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.

Conversations about the reasons we make art.  

This poster is more than a visual reference—it's a conversation starter, a critical thinking tool, and a bridge to deeper engagement with art. You are welcome to use this handout with your students. (Please do not remove the attribution.) Here are 12 reasons artists make art...

• Storytelling
• Identity
• Emotional Expression
• Exploration & Play
• Humor / Satire
• Celebration / Honor
• Education / Awareness
• Healing / Coping
• Connection
• Fantasy / Escape
• Social Commentary
• Aesthetics / Beauty​

These categories can be helpful in the Classroom:
🎯 Intentional Artmaking Encourage students to reflect on why they are making art before they begin a project. Ask them to choose an intention that guides their creative choices—this builds purpose and personal connection.

🧠 Critical Thinking & Analysis Use the poster during critiques or discussions. Have students analyze artworks (their own or others') and determine which intention is most relevant. Ask them to justify their interpretation with visual evidence.

🔍 Visual Literacy Practice Select an artwork not included on the poster and have students categorize it under one or more artistic intentions. This encourages close looking, interpretation, and vocabulary development.

✍️ Writing Prompts Use the categories as journal prompts or artist statement starters:

• “The intention behind my work is…”
• “I chose to explore [intention] because…”
• “This artwork best fits under [intention] because…”

​🗣️ Debate & Dialogue Have students work in pairs or groups to debate which intention a particular artwork best represents. This builds persuasive reasoning and invites multiple viewpoints.

🧩 Cross-Curricular Connections Connect the intentions to other subjects--Storytelling in English/language arts, Social Commentary in history, Exploration in science, Healing in SEL. It supports interdisciplinary learning and real-world relevance.

🎓 Portfolio Reflection & Self-Assessment Ask students to categorize their own work over time. Which intentions show up most often? Which are they curious to explore more? This supports self-awareness and goal setting.

Help students move beyond “I just like it” and toward “Here’s what I’m trying to say.” It empowers them to make art with intention, interpret work with depth, and develop confidence in their creative voice.

Something else they never told me in college...

Basic Investment Advice for New Teachers:
Start Now, Even If It’s Hard As a teacher, you’ll likely never be paid what you’re truly worth — and saving money may always feel difficult. But one of the most important things you can do at the very beginning of your career is to start saving for retirement.

You can’t count on pensions. You can’t count on Social Security. You can’t even always count on a spouse — 40 to 50% of marriages end in divorce. But you can count on yourself. So make sure your future self is taken care of.

​I’m Not a Financial Advisor — But I’ve Learned Some Hard Lessons. 
Nobody ever sat me down in college and said, “Hey, start saving now.” I didn’t begin until my 30s — and that delay cost me 10 years of growth. My biggest regret? Not starting in my 20s.

So here’s what I wish someone had told me:

1. Open a Roth IRA — As Soon As Possible. A Roth IRA is a retirement account you fund with money you’ve already paid taxes on. When you retire, you withdraw that money — and all its growth — tax-free.
If you start early, your Roth IRA can grow into $1 million or more by retirement. (The annual contribution limit is around $7,000 — but do what you can.) Even saving a little is better than nothing. Try to live below your means. If you have a partner, try living on one income and investing the other perhaps.

2. Where Should You Invest That Roth IRA? A Roth IRA is just the account — you also have to decide where the money goes.

• Avoid individual stocks. Too risky.
• Choose diversified mutual funds or ETFs, especially those tied to the S&P 500.
• Look for low-fee index funds (e.g., Vanguard, Fidelity, Schwab). *see postscript.
• Mix it up: U.S. funds, international funds, large-cap and small-cap funds — this spreads the risk.
  
  

Some funds may sound fancy or new, but always stick with boring, proven, long-term investments.

3. Be Careful of HOT Online Advice. 
You’ll see flashy “hot stock” tips online. Many are scams — what’s called a “pump and dump.” People hype a stock they own so others buy in, then they sell and leave you holding the losses. Stick to long-term investing, not gambling.

4. When You’ve Maxed Out Your Roth, Open a 403(b) 
A 403(b) is like a 401(k), but for public educators.

• Contributions lower your taxable income (you’ll owe less in taxes).
• Some school districts match contributions — free money!
• You won’t likely max it out (limit is over $20K), but contribute what you can.

5. If You Inherit Money, Treat It with Respect. 
If a parent or relative passes and leaves you money, don’t blow it on a vacation, car, or luxury items.
Instead:

• Roll it into an inherited IRA.
• Use it to boost your Roth IRA or start a brokerage account for additional investing

6. Eventually, You Might Work with a Financial Advisor.
If investing overwhelms you:

• Look for advisors who charge around 1% or less of what they manage.
• Avoid anyone pushing high-commission products or charging large fees.
  
