we look at the symbols for possible forms that could become a 3D bank. We sketch a bit, breaking down ideas into relatively basic forms: Cone, Cube, Cylinder, Sphere, Pyramid, etc.
Students are then given large sheets of thick paper, oak tag, or watercolor paper to create their forms. I tell them, "if you can't make it with paper, you won't be able to make it with cardboard." They tape forms sparingly with masking tape knowing the tape will have to come off and the paper will be used as a template or pattern on the cardboard. I demonstrate how to make simple forms, how to conserve paper, tell them to work to about the size of a basketball, and they are off to experiment.
For clay, these same paper forms can be traced onto slabs, but we opted for cardboard. When paper forms are approved we dumpster dive for our cardboard in recycling, and trace paper templates. Again I talk about conserving space, no tiny shapes in the middle of a large piece of cardboard. Use the edges and play Tetris as you plan. Those with spheres bring in a balloon, but the rest is generally cardboard, and we use a bit of aluminum foil for organic details if necessary.
These are covered in plaster bandages, smoothed, and layered. Forms that needed to be extra smooth were shown how to add a coating of liquid plaster, rubbing it into the bandages with wet fingers for a slick surface. A coin slot was cut into the form and they were painted with acrylics. We ended with a critique that included some more writing; an example is also in my workbook. Students were allowed one extra day to add any details based on critiques before grading.
The purpose of some forms were obvious, some were more symbolic. The conversations while grading were interesting. The house bank, I assumed, was because the student wanted to own a home when they were older, but they said a home represented stability, and they felt as a senior, they were all stressed out and really wanted some stability in their life. A peaceful place they could call their own. I love it when my students dig a little deeper into their projects, and like knowing that their work will find a home outside of my classroom.
MORE Lessons Here
Students created banks in the form of an object that represented what they wanted to save up for. I have done this in clay, but here my example is done with plaster over cardboard. Both versions begin the same way, with some writing. I have the students complete a simple worksheet where they write down their goals. It is included in my book "The Art Student's Workbook," along with many others. The statements begin:
- By the time I graduate I hope that I...
- In 10 years I hope that I ...
- In 20 years I hope that I...
- Before I die I hope that I ...
They then create symbols for each of their answers, and I encourage more than one answer for each, but if they get stuck, they can skip one, if they put two for another. Then we look at the symbols for possible forms that could become a 3D bank. We sketch a bit, breaking down ideas into relatively basic forms: Cone, Cube, Cylinder, Sphere, Pyramid, etc.
Students are then given large sheets of thick paper, oak tag, or watercolor paper to create their forms. I tell them, "if you can't make it with paper, you won't be able to make it with cardboard." They tape forms sparingly with masking tape knowing the tape will have to come off and the paper will be used as a template or pattern on the cardboard. I demonstrate how to make simple forms, how to conserve paper, tell them to work to about the size of a basketball, and they are off to experiment.
For clay, these same paper forms can be traced onto slabs, but we opted for cardboard. When paper forms are approved we dumpster dive for our cardboard in recycling, and trace paper templates. Again I talk about conserving space, no tiny shapes in the middle of a large piece of cardboard. Use the edges and play Tetris as you plan. Those with spheres bring in a balloon, but the rest is generally cardboard, and we use a bit of aluminum foil for organic details if necessary.
These are covered in plaster bandages, smoothed, and layered. Forms that needed to be extra smooth were shown how to add a coating of liquid plaster, rubbing it into the bandages with wet fingers for a slick surface. A coin slot was cut into the form and they were painted with acrylics. We ended with a critique that included some more writing; an example is also in my workbook. Students were allowed one extra day to add any details based on critiques before grading.
The purpose of some forms were obvious, some were more symbolic. The conversations while grading were interesting. The house bank, I assumed, was because the student wanted to own a home when they were older, but they said a home represented stability, and they felt as a senior, they were all stressed out and really wanted some stability in their life. A peaceful place they could call their own. I love it when my students dig a little deeper into their projects, and like knowing that their work will find a home outside of my classroom.
MORE Lessons Here
Therapeutic Projects: National Geographic has an excellent article about the therapeutic value of art in regard to our military service members.
Often giving time to explore, recall, and express these painful thoughts and memories helps the healing process. Looking at the completed object helps pull the pain out and transform it, giving the artist a sense of control.
I have used the theme of loss in my own classroom, making sure to be as sensitive as possible, but also recognizing not all students have yet experienced a significant loss yet in their lives, so a balance must be struck.
