The Many Lives of Paper

The Many Lives of Paper
at the Springville Museum
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Artist & Artworks List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v The History of Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Handmade paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Illuminated Initials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Paper Mulch Dough Sculptures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Sculpting with Paper Mache . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 I Have a Friend in YouOne Solution to the Bullying Problem . . . . . . . . . . . . . . . . . . . . 37 Magic Wands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 The Qualities of Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Danish Papercuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Okay, What Is It? Lets Be Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Animal Silhouettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Printmaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 How to Get Students to Overcome Their Fear of Drawing . . . . . . . . . . . . . . . . . . . . . . . . . 71 Avoiding Sketchbook Intimidation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Gesture Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 The Upcycled Lives of Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 More Ideas for Paper Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Paper Quilts and Personal Narratives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Silhouettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Jelly Bean Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Marks in Space: Media Exploration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Sketchbook Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Paper Mache Puppets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 True Confessions of a Certified Paper Nut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Paper Mache Shoe Sculptures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Contemporary Paper Cutting and Folding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Using Kaleidocycles to Teach Principles of Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Midtone Charcoal Drawings Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Mini Mannequin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 More Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 More Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
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Contents
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Artists & Artworks
Nadine Barton, Desert Summer Elzy J. Bill Bird, Near Millcreek Road (1936) Near Vine Street How Do Bears Sleep? Jonathan Douglas Brown, So, Luke has a Sister (2000) Harold Longmore Burrows, Fishing Village Montauk Point--Long Island (1921) Peter Callesen, Alive But Dead (2006) Nr alt kommer til alt, (When All is Said and Done) 2006 Roots of Heaven (2009) White Hand (2007) White Window (2010) Royden Card, Desert II (1978) James Christensen, The Egg, the Owl, and the Fish Jenni Jenkins Christensen, Blue Magnolias XII third state (first of a set of three) (1993) Hughes William Curtis, Death and the Drunkard (1940) Cyrus Edwin Dallin, Bust of Emmeline B. Wells (1928) Jimbo Leonardo da Vinci, The Last Supper (1495-1498) Flamingo, Bresson Thomas, 12 June 2011 Dale Thompson Fletcher, Mothers Garden: Irenes Strawberry Patch (1959) Giraffe Vincent van Gogh, Starry Night (1889) Hands cutting silhouette of girl by Karl Johnson http://www.cutarts.com James Taylor Harwood, Harvest Scene in France (1890) John Held Jr., Dancin in the Jazz Age (1920) Katsushika Hokusai, The Great Wave off Kanagawa Ranch Shipley Kimball, Industrial Worker at Ironton Steel Mill (1930) How much do you get for one of them photos when you got it all touched up? (1930) Emanuel Leutze, Washington Crossing the Delaware (1851) Monster Car Narrows Bridge Papercuts, Chinese, Jewish, Polish Quilts: Amish quilt block Traditional quilts 1, 2, & 3 Traditional pattern Traditional Quilt Border Silhouettes, Jane Austin Traditional Narrative Jen Stark, Sedimentary Primaries v
Point of Exposure Square Transfixed
LeConte Stewart, Barnard Cannery (1939)
Harry Taylor, Killer Bee Mountains Minerva B. Kohlhepp Teichert, Indians: from story `Myrtle Anns task (1940) Two white rhinos in Namibia, Bresson Thomas, 12 June 2011 Alma Brockerman Wright, Profile of Young Girl (1902) Mahonri M. Young, Da Winnah (1927) SMA Images Lee Greene Richards in Paris (1907) Pig Pens at Palacca (1922) Study for a Shot Putter (1900) Mahonri M. Young, Apple Picking Sketches BYU MOA Images Arturo Toscanini: Sketches Baboon Studies Back of Womans Head, 1915 Back View of Boxer Bearded Man with Hat Bird Studies Boxer in Corner
http://en.wikipedia.org/wiki/ Cyperus_papyrus image, right vi

THE HISTORY OF PAPER
