1. Start by Assessing Your Setting
As ArtEdGuru points out in the First Year Teacher Advice post, even as a substitute, you should know your basic context:

• Where exactly is your assigned classroom (or cart)?
• What’s your schedule, class sizes, and student flow?
• What facilities are available—sink, kiln, drying racks?
• What materials (even basic ones) can you access, and how?

Article Link

Even this quick reconnaissance helps you eliminate surprises and build credibility right off the bat.

2. Lean on Observers Over Reinvention
The same post encourages observing seasoned teachers—not just art teachers—and learning how they manage routines, transitions, and student behavior. Ask school leaders for the most organized, calm, and effective teachers across any subject—and see how they run their rooms. This is vital guidance for anyone unfamiliar with daily art‑room flow.


3. Use Drawing as Your Foundation
When you arrive in the room:

• Stick with drawing, as it’s material‑safe, low‑risk, and universally understood.
• Avoid jumping into painting, clay, or complex media until you see how students respond and how well the space is managed.

This lets you establish basic routines and build trust—with minimal mess or confusion.

4. Rely on Ready-Made Sub-Day Resources
Use ArtEdGuru’s “Sub Plans” hub or video‑based mini‑lessons:

• Quick video notes (watch a video, list 20 facts, and write a short summary)
• Structured drawing prompts like “Scribble Drawing” or “Draw ’n’ Pass”
• Low‑supply challenges such as paper engineering, Cube templates, or minimalist drawing prompts
  These are solid, structured activities you can run confidently—even without deep art knowledge.

Article Link

5. Make Your Instructions Crystal Clear
Plan and package each day's routine like a script:

• Label where your plans are (office, whiteboard, demo table)
• Use seating charts (ideally with student photos)
• Add sticky‑note labels on technology or whiteboard references (“volume,” “play here,” etc.)
• Provide printed, step‑by‑step handouts for students and yourself

You may not have been given materials, but if you do create digital or printed lesson instructions, they become your safety net.

6. Encourage Accountability Through Grading
Even as a substitute, reinforce norms:

• Clearly state that classwork will be graded—even if lightly.
• Use quick participation checks or collect video‑note sheets.
  This builds student buy‑in and reduces go‑to behaviors like skipping or off‑task wandering.

Article Link

7. Use Choice and Scaffolding to Your Advantage
Apply ArtEdGuru's scaffolding advice: give students restricted but meaningful choices.

• Begin with simple (draw with pencil), then expand options (colored pencil, paper sculpture) as students show readiness.
• This helps you avoid chaos while still allowing creative expression.

8. Behavior Through Structure, Not Leniency
First impressions matter, and direction helps students succeed:

• Set expectations early, firmly, and visibly.
• Use consistent routines—entry, work time, cleanup, exit.
• Be fair, consistent, and teacher‑centered—not “friendly.”

Article Link
These routines give you control, while still empowering students.

9. Consult Simple Tips to Keep Chaos at Bay
Leverage quick classroom‑management hacks:

• Cover seating charts with transparency sheets to mark attendance or behavior with a dry‑erase marker
• Develop simple systems for messaging (e.g., L = lavatory, T = tardy)
  These are small tweaks that make large differences.

Article Link

10. Connect Through Writing When Supplies Are Thin
If media access is limited, use writing‑rich alternatives:

• Video summarizing or response prompts
• Reading short art‑related news or opinion articles and writing responses
• Narrative activities like “Zombie Artist Interview” (aka an alternate research paper) that are low‑supply yet engaging, reflective, and plagiarism-resistant

Book Link

Final Thought: Being an effective art sub doesn’t require mastery of art materials but rather mastery of structure, clarity, and thoughtful pacing. You are not just keeping the wheels turning—you’re building routines and conditions that preserve the integrity of the art room until the full-time teacher returns. You may also be building experience for your own future as an art educator. If that is your path, use this time to build a portfolio of teaching samples and getting your feet wet as an educator. 

If you need help and would like a deeper dive into “how to teach art,” you can read THIS ebook for free with your Amazon account. If you need lessons for any level K-12 THIS book will be helpful. It allows you 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.

​Take a deep breath! You CAN do it. Save this blog to use as a resource for choice-based lessons and teaching advice.