I have 2 projects in particular that have been well received. The first was a memorial bell in clay. A simple inverted pinch pot etched, inscribed, and decorated to remember either a loss, death, or separation. For those that have not experienced a loss, I tell them to try and think of someone you were close with but has moved away or is no longer close to you anymore. Maybe through a divorce, move, or simply growing apart. This usually covers everyone.
A second project was to create a memorial to the person after showing many other memorials, like the Martin Luther King Jr. Memorial, 9-11 memorials, war memorials. I encourage them to make the memorial personal to show how they knew that person and were connected to them. Again, for those who have not experienced a loss, they could focus on a separation or choose a historical figure they admire.
Obviously this topic could be explored through a drawing, painting, altered books or any medium as long as you find a sensitive way to connect the material to the experience and allow others an alternative should they not have a loss they wish to express or are not ready to do so if the loss was recent.
Loss and grief are not often explored in art classrooms, but I think it's an important subject to touch on every year in some way. The value it provides may well extend beyond your classroom.
MORE Lessons Here
Often giving time to explore, recall, and express these painful thoughts and memories helps the healing process. Looking at the completed object helps pull the pain out and transform it, giving the artist a sense of control.
I have used the theme of loss in my own classroom, making sure to be as sensitive as possible, but also recognizing not all students have yet experienced a significant loss yet in their lives, so a balance must be struck.
I have 2 projects in particular that have been well received. The first was a memorial bell in clay. A simple inverted pinch pot etched, inscribed, and decorated to remember either a loss, death, or separation. For those that have not experienced a loss, I tell them to try and think of someone you were close with but has moved away or is no longer close to you anymore. Maybe through a divorce, move, or simply growing apart. This usually covers everyone.
A second project was to create a memorial to the person after showing many other memorials, like the Martin Luther King Jr. Memorial, 9-11 memorials, war memorials. I encourage them to make the memorial personal to show how they knew that person and were connected to them. Again, for those who have not experienced a loss, they could focus on a separation or choose a historical figure they admire.
Obviously this topic could be explored through a drawing, painting, altered books or any medium as long as you find a sensitive way to connect the material to the experience and allow others an alternative should they not have a loss they wish to express or are not ready to do so if the loss was recent.
Loss and grief are not often explored in art classrooms, but I think it's an important subject to touch on every year in some way. The value it provides may well extend beyond your classroom.
MORE Lessons Here
"Rainbow Snuggeel" by David Edgar
Awesome Plastic Recycling: These samples are too cool to pass up from David Edgar at his website plastiquarium.com. Link HERE for samples of his recycled sculptures. I like how he keeps the labels and they become an additional visual element. This particular example shows a fun way to fill work with recycled materials. I'd love to do this towards the end of the year, keeping a bin in the room to collect bright colored plastic, then open the bin at the end of the year. I hate to use paint in the last weeks of school, or anything especially messy, but project would not require paint, likely some wire and maybe hot glue. MORE Lessons Here
Self Portrait Planters [Biology, Plant Science]
This can also be done in clay, see Clay Projects.
Students created self portraits as planters, some decided to make a zombie version of themselves knowing they would have green hair. We added potting soil and grass seed to be watered at home. We also capped the tops with a little paint cup, so it would not spill when being transported home.
As a plaster project, we used a plastic cup inside the head, wrapped it with lose aluminum foil, and formed that into a face. Another large wad of foil was shaped for the shoulders and neck, I told students to press it into the shape of a car without wheels. (Tall in the center, low on the sides.) We masking taped both together so nothing shook or wobbled. We added more foil chunks for ears, nose, and brows if needed, again with masking tape, and plenty of it. Plaster bandages were wrapped over that, smoothed, and a base coat of paint for the shirt and skin tone were added. The next day details were painted in.
(Fake plants were added to planters for the photos.) MORE Lessons Here
This can also be done in clay, see Clay Projects.
Students created self portraits as planters, some decided to make a zombie version of themselves knowing they would have green hair. We added potting soil and grass seed to be watered at home. We also capped the tops with a little paint cup, so it would not spill when being transported home.
As a plaster project, we used a plastic cup inside the head, wrapped it with lose aluminum foil, and formed that into a face. Another large wad of foil was shaped for the shoulders and neck, I told students to press it into the shape of a car without wheels. (Tall in the center, low on the sides.) We masking taped both together so nothing shook or wobbled. We added more foil chunks for ears, nose, and brows if needed, again with masking tape, and plenty of it. Plaster bandages were wrapped over that, smoothed, and a base coat of paint for the shirt and skin tone were added. The next day details were painted in.
(Fake plants were added to planters for the photos.) MORE Lessons Here
Three years worth of my 2D and 3D lessons HERE.