  

If you feel confident, you can open your own account with platforms like Vanguard, Fidelity, Schwab, or M1 Finance and choose your own funds.

7. Should You Pay Off Your House Early?
As I approach retirement, I think about paying off my mortgage. But here’s the math:

• My mortgage rate is 2.5%.
• Long-term investment returns can be 7–12%.
  
  

So while it feels good to pay off the house, investing may actually build more wealth. Do what’s comfortable for you — but run the numbers first.

8. Cars Are Not Investments
Cars lose value the second you drive them off the lot. Buy used if you can, and drive it until the wheels fall off. I created a small investment account with $20,000 years ago, and it doubled. I’ll use that money to buy a car with cash when I retire — no car payment, no interest.

In Summary: Take Care of Future You

• Start early — even if it’s $50 a month.
• Use a Roth IRA first, then a 403(b).
• Invest in low-cost mutual funds, not individual stocks.
• Be cautious with inheritance and online “advice.”
• Don’t waste money on depreciating assets.
• And above all: Put yourself first financially.
  
  

You are your best backup plan.
​
*Postscript: Vanguard 500 Index Fund (VFIAX) has an expense ratio of 0.04% and aims to closely match the performance of the S&P 500. Fidelity 500 Index Fund (FXAIX) With an expense ratio of 0.015%. Schwab S&P 500 Index Fund (SWPPX)  a low expense ratio 0.02%. Fidelity ZERO Large Cap Index (FNILX) This fund has a 0.00% expense ratio. The expense ratios may have changed since the publication of this article.

Other Opportunities:

Investing may not be enough to allow you to live comfortably in retirement. If you are single, or perhaps started late, you may want to consider other "streams" of income.

Summer camp brought 15-20K (I ran it in my home's 4-car garage)
Publishing books and resources took me 10 years to get to a point where that brings in about 10 - 15K per year.
Online sales bring in about 5-6K annually.
I use to sell my art, but that's minimal now.

I also itemize business deductions and operate an LLC.

When I was a student teacher, I made the “mistake” of writing a discipline referral for a student who threw a pair of scissors across the room. The problem? The student’s parent sat on the Board of Education. Unfortunately, this scenario isn’t rare.
 
Recently, a teacher posted in a Facebook group about a similar situation. The parents of a chronically disruptive student in their art class happened to be close friends of the school principal. The student lied repeatedly about their behavior, and the parents backed every word. Even when the student was openly rude, dishonest, or destructive in the art room, it was the teacher who was blamed—for “poor classroom management.”
 
What is a teacher supposed to do in a situation like this?
It’s unprofessional. It’s unfair. And yet—it happens.
 
There’s no one-size-fits-all answer, and none of the options are easy. But there are strategies to protect your professionalism, your peace of mind, and—ideally—help the student.
 
1. Pass the Buck
Coddle the student, give passing grades, and hope the next teacher has better luck... But what if you are the next teacher? This may seem like self-preservation, but it often contributes to long-term harm—for the student, for your program, and for your sanity.
 
2. Consult Colleagues
Poll other staff to see who else teaches the same student. Perhaps there is room to “learn” new strategies for this particular child or come together as a group for the sake of the child.

3. Document Everything
Keep detailed, contemporaneous records of each incident:

• Date and time
• Behavior description
• Student response
• Your actions

 
Take photos of work samples and/or classroom damage. After any verbal exchange with parents or administrators, follow up with a professional email summary. (Remember, email is admissible in court.) This paper trail protects you and can be the basis for involving your school counselor, case manager, or union in developing a behavior plan or contract for the student.
 
4. The Direct (Yet Diplomatic) Call to Parents
You might consider a phone call like this:
 
“Mr. B, I find myself in a bit of a dilemma. I know you’re friends with my principal, and I want to be honest—my concern is for your son. I love my job and I want to support him, but we’ve been experiencing some challenges in class, specifically [insert clear, factual behavior]. When I’ve addressed it previously, I’ve received some pushback, which makes me hesitant to speak up. I’d truly appreciate your input. Are there any strategies that work at home that I could try in class? If you’d prefer I take a hands-off approach, I understand, but I want to do what’s best for your son and the classroom.”
 
This frames the conversation around care, not confrontation. It puts the onus back on the parent while offering them agency and dignity. No matter their response, document it and any outcomes.
 
