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

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

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

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

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

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

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

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

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

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

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

“My students are just not interested anymore.”
“I can’t get them to stay focused.”
“They rush through just to be done.”

These are common complaints I hear from art teachers across the country, and were my own frustrations as a new teacher following “the curriculum.” It’s discouraging to pour time and energy into a lesson only to watch students tune out, slap down the bare minimum so they can move on to something else, or worse, dump two weeks of hard work in the trash can on their way out!

But here’s the important truth: students don’t actually hate art. In fact, I firmly believe every student has a natural interest in art. Watch a kindergartener with crayons, or a middle schooler sketching their favorite anime character in the corner of a notebook, or a high schooler carefully curating their outfit for self-expression. The creative impulse is always there.

So where did it go wrong in the classroom?

The issue might not be student disinterest; perhaps it’s disconnection. Sometimes lessons are designed from a top-down approach: dictated by a strict curriculum, or rooted in what we—teachers of a different generation—think students should want to do. We love art, and we expect them to love the same kinds of art, in the same way. But the truth is, our passions don’t always translate.

Just like when art teachers sit in a long faculty meeting covering the data from the last State Test scores, or the newest push for technology in core classes, we “tune out.” When projects fail to connect with students’ lives, they disengage too! They rush. They “just meet expectations.” It looks like apathy, but what it really is, is irrelevance.

And here’s another hard fact: fewer than 2% of our students will pursue art-related careers. If we design lessons aimed only at creating future artists, we’re catering to a very small slice of the room. The other 98% are left wondering why it matters, and checking out when they don’t see a connection.

The challenge isn’t whether students care about art—it’s whether we, as educators, are willing to meet them where they are.

All Students Are Interested in Art When…

​Every student has an interest in art. The trick is tapping into it. Students rarely disengage because they dislike creativity itself—they disengage because they don’t see themselves reflected in the lesson.

Think about it: the things that capture their attention outside of school—Social Media trends, anime, sneaker design, video games, music videos—are all built on artistic foundations. Visual culture surrounds them. They already engage with art daily; they just don’t always recognize it as “art” in the traditional, museum-on-a-pedestal sense.

When we create projects that strictly reflect curriculum or what we may have experienced—say, endless still lifes of fruit bowls, or copied portraits of artists from centuries ago—we run the risk of teaching art as something frozen in the past, detached from student realities. And while some will enjoy those projects, many more will disengage.

Students light up when lessons connect to their world. When they get to design their own sneaker line. When they can remix Van Gogh’s Starry Night into a scene from their favorite video game or insert themselves into a Frida Kahlo-style portrait. When they see that the tools of art can help them express what matters most in their lives.

That’s the turning point: interest doesn’t magically appear—it emerges when we offer choice, relevance, respect, and connections. (MORE HERE)

Generational Disconnect

Another reason students disengage is that what excites us as teachers doesn’t always excite them. Most of us grew up in a different time, with different cultural touchstones. We may be passionate about Renaissance masters, Bauhaus design, or the precision of academic drawing—or even our own teen heroes from 20 years ago… and while those are valuable or personal to us, they can feel distant and irrelevant to a teenager whose cultural world is saturated with memes, K-pop, digital art, or esports.

Too often, we think we know our students and share interests simply because we empathize with them or think “we’re hip.” We plan projects around what we think is meaningful, only to be frustrated when the class groans or rushes through. The truth is, what feels timeless and profound to us may feel boring, forced, or disconnected to them.

This doesn’t mean we abandon foundational skills or historic art entirely. But it does mean we have to act as translators. Our job is to build bridges between the old and the new, between what excites us and what excites them. 

​The Spectrum of Teaching Approaches

When it comes to art education, there isn’t just one right way to teach. The spectrum—from tightly structured, teacher-directed proposals to fully open, student-driven projects—can be navigated effectively by striking a thoughtful balance.

On one end, the traditional, teacher-directed approach provides clear expectations and consistent structure, but often limits students to producing similar-looking outcomes that might stifle personal expression. The worst examples of these are “copy me” projects or exercises (I call them cookie-cutter projects). More on that HERE.

On the opposite end, the TAB (Teaching for Artistic Behavior) or choice-based model invites students to act as artists—selecting their subjects, media, and methods—with the teacher offering mini-lessons, resources, and encouragement. This model maximizes engagement but may overwhelm students without some scaffolding, leading to shallow artworks that waste vast amounts of supplies.

The sweet spot for most classrooms is a balanced, scaffolded approach: teach essential skills and content while allowing room for personal expression and relevance. (More HERE. How I plan my year HERE.)

Examples include:

- International Names Project: Students create artworks where each letter of their name reflects personal interests, plus a twist using a non-Western language. LESSON LINK

- Nature Weaving: Students collect natural materials to build sculptures inspired by artists like Andy Goldsworthy, brainstorm ideas, and peer-critique works in progress. LESSON LINK

Practical Strategies to Boost Engagement

It’s one thing to talk about philosophy—it’s another to walk into class tomorrow and actually make changes. Small shifts in mindset and lesson design can have a big impact.

1. Start with Student Interests.
2. Use Contemporary Connections.
3. Scaffold Choice.
4. Elevate Reflection and Critique.
5. Show the Bigger Picture.