Frankenstein Teddy Bears: [Recycling, Construction, Engineering]
This is a "Bear" of a project. One I have never attempted, and using a material I have never used for art as well... concrete. This would work for an after school G&T middle school group, or a high school sculpture class. The project is based on the work of Ross Bonfanti and his concrete stuffed animals. It will take a "normal" class about 10 to 15 hours to complete.
Seems simple enough, fill a stuffed toy with concrete, rip off the skin, all done... um----no. If students do not fill properly, then there were voids, breaks, crumbled parts, but these can be repaired, and made to be part of the creepy look of the sculpture. We embraced the ugliness, and thoroughly enjoyed it.
I learned a lot, and the kids were pleased with their projects, it was certainly a fun project, but harder than I first expected. I will write this up WITH the information we used and add some we should have used. We got our toys at a local fleamarket, but Goodwill can be a good source too. Ask for donations, lots of kids have old ones they are happy to part with. Choose animals that have limbs that connect to the body, feel joints to be sure.
Materials:
Small-ish stuffed animals, about 8 inches in size seems best. Chubby limbs are IMPORTANT.
Sand-mix Concrete or Quikrete Fiber-Reinforced Concrete, 60 lbs per (6 to 8 animals)
(Adding foil to body and head will reduce weight and extend concrete but adds difficulty)
Needle nose pliers, box cutters, scissors, (A Dremel Cutting Tool will be helpful)
Wood spoons, mixing bowls
Gloves (cement is a bit caustic)
Assorted craft items for embellishment
Hot glue
Cement adhesive
*Armature Wire (added into limbs will help keep it together if it cracks)
Part 1:
Cut toys between the ears or up the back of the head with scissors. If hands cannot fit inside, cut a bit more.
Remove stuffing, needle nose pliers will be helpful.
Label toys with a name
Part 2:
If I did this project over, *I would have had students make stick-man armatures to put inside. This would have not have prevented cracking, but would have kept pieces together I think. A thin cheap wire will suffice. (I did this in a second attempt and it was VERY helpful!)
Filling with cement: Prepare your area for cement. We chose a sand mix, it finer. It took three 60 pound bags to fill 20 small stuffed animals, $4 per bag. Use gloves as concrete is slightly caustic. We used bowls and wooden spoons to mix, and 4 oz. paint cups to measure. 4 level scoops of cement, and 2 not-quite full scoops of water seemed to do the trick. It should be peanut-butter thick, not soupy, and not crumbly. A little moisture is okay. (Some websites will suggest you turn toys in-side-out. It is bad advice, all that hair will stick)
We stirred and spooned it in with dollar store wood spoons and gloved hands to pack it in. Start with the feet and pack them well. Use the stick end of the spoon to ram it in. Squeeze to feel if the cement is all the way in. Then pack the "butt" and be sure the bear/animal can sit. We added a ball of foil to the belly to lighten it a bit, and surrounded that with cement. Then stuffed the arms, and another ball of foil in the head surrounded with cement. (Test student work, limbs were OFTEN not totally filled, give them a little squeeze.)
Some animals slumped under the weight, so a sharpened dowel was jammed through. We assumed we'd need to clip the holes shut, but they seemed okay with pressure to hold them closed. We put them on a plastic covered table to sit overnight with a fan on them.
Filling with cement can be done in 2 sessions, legs and butt in 1 class period, but put in a bunch of toothpicks, wires, or something, so new cement will stick better to old cement the next day.
Part 3:
Skinning the toys: The hardest part in some ways. Scoring the surface with a box cutter will help, as will a Dremel tool if you have one. Use caution with sharps, but they will dull quickly and you'll need to replace blades frequently. We found gripping the fabric with a needle nose pliers and twisting really helped. Razors helped cut around embedded eyes and nose. KEEP all skinning materials and allow animals to air dry a bit more.
Part 4:
Reconstruction: We had heavy damage with our younger student's projects. Only 1 teacher sample was completely intact. We embraced the ugliness, and re-constructed stuffed animals with craft embellishments, wood, foil, and whatever we had on hand. Concrete cement takes a long time to cure, especially if it's thick. It may be helpful to place these animals on a board that can be moved without disturbing the sculpture. Glue on ears, noses, etc. to complete the sculptures. We found some motherboards to add a cyborg quality to some, scavenged from a tossed computer. We used cement glue to glue cement pieces together, and hot glue for everything else.
MORE Lessons Here
This is a "Bear" of a project. One I have never attempted, and using a material I have never used for art as well... concrete. This would work for an after school G&T middle school group, or a high school sculpture class. The project is based on the work of Ross Bonfanti and his concrete stuffed animals. It will take a "normal" class about 10 to 15 hours to complete.