5. Approach Administration—Cautiously
If necessary, bring your concerns to administration, ideally with union representation. This is a bold step and can come with risks, especially in a politically charged environment. But if the student's behavior is creating a safety issue or ongoing disruption, your documentation will support your position if things escalate.
 
There’s no perfect playbook when favoritism clouds accountability. But as professionals, we owe it to ourselves—and our students—to respond thoughtfully. Whether by documenting thoroughly, seeking support, or choosing diplomatic honesty, the key is to remain calm, consistent, and centered on student growth.
 
Even when the odds feel stacked, your integrity matters. So does your effort. Because even if the system fails… you didn’t.
 
If you are new to education and would like more advice, consider the classroom management tabs to the left on this blog page, or, if you have an Amazon account, you can read my eBook for free HERE or purchase a printed edition.

When teachers post student artwork on social media, you're often only seeing a carefully curated glimpse—not the full picture. This can leave others feeling like they don’t measure up or that they’re somehow less effective as educators.
 
Remember: we don’t all teach in the same environment, with the same student population, or with similar per-pupil budgets. I work at a trade-based high school with a largely blue-collar student body. I’m fortunate to have a decent budget, but in the past six years, only one of my students has seriously pursued a fine art career. My student work will naturally look very different from that of a neighboring arts magnet school.
 
That doesn’t mean I push my students less or lower my expectations—it simply informs how I plan my lessons (more on that here). Even with over 35 years of experience, I sometimes feel a twinge of envy when I see incredible student work posted by others. But I also know that I’m not seeing the whole class’s output—just the highlights. We all tend to post the hits, not the misses.
 
In my own classroom, while I display everyone’s work at school, I don’t post every single piece online. Still, by the end of the year, every student will have created something they—and I—can be proud of.
 
Let me share a story. One of my students, Kenny, struggled with drawing—his 2D skills were at about a six-year-old’s level. He came from a farming background where art wasn’t valued or encouraged. One day, after finishing a drawing early, I handed him some clay just to “play with.” When I circled back, he had sculpted a perfectly proportioned cow. It was fantastic. I gave him more clay and asked if he could try a dinosaur, since I knew he loved them. Later, I returned to find a beautifully crafted stegosaurus. Kenny had found his medium. His work was proudly displayed in our school, even the superintendent asked for a piece.
 
I aim to offer enough variety in my curriculum so that every student will leave with at least one project they’re proud of (hopefully more of course). My teaching isn’t strictly academic—I take a personalized, choice-based approach you can read more about [HERE].
 
All of this is to say: don’t stress over the polished samples others post online. Use them as inspiration—glean ideas and motivation wherever you can.
 
However, if you consistently find your students’ work lacking in engagement, craftsmanship, or personal connection, it may be time to look inward and reflect. Ask yourself:
 

• Are my lessons connected to my students’ interests, or my own?
• Is my curriculum a rigid plan or a flexible guide?
• Does student work feel uniform and impersonal?
• Am I emphasizing technical exercises over creativity and self-expression?
• Am I rushing into materials without giving students time to explore them meaningfully?

 
If any of these questions hit home, consider making some changes. Reach out to the teachers whose work you admire—our community is, in my experience, generous and supportive.
 
You're also welcome to explore my blog, where I share lessons that have worked well for my students. And yes—sometimes I post everything. But, like many others, sometimes, I only post the best examples.

Below are VERY old examples of student work, side by side, same exploration, different results. All work "successful" but you can see some met the basic expectations, while others exceeded them.

I love when art and science cross over!

We know that color is reflected light, and because our sun produces white light, we can see a vast spectrum of colors. This TED-Ed video explains it well. However, not everyone can perceive the full range of colors—particularly individuals with color blindness.

But what if we lived on another planet with a sodium-based star? Under golden-hued light, we might lose our perception of blue, green, and purple. Even oranges and yellows could appear altered.
​
Fortunately, we can replicate this experience using a high-pressure sodium lamp. I purchased this one on Amazon. It requires rewiring to function with a standard classroom outlet, but the instructions guide you through adapting it for 110V electricity. Inside the unit, you’ll find wires labeled 277V—these need to be disconnected and replaced with those labeled 110V. Simply swap them using a screwdriver. Then, connect an old power cord by matching the colors and securing them tightly with electrical tape. If this process seems daunting, ask a science teacher or a parent familiar with basic wiring for assistance.

Preparing Materials for the Class
With the sodium lamp set up, I prepare materials for 25 students:

• Reference Images: I select 100 images from old magazines (animals, landscapes, etc.) and store them in a folder.
• Watercolor Sets: I disassemble all my watercolor sets and mix the colors in a box.
• Material Station:
  • Placemat
  • One brush
  • Water container
  • Watercolor paper

As students set up, I power on the sodium lamp.