Our first step was to take a day to photograph each other against a plain wall to remove distractions. We did a profile, a three-quarter view, and another image facing forward. Students could do more, but we needed 3 images cropped closely to the face. These were uploaded to a Google Document that I gave the class editing rights to. Adding images was graded as a classwork assignment. 
​
I then printed these in black and white, running 5 sets of copies of each, then 3 more sets on tabloid paper at 150% (11 x 17 inches) hand-fed into the photocopier. This way, when students finished their small experiments, they could use the larger format images for their “final” artworks. To extend this assignment, these images could be the basis for a painting on canvas if that were desired. 

When the initial “experiments” were completed, we did a gallery walk, sharing what we discovered, and students paired up for formal mid-project written critiques. I used my samples as a point of discussion. What worked well, what could be pushed even more, what techniques could be combined? We all noted that the photocopies were predominantly gray, so using charcoal, pen, or other media to enhance contrast would be important. We also discovered that erasers could actually pull off toner from the photocopies to enhance highlights. 

This is how I transition between projects because I don't take work home

I have elaborated on my process before in THIS POST, but created this video to illustrate my process a bit more clearly.

Essentially I dovetail the end of one project with a short intro to our next assignment so those waiting for a grading session have something to do, and those who need a few minutes to finish up an assignment can do that. I always have an "and then" assignment... something to do "after" students think they are done. 

For more about my grading rubric, visit THIS POST. 

There are many things that I do not like about A.I. and some that even scare me, but it's not going away. 

It occurred to me that if A.I. can access websites and blogs, and analyze content, I asked myself, "What if I turned on that reflective ability on myself and my blog that has nearly a dozen years of content; pedagogy, lessons, methodology, and personal philosophy?"

My initial prompt was this: "Can you access my blog to understand my methodology of teaching art and lesson planning? www.artedguru.com"

The first iteration was obviously based on a quick look at my top blog page, it was not a deep dive and missed a lot with unhelpful "advice."

So I replied: "It looks like you only looked at 1 page and made some assumptions. Some correct, some not. Can you access all of my posts since 2014?"

It said it could do a deeper dive and the results were better yet still lacked depth... so I asked, "Can you train yourself to generate lessons based on a deeper dive into my blog or is that beyond your capabilities?"

This is what ChatGPT5 returned.

I can’t literally train myself the way a custom model would, but I can do something functionally similar within a conversation:

• I can read and analyze as much of your blog content as you give me (either by you pasting text here or by me retrieving it in chunks from the web).
• From that, I can build a working “methodology profile” that reflects your exact tone, sequencing, themes, and scaffolding approach.
• Once that profile is built, I can generate lesson plans that mimic your style and align with your philosophy, without me guessing or injecting outside assumptions.
• This profile can also be iteratively refined — so if something I create doesn’t feel like “you,” we can adjust until the results are consistently on-brand.

The main limitation is that I can’t permanently store all of your blog in my training data — my memory is conversational, not archival.

But if we want, we could do a deep-dive session where I methodically pull and digest your posts (in batches) and then use that as the reference for generating new lesson plans during this conversation.

If you want this to persist beyond one chat, you could also have me create a summarized “ArtEdGuru methodology document” from your blog, which you could then paste into future sessions so I start from the same foundation every time.
​
If you’d like, I can start by pulling all lesson-planning and teaching-philosophy posts from your blog since 2014 and build you that working profile. Would you like me to do that?

My reply was this: "I'd prefer the deepest dive possible with a mix of pedagogy posts and actual lessons." And finally, I got a better, though not a perfect, analysis of my teaching practice, detailed below.

CHATgpt5: I’ve pulled a broad set of posts across your archives (2014–2025) and built a first-pass “ArtEdGuru methodology profile” grounded in your writing, plus a map of lesson patterns you revisit. 