Seems simple enough, fill a stuffed toy with concrete, rip off the skin, all done... um----no. If students do not fill properly, then there were voids, breaks, crumbled parts, but these can be repaired, and made to be part of the creepy look of the sculpture. We embraced the ugliness, and thoroughly enjoyed it.
I learned a lot, and the kids were pleased with their projects, it was certainly a fun project, but harder than I first expected. I will write this up WITH the information we used and add some we should have used. We got our toys at a local fleamarket, but Goodwill can be a good source too. Ask for donations, lots of kids have old ones they are happy to part with. Choose animals that have limbs that connect to the body, feel joints to be sure.
Materials:
Small-ish stuffed animals, about 8 inches in size seems best. Chubby limbs are IMPORTANT.
Sand-mix Concrete or Quikrete Fiber-Reinforced Concrete, 60 lbs per (6 to 8 animals)
(Adding foil to body and head will reduce weight and extend concrete but adds difficulty)
Needle nose pliers, box cutters, scissors, (A Dremel Cutting Tool will be helpful)
Wood spoons, mixing bowls
Gloves (cement is a bit caustic)
Assorted craft items for embellishment
Hot glue
Cement adhesive
*Armature Wire (added into limbs will help keep it together if it cracks)
Part 1:
Cut toys between the ears or up the back of the head with scissors. If hands cannot fit inside, cut a bit more.
Remove stuffing, needle nose pliers will be helpful.
Label toys with a name
Part 2:
If I did this project over, *I would have had students make stick-man armatures to put inside. This would have not have prevented cracking, but would have kept pieces together I think. A thin cheap wire will suffice. (I did this in a second attempt and it was VERY helpful!)
Filling with cement: Prepare your area for cement. We chose a sand mix, it finer. It took three 60 pound bags to fill 20 small stuffed animals, $4 per bag. Use gloves as concrete is slightly caustic. We used bowls and wooden spoons to mix, and 4 oz. paint cups to measure. 4 level scoops of cement, and 2 not-quite full scoops of water seemed to do the trick. It should be peanut-butter thick, not soupy, and not crumbly. A little moisture is okay. (Some websites will suggest you turn toys in-side-out. It is bad advice, all that hair will stick)
We stirred and spooned it in with dollar store wood spoons and gloved hands to pack it in. Start with the feet and pack them well. Use the stick end of the spoon to ram it in. Squeeze to feel if the cement is all the way in. Then pack the "butt" and be sure the bear/animal can sit. We added a ball of foil to the belly to lighten it a bit, and surrounded that with cement. Then stuffed the arms, and another ball of foil in the head surrounded with cement. (Test student work, limbs were OFTEN not totally filled, give them a little squeeze.)
Some animals slumped under the weight, so a sharpened dowel was jammed through. We assumed we'd need to clip the holes shut, but they seemed okay with pressure to hold them closed. We put them on a plastic covered table to sit overnight with a fan on them.
Filling with cement can be done in 2 sessions, legs and butt in 1 class period, but put in a bunch of toothpicks, wires, or something, so new cement will stick better to old cement the next day.
Part 3:
Skinning the toys: The hardest part in some ways. Scoring the surface with a box cutter will help, as will a Dremel tool if you have one. Use caution with sharps, but they will dull quickly and you'll need to replace blades frequently. We found gripping the fabric with a needle nose pliers and twisting really helped. Razors helped cut around embedded eyes and nose. KEEP all skinning materials and allow animals to air dry a bit more.
Part 4:
Reconstruction: We had heavy damage with our younger student's projects. Only 1 teacher sample was completely intact. We embraced the ugliness, and re-constructed stuffed animals with craft embellishments, wood, foil, and whatever we had on hand. Concrete cement takes a long time to cure, especially if it's thick. It may be helpful to place these animals on a board that can be moved without disturbing the sculpture. Glue on ears, noses, etc. to complete the sculptures. We found some motherboards to add a cyborg quality to some, scavenged from a tossed computer. We used cement glue to glue cement pieces together, and hot glue for everything else.
MORE Lessons Here
HERE are some more artsy things you can do with any left over concrete.
Fun-Glasses: [Recycling, Possibly Optics]
I always save my 3D glasses from the movies. So much potential. I had enough saved for my summer camp kids to embellish them. They could show off their personality, make glasses that would give them a super power, or decorate them to make people doubt their sanity! This was a great way to rid my closet of odds-and-ends.
We popped out the lenses (Might make for an interesting discussion on polarized lenses and what that means) and tied them to a string to hold them for spray glue. This makes it easier to wrap the plastic with yarn and pipe-cleaners, attach feathers and other doo-dads. I had a couple left-over jumbo glasses that my older students used. You can see they really had fun with them. MORE Lessons Here
I always save my 3D glasses from the movies. So much potential. I had enough saved for my summer camp kids to embellish them. They could show off their personality, make glasses that would give them a super power, or decorate them to make people doubt their sanity! This was a great way to rid my closet of odds-and-ends.