As a paper enthusiast I would like to share my passion for this wonderful arts medium by sharing a short history of this most important art supply. Mankind has always sought to improve ways of communicating and recording thoughts. Early attempts at achieving this involved the use of waxed boards, leaves, bronze, silk and other fabrics and of course, clay tablets. The oldest written language we know of is cuneiform, inscribed on soft clay tablets. It was not until the invention of paper that information could be recorded and passed on cheaply and in greater quantity. The invention of paper was first recorded by the Chinese C.E. 105 during the Han Dynasty and spread slowly to the west via Samarkand and Baghdad. Papermaking and manufacturing in Europe started in Spain and Sicily in the 10th century by the Muslims living there at the time, and slowly spread to Italy and Southern France reaching Germany by 1400. In medieval Europe, the hitherto handcraft of papermaking was mechanized by the use of waterpower and other processes. The rapid expansion of European paper production was truly enhanced by the invention of the printing press and the beginning of the beginning of the Printing Revolution in the 15th century. The word paper is http://en.wikipedia.org/wiki/File:Amarna_ Akkadian_letter.png etymologically derived from papyrus, Ancient Greek for the Cyperus Papyrus plant, which was used in ancient Egypt and other Mediterranean cultures for writing long before the development of paper in China. Papyrus however is a lamination of natural plants while paper is manufactured from fibers whose properties have been changed by maceration or disintegration. WHAT IS PAPER? Paper as we understand it today can be described as thin sheets made from fiber that has been ground to a pulp until each individual filament is separate. Ancient paper was made of cotton and linen fibers. The fibers were then soaked in water (sometimes cooked) and lifted up out of the water using 7
a sieve-like screen which lets the water run through and leaves a sheet of matted fibers on the screen. This sheet of fibers is paper. At this point a multitude of things can be done to it to create specific qualities. Papyrus and rice paper are not true paper. They are laminates. Vellum and parchment are also not paper. They are made from animal skins. (Hunter, 1970) 4,000 B.C.E Ancient Egyptians invented the first substance like paper, as we know it. Papyrus was a woven mat of river reeds, pounded together into a hard, thin sheet. The word paper actually comes from the word papyrus. Later on in history, the Ancient Greeks used a kind of parchment made from animal skins for the same purpose.
C.E. 105 Paper as we know it was invented by Tsai Lun, a Chinese court official. It is believed that Tsai mixed http://en.wikipedia.org/wiki/File:Papyrus.jpg bark, hemp, and rags with water, mashed it into pulp, pressed out the liquid and hung the thin mat to dry in the sun. Paper was born and this humble mixture would set off one of mankinds greatest communication revolutions. Literature and the arts flourished in China as a result of paper. (See image of ancient Chinese paper, below.) C.E. 610 Buddhist monks gradually spread the art of papermaking to Japan. Papermaking became an essential part of Japanese culture and was used for writing material, fans, garments, dolls, lacquer containers and as an important component of houses. The Japanese were also the first to use the technique of black printing on paper. C.E. 751 Chinese and Arab armies clash after decades of peaceful trading. The Chinese are defeated and many are taken prisoner. Among the prisoners are paper makers who attempt to bargain for their freedom by teaching the Arabs the secrets of papermaking.
C.E. 1009 It took about 400 years for paper to traverse the Arab http://en.wikipedia.org/wiki/File:Chinese_ world to Europe. The first paper mill in Europe was built hemp_paper_western_han.jpg by the Arabs in Xativa, Spain. Papermaking continued here under the Moorish rule until 1244 when European armies drove them out. Paper making then began to gradually spread across Christian Europe. C.E. 1250 Italy becomes a major paper producer. The Italians vigorously produced the material and exported large amounts of it, dominating the European market for many years. 8
C.E. 1338-1470 French monks begin producing paper for holy texts. France quickly adopts this new technology and becomes a self-sufficient and competitive paper producer. C.E. 1411 The first paper mill in Germany is converted from a flour mill with assistance from the Italians. Germany greatly improved the craft and made the finest papers available. In 1453 Johann Gutenberg invented the movable type printing press. The printing press was the next stage in the communication revolution. Previously, books were owned only by monasteries, royalty, and scholars, very few people could even read. For the first time, the impoverished masses had access to books, and more importantly knowledge. With the availability of books, literacy increased. As literacy increased, the demand for books - and paper increased as well. C.E. 1588 England begins to make its own paper.
Albertus Magnus (fresco, 1352, Treviso, Italy) by Tommaso da Modena (1326-1379) http://en.wikipedia.org/wiki/ File:AlbertusMagnus.jpg
C.E. 1680 The first paper mill in the new world is established by the Spanish in Culhuacan, near the capital of Mexico. C.E. 1690 A German immigrant to North America named William Rittenhouse founded the first paper mill in North America near Philadelphia. This is also where the first American paper makers were trained.
C.E. 1719 Rene Antoine Ferchault de Reaumur suggests that paper could be made from wood in response to a critical shortage of paper making materials, in particular, hemp. At the time most paper was made from old clothes and rags and hemp. There were not enough rags to supply the ever-increasing demand for paper and the hemp farms were replaced by more profitable products like cotton and tobacco.