The Experiment Begins

Once students have their materials, I cover the windows and turn off all other light sources, leaving only the sodium lamp on. To enhance the effect, you can cover the lamp with a sheet of red or orange cellophane if available.

Only at this point do I explain the lesson. I have approached it in two ways:

1. Sci-Fi Scenario: We imagine being on an alien world with an unusual sun.
2. Color Blindness Awareness: We discuss color perception, light wavelengths, and the experience of visually impaired individuals.

(Younger students tend to enjoy the imaginative, “let’s pretend” scenario.)

Alla Prima Painting Under Sodium Light

I introduce the Alla Prima technique, which means "at first" in Italian. It refers to completing a painting in one session, applying wet paint directly onto paper without sketching.
Now, students pick five colors from the mixed-up box and select an image to paint. To keep things moving, I count down from five to encourage quick decision-making. All of this happens under the sodium light, making color selection a challenge!
I set a playful tone, reminding students:
"Wouldn’t it be fun if you ended up with a green sky and red grass?"
This is an experiment, and the big reveal happens when we turn the lights back on.

​The Big Reveal

My students embraced the challenge! Some carefully attempted to pick “correct” colors, while others fully embraced the chaos of randomness. The results were stunning—some paintings featured surprising and unexpected color combinations.
Beyond the fun, this experience fostered greater empathy for those with visual impairments. Some of the most fascinating artwork emerged from students who let go of expectations and embraced creativity.

What a joy it was!

For more resources visit www.firehousepublications.com or join my free Facebook group where I share my process for developing innovative lessons like this one. The link is also on the top of my blog. Be sure to answer the three questions to be admitted. (This helps prevent bots from getting in and spamming the forum.) If you are seeking more choice-based lessons for your students, I wrote THIS book ​

​We, as art teachers, love art. We love to dig deep, seek nuance, strive to build our skills. The act of creation is its own reward. THIS IS NOT NORMAL, we are NOT NORMAL, we are part of 2% of the population. 
 
Likewise, less than 2% of our students will go on to an art-related career so an academic approach to art will only resonate with 2% of our students and turn off the other 98% in a public-school setting. Instead of focusing solely on skills and the ability to draw accurately, my advice to this teacher is to design projects that will connect with students, allowing them to express themselves and learn something (elements/principles/techniques/history) along the way. This is the focus of my entire blog and detailed in my book. I also have a detailed post HERE on how I plan my year.
 
An advanced class, where students have chosen to pursue art, is vastly different from a general class fulfilling a school requirement. In the latter, rigorous homework and daily sketchbook assignments risk alienating 98% of students. Instead, I recommend teaching to the majority while providing enrichment opportunities for the 2% of high flyers. (Like a free sketchbook, ideas for extra at-home projects, hidden supplies you quietly provide.)
 
I have many FREE sketchbook ideas on my blog HERE, but I actually don’t assign them unless a student finishes a project early… My students know they need to be actively engaged in art making 100% of the time in my room, and in return, I do not assign homework. I have an “I’m Done” bin for those who finish early, but it’s rare based on the way I design my lessons. (Every lesson has 3 things they must do to earn a 90%, and 3 more things they can do to push that up to 100%, THIS is the form I created for that.)
 
The art room is the "oasis" of our school, a "safe and creative space, or a "haven" within the school environment, where students can express themselves and find freedom from the rest of the school. With this in mind, I don’t assign homework, and I don’t do weekly or daily sketchbook assignments.
 
HOWEVER, there are important exceptions to my practice… Every project requires a thumbnail and a sketch, and once in a while I may ask students to “bring in a rock” or “bring in a stick” etc. That I do grade as homework. You got a stick = 100% on homework. ALSO, if a student was ON TASK the whole time but is still not finished with a project because their work is amazing or highly detailed, I will grade it as a % complete (like if it’s half done I’ll record a 50%) they photograph it as evidence of what it looked like before they took it out of my room, and they can take supplies home over a weekend to complete it. I will raise the grade to whatever it should have been without a penalty for lateness. 

​I like to do a “special” project for my Art 2 students as a reward for good work, and making it into their second year of art with me. In the past this has been canvas baseball caps, or shoes we have painted, but this time I found blank skateboard decks at a good price on Amazon. Full size decks are here: https://amzn.to/4i7omnv I used the smaller ones like these: https://amzn.to/3DWjmTA
 
I actually have a signed Kehinde Wiley skateboard deck above my door. It’s a signed and numbered limited edition. I used that as my go-to reference, but many artists now offer skate decks as a print item. Perhaps an artist local to your population or more appropriate for your school is one you could reference.