We popped out the lenses (Might make for an interesting discussion on polarized lenses and what that means) and tied them to a string to hold them for spray glue. This makes it easier to wrap the plastic with yarn and pipe-cleaners, attach feathers and other doo-dads. I had a couple left-over jumbo glasses that my older students used. You can see they really had fun with them. MORE Lessons Here
Pig + Raccoon = Pigcoon
Stuffed Animals: [Biology, Animal Science]
We have quite a large hunting community in our area, and thought this might be a fun tie in. We spoke about how biologists will collect animals for study, have them mounted, stuffed, etc for observation. Also, some people have the heads of animals stuffed as trophies of their catch. Students chose a mode to consider their project, and created a sketch. For those who wanted to, a third option was to create a fake animal for their trophy.
We did these with foam-board for the backing, aluminum foil and masking tape as an armature, and covered that with plaster mache'. At the end, some created wood texture on their boards, and we finished the project with a tag, naming the animal. We had many fun examples. This was done for ages 7 through 15 during our summer camp program.
MORE Lessons Here
We have quite a large hunting community in our area, and thought this might be a fun tie in. We spoke about how biologists will collect animals for study, have them mounted, stuffed, etc for observation. Also, some people have the heads of animals stuffed as trophies of their catch. Students chose a mode to consider their project, and created a sketch. For those who wanted to, a third option was to create a fake animal for their trophy.
We did these with foam-board for the backing, aluminum foil and masking tape as an armature, and covered that with plaster mache'. At the end, some created wood texture on their boards, and we finished the project with a tag, naming the animal. We had many fun examples. This was done for ages 7 through 15 during our summer camp program.
MORE Lessons Here
Culture Masks: [World Cultures, History]
This is a new take on an old project. My samples here are high school, but I will upload some elementary versions when complete later this week for camp.
I begin by asking students their cultural backgrounds, we usually create a list. In a school setting I sign out the computer lab for a day for students to find and print out cultural symbols, icons, animals, and flowers from their country of origin. These become the symbols used in the mask.
For camp, I ask on the first day, and compile a list of cultures, and I print out some help sheets. I allow them to use their phones or my i-Pad to look further. Below the images is a PDF of my reference sheets.
High school students cast on their faces in partners. Elementary cast balloons in partners that are cut in half. (Balloon cast masks are the last 4 samples below) For a professional look and with lots of time, I have the face cast masks coated with a thin layer of liquid plaster, either hand mixed or from Home Depot (DAP.) It does not take much but gives the masks a slick surface that hides the original plaster bandages. Though you can paint on that surface, the samples below were coated with a layer of colored tissue paper with a glue/water mix to seal the plaster, prevent flaking, and make a better painting surface.
We talked about the symbols, and they sketched ideas. I spoke at length about not taking the "Sticker" approach. "Stick" a flag on the forehead, "Stick" a clover on the cheek... To be as symbolic as possible, to use the colors of the flag instead of an actual flag. To use elements of symbols and not forcing yourself to use the whole symbol. Some did this well, some still had that "Sticker" look, but overall I was pleased with the results, and they learned a bit more about themselves.
MORE Lessons Here
This is a new take on an old project. My samples here are high school, but I will upload some elementary versions when complete later this week for camp.
I begin by asking students their cultural backgrounds, we usually create a list. In a school setting I sign out the computer lab for a day for students to find and print out cultural symbols, icons, animals, and flowers from their country of origin. These become the symbols used in the mask.
For camp, I ask on the first day, and compile a list of cultures, and I print out some help sheets. I allow them to use their phones or my i-Pad to look further. Below the images is a PDF of my reference sheets.
High school students cast on their faces in partners. Elementary cast balloons in partners that are cut in half. (Balloon cast masks are the last 4 samples below) For a professional look and with lots of time, I have the face cast masks coated with a thin layer of liquid plaster, either hand mixed or from Home Depot (DAP.) It does not take much but gives the masks a slick surface that hides the original plaster bandages. Though you can paint on that surface, the samples below were coated with a layer of colored tissue paper with a glue/water mix to seal the plaster, prevent flaking, and make a better painting surface.
We talked about the symbols, and they sketched ideas. I spoke at length about not taking the "Sticker" approach. "Stick" a flag on the forehead, "Stick" a clover on the cheek... To be as symbolic as possible, to use the colors of the flag instead of an actual flag. To use elements of symbols and not forcing yourself to use the whole symbol. Some did this well, some still had that "Sticker" look, but overall I was pleased with the results, and they learned a bit more about themselves.