Ancient Map of Culhuacan, right http://vlib.iue.it/history/americas/mexico.html
C.E. 1798 Nicholas Robert invented the papermaking machine. His hand-cranked devise made paper on a continuous revolving screen. However he was unsuccessful at finding investors. Finally, with the help of friends, he took his design to England, where the Fourdrinier brothers improved the design and put it into production. Paper making machines bear the Fourdrinier name to this day.
http://en.wikipedia.org/wiki/Ren%C3%A9_Antoine_ Ferchault_de_R%C3%A9aumur
http://www.casepaper.com/res_paperhistory.htm
C.E. 1850 Friedrich Gottlob Keller of Germany devises a method of making paper from wood pulp. However the paper is of poor quality. C.E. 1852 Hugh Burgess of England perfects the use of wood pulp by digesting the wood with chemicals.
C.E. 1867 C.B. Tilghmam, an American chemist, improved the process of making paper from wood by using sulfites during the pulping process. This process also poisoned the streams and rivers near his factory and killed all the animals and plants in the water. C.E. 1879 C.F. Dahl, a Swede, finally perfected the use of wood by adding yet another chemical. His sulfate method spread rapidly and reached the United States in about 1907. C.E. 1883 Charles Stillwell invented a machine to make brown paper bags for groceries in Philadelphia. Today more than 20 million paper bags are used annually supermarkets. Many of these are recycled into new bags and boxes.
C.E. 1889-1900 Economical, mass produced paper became a reality. Paper production doubled to 2.5 million tons per year. Newspapers, books, and magazines flourished. Paper found its way into 10
schools, replacing the writing slate. This increase in paper production also escalated the death of many rivers and streams in Eastern United States and the clear cutting of many old growth forests but there were a lot more rivers to kill and forests to mow down out in the West so no one was very concerned and the profits were generous. C.E. 1937 Georgia Pacific, Warehouser and William Randolph Hearst successfully got the Government to outlaw the cultivation of hemp (non-drug bearing marijuana trees) making the use of renewable hemp illegal so the lumber companies could continue to clear cut the forest that were ostensibly owned by the American people and the paper companies could continue polluting rivers and streams with wood pulp factories. Thank you, Harry J. Anslinger.
http://en.wikipedia.org/wiki/Clearcutting
Bibliography: The Dictionary of Paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. by American Paper and Pulp Association, 1965. Papermaking. The History and Technique of and Ancient Craft, by Dard Hunter, 1943/1970. The Story of Papermaking, by R.R. Bowker Company, 1954. Websites: www.historyforkids.org/learn/literature/ paper.htm This is a good website with general information and an excellent video on Japanese papermaking.
www.paperonline.org/history-of-paper
www.tappi.org/paperu/all_about_paper/paperhistory.htm
www.silk-road.com/art/papermaking.shtml
http://commons.wikimedia.org/w/index.php?title=File:THE_ NASHUA_RIVER_FLOWS_PAST_THE_FITCHBURG_PAPER_MILL._ MOST_OF_THE_RIVER_IS_UNFIT_FOR_FISHING,_SWIMMING_ OR_BOATING_AS..._-_NARA_-_553428.tif&page=1 National Archives and Records Administration Public Domain
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HANDMADE PAPER
ElementarySecondary Visual Arts Lesson by Joseph Germaine OBJECTIVE Students will demonstrate an understanding of the Nature of Paper by making their own handmade paper. PROCESS Egyptians produced the first paper-like material we know today as Papyrus. It is a reed like plant that grew prolifically on the banks of the Nile. Papyrus was made from the inner part of the papyrus stem by pounding it into a thin, flat sheet. The word paper comes from the word papyrus. In China, Tsai Lun invented the pulpbased paper of today in A.D. 105. He mixed a variety of plant materials such as hemp, mulberry bark, flax, and cotton and linen fabric with water, mashed it into a pulp, pressed out the liquid and hung it to dry in the sun. This technology would be one of the truly great revolutions in human communication.