(Though this lesson was done with wooden skateboards, this same lesson could be done on cardboard, chipboard, or even paper.)

As I introduced the lesson, I explained that images could be horizontal or vertical. Ultimately the piece needed to express something about yourself, your point of view, interests, or culture. The board did not have to be “usable” as a skateboard when complete, and they were free to add 3D embellishments. Another option was to create a board for a family member or friend as a gift and use a theme that person would deeply appreciate.
 
To meet expectations students needed to:
1. Address both sides of the board (no bare wood)
2. Demonstrate techniques & media learned in this & previous classes
3. Be able to articulate the depth of your theme/choices
 
To exceed expectations, students could
1. Use techniques through online tutorials etc. (that I didn't teach them)
2. Incorporate an equal detail on both sides of the board
3. Use embellishments from outside the classroom
 
We began by tracing boards onto sketch paper twice to represent the front and back of the board. Students were able to access their electronic devices to get reference images. Sketches were colored, shared, and critiqued by peers. They were shared with me for a final okay and were given their board to work with. Our project progress paper is downloadable below and includes our rubric on the back. This is where critiques are documented and signed off.

​Students first had to sand their boards to get a smooth surface on all sides and edges. I encouraged them to close their eyes and feel their board. 100 to 150 grit sand paper seemed to work just fine and kept things simple. Sheets were cut into quarters to conserve, and wrapping them around a hard/dry sponge seemed to help round the corners of our boards. The main thing we were looking for is a splinter-free surface. I had a Dremel available to sand the holes.
 
Again, students had to share their board with a peer to check for smoothness before priming their board with 2 or three thin coats of gesso on both sides. I like the Liquitex Gesso for this project but any primer will likely work well. Tip: If you put a bamboo skewer through the screw holes of the board, it can be stood up and painted on more easily.
 
Some students chose methods of acrylic image transfer, others did an acetone transfer, others used carbon paper to transfer images, and many more just drew directly. If carbon was used, we gave the boards a quick spray of Mod Podge to seal the drawing so it would not smear into the acrylic paints.  

​Every student was fixated on their artwork in a way I have not seen in a long time. They were using many techniques to show off, a variety of materials, collage, paint pen, acrylics, sand, shells, hot glue, transfers of all kinds. Many were taping their edges to get clean lines. Some used stencils to control spray paint, and more. I essentially became a resource when they “got stuck” or needed an idea on how to accomplish an effect they were looking for. Often I was really just a cheerleader encouraging them to experiment and “go for it!”
 
When complete, students have to write a personal statement about their work to be displayed alongside. All this writing, the peer critique, the proof they considered the critique and responded to it, all count on the rubric “Research & Documentation” portion. I graded work as it was completed and had mini projects students could do to be “Artfully Occupied.”
 
This is also the time students are selecting classes for next year in high school, so the display of their skateboards has kind of become an advertisement for taking art. When students do “cool stuff,” and see “cool stuff,” it always reflects well on the department.

For more resources visit www.firehousepublications.com or join my free Facebook group where I share my process for developing innovative lessons like this one. The link is also on the top of my blog. Be sure to answer the three questions to be admitted. (This helps prevent bots from getting in and spamming the forum.) If you are seeking more choice-based lessons for your students, I wrote THIS book ​

For more resources visit www.firehousepublications.com or join my free Facebook group where I share my process for developing innovative lessons like this one. The link is also on the top of my blog. Be sure to answer the three questions to be admitted. (This helps prevent bots from getting in and spamming the forum.)​

Portraits, for many students, are a scary proposition. Students are often self-conscious about their work. If it does not look "real" enough, they feel like they have failed, and they worry about the feedback they'll receive from peers. Face it, (pun intended) portraits are challenging.

I have recently explored using nail-polish remover to transfer laser-printed or photocopied images. Student enjoyed using this technique on their hallway perspective projects. The group I was teaching had all already completed grid portraits in a previous semester, so I knew those skills were unnecessary to include in this new approach. 

I had also built up quite a lot of hand-painted paper from previous lessons, and it was time to use that. I decided to focus on collage for these portraits, adding in magazines, newspapers, printed papers, construction paper, and paint pens. Since this was going to be a new lesson, I needed to experiment a bit and do a few of myself. I hung them on my wall as students were working on a previous lesson. I noted they were asking questions, and thought the work was interesting, so I had piqued their interest. "Can we try that too?" they asked. ​

For more art education resources please visit Firehouse Publications. or click on either of these two covers for 50 more lessons you can copy and use for all your students.