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| culture_symbols.pdf |
Wind Sculptures: [Environment, Recycling, Engineering]
Students explore the possibilities of wind as an element to sculpt. Students created a list of what kinds of things already blow in the wind: flags, whirly-gigs, turbines, chimes, bottles, whistles, streamers, etc.
I then show them the potential list of supplies I have gathered. Many on hand, some I had to purchase (but cheaply) Tacks, nails, hammer, dowels (1/2 in and 1/8 in diameter, and 30 in. long - allowed on of each) tape, foam plates, collected plastic lids, spoons, mini-cups, streamers, ribbons, costume jewels, wire, pins, string, hot glue, foil, left over paints. Use what you have on hand.
We talked about many different possibilities, and that they could bring in materials from home should they choose. We also made sure all knew, sicks were NOT to be used as swords, and to carry them vertically to the ground. After that, they were told to make a sketch, seek teacher input, and then have at it. Pretty much a class of total creative chaos with teachers doing the hot glue and hammering as needed.
In my high school classes, I require the sculpture be made of 50% recycled stuff they find and bring in, it's counted as homework. The first 3 samples below are with my summer camp kids (Ages 7 to 15) then followed by my high school classes, grades 9 through 12.
MORE Lessons Here
Students explore the possibilities of wind as an element to sculpt. Students created a list of what kinds of things already blow in the wind: flags, whirly-gigs, turbines, chimes, bottles, whistles, streamers, etc.
I then show them the potential list of supplies I have gathered. Many on hand, some I had to purchase (but cheaply) Tacks, nails, hammer, dowels (1/2 in and 1/8 in diameter, and 30 in. long - allowed on of each) tape, foam plates, collected plastic lids, spoons, mini-cups, streamers, ribbons, costume jewels, wire, pins, string, hot glue, foil, left over paints. Use what you have on hand.
We talked about many different possibilities, and that they could bring in materials from home should they choose. We also made sure all knew, sicks were NOT to be used as swords, and to carry them vertically to the ground. After that, they were told to make a sketch, seek teacher input, and then have at it. Pretty much a class of total creative chaos with teachers doing the hot glue and hammering as needed.
In my high school classes, I require the sculpture be made of 50% recycled stuff they find and bring in, it's counted as homework. The first 3 samples below are with my summer camp kids (Ages 7 to 15) then followed by my high school classes, grades 9 through 12.
MORE Lessons Here
Relief Environments: [Biology/Biomes]
I've had a pack of those little foam sticky dots [3D-O's] in my room for like 2 years and never got to them. Rather than see them go to waste we did a project on environments with them. Students generated a list of possible environments/biomes; Desert, Jungle, Forest, Grassland, Tundra, Swamp, Arctic... We put up some posters showing many of them, and have a box of visual references from cut up magazines.
We also talked about foreground, middle-ground, background, and overlap. That a full image needed to have all of this. We had a mini sample of a completed environment with a couple of fish and coral, and encouraged students to explore the possibilities of layering foam stickers, stacking, and staggering them.
They started with a detailed background on heavy paper, and created the pop-up elements on a second sheet. We stressed the need to conserve paper, and not to cut a circle from the middle and toss the rest. We saved our sample's cut out paper to show them to put shapes near each other to conserve paper.
The results were pretty great as you can see below. (Ages 7 through 15 here)
MORE Lessons Here
I've had a pack of those little foam sticky dots [3D-O's] in my room for like 2 years and never got to them. Rather than see them go to waste we did a project on environments with them. Students generated a list of possible environments/biomes; Desert, Jungle, Forest, Grassland, Tundra, Swamp, Arctic... We put up some posters showing many of them, and have a box of visual references from cut up magazines.
We also talked about foreground, middle-ground, background, and overlap. That a full image needed to have all of this. We had a mini sample of a completed environment with a couple of fish and coral, and encouraged students to explore the possibilities of layering foam stickers, stacking, and staggering them.
They started with a detailed background on heavy paper, and created the pop-up elements on a second sheet. We stressed the need to conserve paper, and not to cut a circle from the middle and toss the rest. We saved our sample's cut out paper to show them to put shapes near each other to conserve paper.
The results were pretty great as you can see below. (Ages 7 through 15 here)
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Wire Tree: [World Cultures]
Using stovepipe wire or copper, students take 50 to 100 thin strands at about 1 to 2 ft in length (Decide ahead how big you want them to work) and twist the wires to make a tree, splitting bunches and twisting roots and branches. Foil, craft jewels, or other leaf-like objects can be added as leaves. See the internet for many examples. Couple this project with research about Bonsai trees and their expressive forms. Consider how the tree can be posed to express movement and emotion; Sadness, Happiness, Joy, Dance, Calm...