What your blog consistently says (with receipts)
1) Start with student excitement; weave standards after.
You plan the year around what students will want to make, then “weave” standards/elements in—rather than starting from standards. ART ED GURU+1
2) Choice as the engine of ownership.
Still lifes and portraits work best when students bring personal objects/meaning; choice transforms “a drawing task” into their drawing. ART ED GURU+1
3) Scaffold media across the year; open with drawing.
Avoid paint/clay up front. Build routines, habits, then step up media complexity (drawing → printmaking → sculpture). ART ED GURU+2ART ED GURU+2
4) Assessment philosophy: rigorous, clear rubrics; 90% = meets.
Universal rubric mindset: a clear list to earn an A/90; exceeding expectations nudges 100. Benchmarks and measurable growth matter. ART ED GURU+3ART ED GURU+3ART ED GURU+3
5) Practical classroom management beats theory.
First-day structures, seating, vocab, and “never start with messy media.” Sub plans are graded and simple. ART ED GURU+1
6) Pedagogy stance: art integrates everything; avoid empty exercises.
Art as “meeting place of all subjects”; skeptical of rote color-wheel units—use quick checks or inventive twists instead. ART ED GURU+3ART ED GURU+3ART ED GURU+3
7) Differentiation that’s humane and doable.
Teach to the majority while offering enrichment options; lean on families of related tasks/media to keep prep sane. ART ED GURU+1

​Lesson patterns I see you return to

• Expressive/Identity Portraits: Split weighting between proportion and expressive qualities; link to contemporary artists (e.g., Kehinde Wiley). ART ED GURU+1
• Still Life with Student Objects: Group-built setups; reflective talk on object meaning; “manageable still life” constraints. ART ED GURU+1
• Low-mess Choice Tasks Early: Drawing prompts, grids, Post-it modular builds, pareidolia/scribble explorations. ART ED GURU+1
• Eco/Found-Object 3D: Upcycling + epoxy clay with themed natural forms (coral/floral/fungi). ART ED GURU
• Quick Checks & Sub Plans: Short research/writing with art books or videos; “Zen challenge” image prompt. ART ED GURU+2ART ED GURU+2

Pedagogy posts sampled (deep dive mix)

• Why Make Art? (anchor to your approach) ART ED GURU
• Approach Matters (modes of teaching; matching approach to learners) ART ED GURU
• Planning Lessons For The Year (audience-first planning) ART ED GURU
• Starting a New School Year / First Impressions (day-one structures) ART ED GURU+1
• Scaffolding Media / Scaffolding Art Lessons (year sequencing) ART ED GURU+1
• Grading Artwork / Justifying Grades (rubrics and grade logic) ART ED GURU+1

Lesson posts sampled (representative set)

• Digging Deeper with Still Life ART ED GURU
• Kehinde Wiley–Inspired Portraits ART ED GURU
• Expressive Self-Portraits (2018 & 2020) ART ED GURU+1
• Checkered Portraits & Color Theory ART ED GURU
• Post-it Portraits ART ED GURU
• Recycling With Art (Earth Day upcycling) ART ED GURU
• Origami/Anti Color Wheels (assessment-oriented) ART ED GURU+1

A compact “ArtEdGuru” lesson blueprint (for generating new plans)

Kickoff: a student-choice hook (object/identity/theme) → quick demo(s) → clear “earn 90%” list. ART ED GURU
Scaffold: low-mess drawing → controlled expansion of media → optional enrichment paths. ART ED GURU
Meaning: prompt for personal symbol/connection; brief share/crit. ART ED GURU
Assessment: rubric aligned to expectations; “exceed” criteria spelled out. ART ED GURU
Management: storage/cleanup baked in; sub-proof alternates ready. ART ED GURU

The A.I. offered 2 potential lessons, but they were not very "good," which made me feel a bit "better" about my job security. ;-) 

Then I asked, "As you look over my lessons, do you see any "holes" or areas of art that have not been well addressed?"

It did find some that I expected, and one it didn't quite "understand" based on my approach to cultures...

​1. Digital & New Media

• Observation: While you mention photography and occasionally tech-based prompts, there’s little in the way of structured digital art lessons — e.g., drawing tablets, Procreate/Photoshop, vector art, digital collage, or animation.
  
• Why it matters: Digital skills are increasingly part of college art portfolios, design careers, and even contemporary fine art practice.
  
• Potential additions:
  
  • Digital Self-Portrait Mashup — combine photographic layers, text, and textures.
    
  • Vector Nature Icons — using free tools like Inkscape.
    
  • GIF Loop Animation — exploring movement, narrative, and repetition.
    

2. Printmaking Depth

• Observation: You have some stamp/relief-based approaches in elementary-level lessons, but less sustained exploration of multi-step printmaking processes (linocut, monotype, collagraph, reduction printing).
  
• Why it matters: Printmaking blends design, craftsmanship, and planning skills — and offers a tactile counterpoint to painting/drawing.
  