Moving Beyond “Because It’s Fun”

While art is fun, that can’t be the only justification we give. Students deserve respect and deeper answers:

Art teachers know, when we grid, measure, and draw—we use geometry. When we make sculptures—we use engineering. When we mix colors—we reveal information about physics. When we create illustrations for stories—we learn about literature. When we review the styles of art from da Vinci to Banksy—we teach history. When we teach ceramics—we teach chemistry. When we write about art—we strengthen writing skills. When we create works of art, we solve complex visual problems in creative ways. Art is the meeting place of all subjects and helps students succeed everywhere.

Remembering the 98%

Less than 2% of students will pursue art careers. The other 98% still need art because it strengthens creativity, critical thinking, communication, resilience—and it reinforces core content.

I often integrate literacy into projects: artist statements, reflections, critiques. This practice boosts reading and writing skills. Art also connects to math (geometry in perspective drawing), and science (optics in color theory).

See examples of art-and-literacy projects HERE.

When students see art as a pathway to succeed across subjects—not just an “extra”—they may begin to respect it in new ways.

​Meeting Students Where They Are

If the trash can is full of abandoned artwork at the end of class, that’s a red flag. Engaged students usually want to keep their work, share it, or take pride in finishing it. Too much discarded art is the lesson telling you something: it didn’t connect.

The complaints—“My students are just not interested anymore”—don’t have to define our teaching. What if instead, we reframed the challenge? “How can I make art meaningful for all students?”

That’s the real question. And when we respond with choice, relevance, respect, cross-curricular connections, and cultural translation, disengagement fades, and the spark of creativity shines again.

Because at the end of the day, it’s not that students hate art. It’s that they’re waiting for us to help them see how art belongs to them.

​Every art teacher has met that student: talented, focused, but so locked in the pursuit of perfection that they stall out, grow frustrated, or avoid risk altogether. While we want to encourage focus and craftsmanship, unchecked perfectionism can actually hold young artists back. 

Here are strategies you can use to support your perfectionist students and help them flourish.
 
1. Blind Drawing: Blind contour drawing teaches students to really see. By keeping their eyes on the subject and off the page, they strengthen eye–hand coordination. It’s important to stress this is a training exercise, not a finished product. The point is learning, not polish. HERE is an example of one such lesson.
 
2. Gesture Drawing and Breaking Down Shapes: Perfectionist students often dive into details too soon. Professionals know to capture movement and structure first. Gesture drawing, breaking forms into simple shapes, and building detail gradually teaches them to “think like architects before decorating the house.” HERE's a lesson sample.
 
3. Focus vs. Obsession: Help students understand the difference: focus is productive, obsession is paralyzing. Remind them that professionals work smarter, not harder. Obsession can waste energy that could be spent creating more art.
 
4. Embracing the Organic and Unpredictable: Encourage play with splattering, dripping, fingerpainting, or ripped collage with drawn embellishments. For some students, setting a “permission-based challenge” like “use one drip, one rip, and one smear” lowers the pressure and makes experimentation fun.
 
5. Learning from Expressive Masters: Show them expressive, less controlled works by famous artists—Van Gogh’s brushstrokes, Basquiat’s raw lines, or Matisse’s cutouts. Even better, show sketchbooks or process drafts, so they see that professionals rarely get it “right” the first time. This blog has some helpful expressive lessons HERE. 
 
6. Selective Perfectionism: Help them reframe perfectionism as a training cycle. Just like athletes don’t sprint every day, artists don’t need to pour all their energy into every piece. Suggest reserving perfection for one out of three projects and practicing freedom with the rest.
 
7. Timed Drawings: Short bursts—30 seconds, 1 minute, 5 minutes—break the link between time and quality. These warm-ups prove that not all drawings have to be “precious.”
 
8. Iterative Series: Have them create 10 versions of the same subject. By the 4th or 5th, most students let go of control and start experimenting.
 
9. Ugly-First Warm-Ups: Kick off class with deliberately “bad” drawings. Making messy art on purpose helps perfectionists relax and accept imperfection as part of creativity.
 
10. Process-Oriented Feedback: Design rubrics that value growth, experimentation, and risk-taking—not just polished results. Let students know professional art schools seek breadth and experimentation as much as technical polish.
 
11. Creative Therapy Approaches: Encourage journaling, doodling emotions, or drawing to music. When art becomes about self-expression instead of external judgment, perfection loses its grip.
 
12. Collaborative Experiments: Group exercises like “exquisite corpse” drawings or shared collages spread responsibility across students, making outcomes less intimidating.
 
13. Reframing Mindset: Introduce mantras like “progress over perfection.” If students learn to measure success by effort, exploration, and growth, they’ll gain resilience alongside skill.
 
Perfectionism is often rooted in a genuine desire to succeed—but unchecked, it strangles creativity. By blending skill-building exercises with strategies to loosen control, we help students build confidence, flexibility, and the courage to take risks. After all, the true mark of a developing artist is not flawless work, but the willingness to grow through the process. Below is a free download PDF you can give to your perfectionist students and begin this important conversation. 

For more help with teaching strategies, I have created THIS resource. If you have an Amazon account, you can read the ebook for free. If you need choice-based lessons organized by art elements and principles for grades K-12, I created THIS resource, with a follow-up second edition HERE. You can see a preview of the book HERE on YouTube. All are available with a discount at Firehouse Publications.

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.