The example here shows a plaster mache' base, but we have even extended the root portion of the tree, and wrapped the roots around objects. Beads are used here for leaves, but thick embossing foil works well too. The nice thing about this project is the variety of possibilities. Generally though, younger students do well with a simple base, while older students can expand the project to deal with the roots. MORE Lessons Here
Using stovepipe wire or copper, students take 50 to 100 thin strands at about 1 to 2 ft in length (Decide ahead how big you want them to work) and twist the wires to make a tree, splitting bunches and twisting roots and branches. Foil, craft jewels, or other leaf-like objects can be added as leaves. See the internet for many examples. Couple this project with research about Bonsai trees and their expressive forms. Consider how the tree can be posed to express movement and emotion; Sadness, Happiness, Joy, Dance, Calm...
The example here shows a plaster mache' base, but we have even extended the root portion of the tree, and wrapped the roots around objects. Beads are used here for leaves, but thick embossing foil works well too. The nice thing about this project is the variety of possibilities. Generally though, younger students do well with a simple base, while older students can expand the project to deal with the roots. MORE Lessons Here
Hunger A-Wire-ness: [World Cultures, Current Events, Research Skills] I always start my high school sculpture students off with WIRE. I like to begin with the simple elements (Line) and build from there. I have had them construct self portraits in the past, embossed wire images into paper with a small press, but this year I thought to try a bit of 'service learning.'
I had them research 5 facts about World or US hunger. They had to dig deep because they each needed a UNIQUE fact (all 45 students). They wrote one of the 5 facts on a list so we knew their would be no repeats. They loved using their smart phones to research.
Then they made wire food with a placematt that had their fact on it. We did a display in the cafeteria one day, and a display them near where the BOE meets. They had fun making their own favorite meal. The wire makes the food ghost-like, and helps the hunger theme "hit home." The food is there, but it's also not. We used 527 glue to fasten them to the paper.
Alternate version via MVM Art Room HERE.
Hunger Related video below.
MORE Lessons Here
I had them research 5 facts about World or US hunger. They had to dig deep because they each needed a UNIQUE fact (all 45 students). They wrote one of the 5 facts on a list so we knew their would be no repeats. They loved using their smart phones to research.
Then they made wire food with a placematt that had their fact on it. We did a display in the cafeteria one day, and a display them near where the BOE meets. They had fun making their own favorite meal. The wire makes the food ghost-like, and helps the hunger theme "hit home." The food is there, but it's also not. We used 527 glue to fasten them to the paper.
Alternate version via MVM Art Room HERE.
Hunger Related video below.
MORE Lessons Here
Family Mobile: [Geometry/Physics] Students use information about the emotional values of color and shape to create mobiles of their family unit by creating symbolic shapes and colors for each family member and create a composition to represent their family unit.
Start with a written list of family, describe them with 3 to 5 words, then explore symbols of color, shape, and form to represent each person. Try to avoid overt recognizable visual imagery, stick with symbols. (See Bottom Image)
(8 – 10 forms) Alexander Calder is a wonderful artist for examples. In this example we carved floral foam, but it can be done with foamcore, cardboard, or any available media.
MORE Lessons Here
Start with a written list of family, describe them with 3 to 5 words, then explore symbols of color, shape, and form to represent each person. Try to avoid overt recognizable visual imagery, stick with symbols. (See Bottom Image)
(8 – 10 forms) Alexander Calder is a wonderful artist for examples. In this example we carved floral foam, but it can be done with foamcore, cardboard, or any available media.
MORE Lessons Here
Dinosaur Eggs: [Biology] Students create dinosaur eggs from plaster and balloons, then crack them open and create a baby dinosaur to fit inside as if in the process of hatching. Students research what their chosen dinosaur would look like as a baby. Eggs and creatures should be related by color to reinforce form and function concepts.
For the truly adventurous, liquid plaster can be poured into a balloon with a funnel cut from a soda bottle. You'll need to press your face on the funnel and blow both the liquid plaster and more air into the balloon and tie. Rotate the balloon quickly until the plaster sets completely so plaster coats the sides of the balloon. Potentially VERY messy but fun, do this part outdoors. Crack eggs open for a more realistic effect.
MORE Lessons Here
For the truly adventurous, liquid plaster can be poured into a balloon with a funnel cut from a soda bottle. You'll need to press your face on the funnel and blow both the liquid plaster and more air into the balloon and tie. Rotate the balloon quickly until the plaster sets completely so plaster coats the sides of the balloon. Potentially VERY messy but fun, do this part outdoors. Crack eggs open for a more realistic effect.