• Potential additions:
  
  • Reduction Linocut — color layering and planning ahead.
    
  • Gel Plate Monotypes — experimental textures + stencils.
    
  • Collagraph Landscapes — recycled material plates.
    

3. Fiber Arts / Textiles

• Observation: I saw minimal fiber-based content (weaving, embroidery, quilting, fabric printing).
  
• Why it matters: Fiber art is resurging in contemporary art and offers great cross-cultural tie-ins, sensory engagement, and STEAM links (math in pattern/weaving).
  
• Potential additions:
  
  • Narrative Embroidery — “stitch a memory” on small fabric swatches.
    
  • Paper Weaving to Fabric Weaving — scaffolded introduction.
    
  • Cyanotype on Fabric — blending photography, science, and textiles.
    

4. Ceramics & Clay Beyond Sculpture

• Observation: You have strong upcycling and epoxy sculpture projects, but not many kiln-fired clay, slip, or glaze-based lessons.
  
• Why it matters: Even a few lessons here can help round out a complete secondary program, especially for schools with ceramics access.
  
• Potential additions:
  
  • Textured Slab Mugs or Planters — surface design with stamps/stencils.
    
  • Story Tiles — relief storytelling scenes.
    
  • Glaze Chemistry Explorations — for advanced students.
    

5. Non-Western Art Histories as Core Drivers

• Observation: Your art history references are strong but lean toward Western/contemporary art. While you include some global inspiration (e.g., Japanese woodblock nods, Kehinde Wiley, earth art), there’s space to expand deep-dives into African, Indigenous, Oceanic, Middle Eastern, and South Asian traditions.
  
• Why it matters: Strengthens cultural inclusivity and helps students connect art history with diverse identity and worldview.
  
• Potential additions:
  
  • Adinkra-Inspired Symbol Prints — from Ghana.
    
  • Indigenous Australian Dot Painting Landscapes — using research on meaning.
    
  • Mughal Miniature Painting Mashups — historical style with modern subjects.
    

While I agree with 1 through 4 based on my lack of a kiln and lack of digital resources, I agree that I could push my printmaking and fiber arts a bit more. I do not address them every year but if a student takes all 4 of my course they will have had at least an experience in both.

As for non-western art, I take a more individualized approach, which I address HERE.  We do address the topic often throughout my class but on an individualized basis. In some lessons I ask students to reflect on their own culture, research symbols of their own culture, and use that to create authentic, culturally-tied works of art. 

You can see just a few of many examples of these on my blog:
www.artedguru.com/home/cultural-prints 
www.artedguru.com/home/exploring-style-and-culture
www.artedguru.com/home/romare-bearden-culture-exploration
www.artedguru.com/home/historical-heroes

My last inquiry was actually prompted by CHATgpt5 when it asked if I wanted to map my current lessons to the National Core Arts Standards...

Recommended Areas to Strengthen

1. Presenting (Formal Exhibition & Documentation) Add deliberate steps for professional display (e.g., gallery walk etiquette, mounting, lighting) and documentation (photography, artist talk, digital catalogs).
2. Media Arts/Digital Tools​ As identified earlier, digital media (animation, video, digital collage) would fill process gaps—especially in creating, presenting, and responding stages.

Summary Snapshot

• Creating: Your curriculum is rich and multi-modal here.
• Responding & Connecting: Solid foundation, though more structured critique and global content could enhance depth.
• Presenting: Valuable opportunity—build explicit presentation skills and artifact documentation into your lessons.

I felt this was a valuable reflection on my practice. I did delete items it "missed" or didn't understand, so at this moment, 2025, A.I. is not perfect, but it did identify 2 areas I legitimately could strengthen. 

I ended my session asking, "what prompt should I or another teacher use to reflect on their practice in this way?"

CHATgpt5: Do a complete review of ____(Website/Blog)________ from __(year)__ to now, analyzing both pedagogy posts and lessons. Summarize my teaching methodology with direct blog citations, map it to the National Core Arts Standards, identify strengths and gaps, and recommend new lesson ideas in my exact style.

​So though A.I. is "scary," and the implications are far-reaching, I did find this reflection helpful. If you too have a blog or website with detailed lessons, I highly recommend this A.I. review.