MORE Lessons Here
Goal and Obstacle: [Career studies, problem solving] Students create lists of life goals and things that may prevent them from these achievements. These lists are converted into symbols. The students then create a work that shows one of each. The Obstacle on the bottom as a base and the achievement or goal above.
This students shows that their goal would be to travel the world, but that their family and responsibilities may make that difficult.
We used plaster bandages on top of cardboard and foil to make an armature, then painted the project with acrylics. Coating plaster work with a thin layer of tissue soaked in glue can help prevent paint chipping off the plaster surface.
MORE Lessons Here
This students shows that their goal would be to travel the world, but that their family and responsibilities may make that difficult.
We used plaster bandages on top of cardboard and foil to make an armature, then painted the project with acrylics. Coating plaster work with a thin layer of tissue soaked in glue can help prevent paint chipping off the plaster surface.
MORE Lessons Here
Memorial Design: [Writing, Therapeutic Art, History]
Similar to the project above, has two parts. I often will allow students a choice of memorial sculpture or goal sculpture.
In this project students write a bit about someone they know that is no longer around, this could be because of a move, divorce, death, or historical figure. They list things about the person they admire, or were particular to that person. The second list is for what the two shared, either experiences or likes.
In this sample, the student took on the topic of his grandfather who passed away. The van was his grandfather's, and they would take weekend drives to the ocean, park facing the surf, and talk about everything he felt he couldn't discuss with his parents. or just share some guy-talk and advice.
Not every student is prepared to discuss loss, especially if it a recent one, so offering a choice is helpful. I have also done this with students picking an historical figure, the base being what connects them to the person or philosophy, and the top being a symbol for the historical person. MORE Lessons Here
Similar to the project above, has two parts. I often will allow students a choice of memorial sculpture or goal sculpture.
In this project students write a bit about someone they know that is no longer around, this could be because of a move, divorce, death, or historical figure. They list things about the person they admire, or were particular to that person. The second list is for what the two shared, either experiences or likes.
In this sample, the student took on the topic of his grandfather who passed away. The van was his grandfather's, and they would take weekend drives to the ocean, park facing the surf, and talk about everything he felt he couldn't discuss with his parents. or just share some guy-talk and advice.
Not every student is prepared to discuss loss, especially if it a recent one, so offering a choice is helpful. I have also done this with students picking an historical figure, the base being what connects them to the person or philosophy, and the top being a symbol for the historical person. MORE Lessons Here
Altered Books: [Problem Solving & Recycling]
“Don’t Judge a book by its cover.” Find a source for old hard cover books that are being discarded, many libraries have piles of these. Students then alter the book by painting in, cutting out, gluing in and outside the book. If you have too many books, one can be an experiment book to try out techniques, and the second for the actual graded project.
Students should create 2 lists about how they are perceived by others and how they know themselves to be. Then generate symbols for these. The outside of the book should express how they are seen by others, and the inside is what they know about themselves. Encourage students to “code” their work using the expressive qualities of color and shape (Bottom of this page). In this way they can keep personal information private yet still express themselves.
A second option is to create a book with 5 specific events from your life either positive or negative, and the cover represents yourself as a person. This too begins with some writing about what 5 major events have shaped you as a person. Private events can be coded to keep them private.
Often I allow my students the option to pick from either.
MORE Lessons Here
“Don’t Judge a book by its cover.” Find a source for old hard cover books that are being discarded, many libraries have piles of these. Students then alter the book by painting in, cutting out, gluing in and outside the book. If you have too many books, one can be an experiment book to try out techniques, and the second for the actual graded project.
Students should create 2 lists about how they are perceived by others and how they know themselves to be. Then generate symbols for these. The outside of the book should express how they are seen by others, and the inside is what they know about themselves. Encourage students to “code” their work using the expressive qualities of color and shape (Bottom of this page). In this way they can keep personal information private yet still express themselves.
A second option is to create a book with 5 specific events from your life either positive or negative, and the cover represents yourself as a person. This too begins with some writing about what 5 major events have shaped you as a person. Private events can be coded to keep them private.
Often I allow my students the option to pick from either.
MORE Lessons Here
Feel free to maximize and print the poster below.
If you would like a full scale poster version for your classroom, visit the links below the image.
If you would like a full scale poster version for your classroom, visit the links below the image.
The poster above can be purchased here if you want a large one (Click this sentence).
Another Poster that focuses on just color in detail is here (Click this sentence).
Another Poster that focuses on just color in detail is here (Click this sentence).