Art explorations organized by Art Elements and Design Principles

When I write my books, I try to focus on a need I can identify or a way to share my classroom success. Back in 2010, I tried to approach traditional publishers and was rebuffed. They didn't see the need for art resources like workbooks or planners.  Since they wouldn't listen, I'd decided to do it myself. I opened an account on what is now Amazon KDP, and my first book, The Workbook For Art Teachers, did fairly well. I have since written over 100 more, not all under my name, and continue to find needs that teachers have and create content I think they will appreciate.

For example, I often see teachers posting in Facebook groups that they want a year-long planner, curriculum, guide, or scaffold. So I asked teachers, "What theme (if any) do YOU use to organize your lesson planning for the year?" The overwhelming response, as you can see below, was by Elements and Principles with 42%. Second was by scaffolded media, meaning we start with simple media and build skills over time to more complex materials. 

I think we do this already when scaffolding with the art elements. The first element, line, is easily explored with a drawing. Shape can be done with any media, even collage, then form becomes more complex as we may need to work with sculptural materials.

I have already compiled 2 well-regarded collections of lessons. 50 in the first volume and 51 in the second. They are NOT, however, organized by scaffolded media, nor by elements. I assumed that a certified professional would use them as resources for new lessons to consider adding to their own annual "playlist."

​You can click on either title below and see the books on Amazon.

Feedback I received showed a desire for a resource that included lessons organized by a scaffold and the survey revealed to me that the preferred framework was the art elements & principles. I did another poll to understand how many lessons I would need to include. Elementary teachers seemed to need about one per week, while high school teachers generally did one or two lessons per month. Assuming the school year is 10 months, that would mean I needed a minimum of 40 lessons to meet the necessities of elementary teachers and exceed the expectations of middle and high school teachers. 

I combed through the books I had already published, my blog as well, looking for lessons that clearly touched upon each element and principle, deciding that I would compile three for each. One lesson seemed to fit for every art principle, so I added that in as an introduction to that component.  I also noted that some teachers include the art element of LIGHT, particularly if they taught photography, so I added that in as well, ending the book with over 50 lessons in total. Here's the table of contents. 

My main concern is that if educators have already purchased my 50 and 51 Lesson books they will be getting duplicate lessons. So I made sure to clearly state this in my descriptions. Printing books in color is expensive. Essentially it's about $1 per page, while black and white books are pennies per page. I am keenly aware that art teachers operate on tight budgets, and do not want anyone to waste their money. I even posted this alert on my publisher's page. 

It was a lot of work to put this all into a format I think teachers can use in their classroom. Their purchase comes with the rights to make copies for all their students. Below is the full description. If you think you'd like to add this book to your collection of teaching resources, CLICK HERE for Amazon, or CLICK HERE for a link to a TPT Digital Download. You can also get it directly from Firehouse Publications with a discount.

Art Elements & Principles Curriculum Companion:
A Differentiated Yearlong Guide For Art Educators

A full year of ready-to-teach art lessons—organized, differentiated, and rooted in the elements and principles of design. (Plus video links and rubrics!)

Created in response to teachers seeking structured planning tools, Art Elements & Principles Curriculum Companion offers more than 50 classroom-tested 2D and 3D art projects, each clearly aligned with the elements and principles of art. Whether you're teaching elementary, middle, or high school, this guide provides tiered lesson variations for different age levels and abilities—perfect for mixed-grade classrooms, special needs inclusion, or differentiating by skill.

Compiled by Eric Gibbons, Nationally Board-Certified educator, international teacher, and creator of ArtEdGuru.com, this book draws from his most popular resources, including "50 K-12 Art Lessons," "51 K-12 Art Lessons," and his widely shared blog. With a focus on practicality and flexibility, it’s designed for the real-world art classroom.

Inside you’ll find:

• 🎨 More than 50 art projects aligned with the elements and principles of art & rubrics
• 📚 Differentiated versions for lower elementary through high school
• 🎬 Short video links to support and enrich instruction
• 🧩 Projects adaptable for a full year—or 2–3 years of high school
• 📝 Permission to reproduce for your students

This is an ideal resource for art educators looking to simplify planning, meet curriculum standards, and inspire creativity in every student with choice-based lessons—regardless of skill level.

Note: Not intended for advanced AP-level students.

UK Edition HERE

If you'd like an additional 52 lessons, sub plans, and sketchbook prompts, then Book 2 might just be what you're looking for!  HERE on Amazon.