There is a renewed interest in handmade papermaking crafts today. Not only is it a fun experience for you and Making Papyrus the kids, but also its a good way to recycle waste into http://www.travelblog.org/Photos/2538746 wonderful possibilities. Below is a simple papermaking recipe to get you started. First time paper makers, dont be afraid to experiment with different materials, you dont have to stick with paper scrap products. Try adding whole flower heads to the pulp mixture after it has been through the blender. You can add scraps of yarn, glitter, colored pencil & crayon shavings, tin foil, even seeds and leaves and other organic materials. Experiment with different textures and colors, this is what Tsai Lun did! For years, the favorite citron yellow with green-specked paper in my Elementary art room was made from boiled horse manureits just grass. Remember, some of your ideas will turn out while other will not. This is called LEARNING. Have fun and learn! BASIC PAPER MAKING: Materials: sponge, screening mold frame, plastic tub (large enough to immerse the screen frame), blender or food processor, felt or flannel fabric, sizing material (liquid starch, white glue, cornstarch or commercial sizing) You will need some recycled paper to start with. There are many types of paper that can be used such as: any recycled paper, computer paper (printed or unprinted), newspaper (usually makes a 13
gray paper0, magazines, egg cartons, toilet paper, paper bags, cardboard packaging boxes (like cereal boxes), copy paper, tissue paper (for fine paper), napkins, construction paper (multi-color for gray and specific colors for specific colors). There are many more sources but this should get you going. Instructions: (see photos, next pages) 1. Select the pieces of paper to be recycled. You can even mix different types to create your own unique paper. To start with, just try some used copy paper.
2. Rip the paper into small bits, and place into the blender (about half full). Shredder paper is a good and easy idea. Some handmade paper instructions call for soaking the paper scraps in tepid water overnight or even cooking the paper scraps. Fill the blender with warm water. Run the blender slowly at first then increase the speed until the pulp looks smooth and well blended. 3. (30-40 seconds) Check that no chunks of paper remain. If there are any chunks of unblended paper left, keep blending. You will want a soft even pureed consistency for a smooth surfaced paper. Smooth is only one of many available textures for handmade paper but should not be overlooked. You may want to try adding colored pencil shavings or little bits of that oily paper from crayons.
4. The next step is to make or acquire a mold. The mold is the form you will gather the paper pulp into. It is a wooden frame (the size you want) with simple fiberglass window screen stapled to the bottom. The screen should be as tight as possible. 5. Fill the tub about half way with water. Add 3 blender loads of pulp. (the more pulp you add the thicker the finished paper will be). Stir the mixture to make the suspension even. 6. Now is the time to add the liquid starch for sizing. This is not strictly necessary because the used paper you are using has some sizing but if the paper is going to be used for writing or painting you should add some more (white glue is ok but harder to wash out of the screen, dont let it dry out). The sizing helps to prevent inks and paints from soaking into the paper fibers and blurring. Stir 2 teaspoons of liquid starch into the pulp. Place the mold into the pulp and then level it out while it is submerged. Gently wiggle it side-to-side until the pulp on the top of the screen looks even.
7. Slowly lift the mold up until it is above the level of the water. Wait until most of the water has drained from the new paper sheet. If the paper is very thick, remove some pulp from the tub or add more warm water. If you first sheets are too thin, add more pulp and the mixture again. 8. When the mold stops dripping, gently place one edge on the side of the fabric square (felt or flannel is best). Gently ease the mold down flat, with the paper directly on the fabric. Use a sponge to press out as much water as possible. Wring the excess water from the sponge back into the large plastic tub.
9. Now comes the tricky part. Hold the fabric square flat and slowly lift the edge of the mold. The wet sheet of paper should remain on the fabric. If it sticks to the mold, you may have pulled too fast or not pressed out enough water, try tapping the screen with your fingertips until the paper releases. It takes a little practice. You can gently press out any bubbles and loose edges at this point. A clean rolling pin can work. 10. Repeat the steps above, and stack the fabric squares on a cookie sheet. Save one fabric square to place on the top of the stack to cover the last piece of paper. Use another cookie sheet to 14
11. After you press the stack, gently separate the sheets. The sheets can be dried by hanging on a clothesline or laying them out on sheets of newspaper. You can speed up the drying by using an iron on a low setting. You may also want to experiment with textured fabric to imprint a surface texture in your paper. When they have dried peel them off the fabric and whoopee! You have paper.
press the remaining water out of the stack. (Do this outside, over a sink or large plastic container, it can be messy)
Adding torn paper scraps to the blender
The blended paper pulp
Acquiring the mold
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Adding the blended pulp
The soup, blended pulp & water
Immersing the mold into the pulp & water
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Slowly lifting the mold
The full mold
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Finished paper drying
Extensions: This is the basic process for making handmade paper. Now you must come up with an interesting way to use it. Here are some starter ideas: Greeting cards, book covers, surfaces to draw or paint on, cut and paste sculpture and print making to name a few. >See the lesson on Illuminations on handmade paper. Sources: Paper: Primrose Paper Arts, by Jill Elias, Jeanette Bakker & Marie Waterhouse. Papermaking Techniques Book, by John Plowman. Making Your Own Paper, by Marianne Saddington. The Papermakers Companion: The Ultimate Guide to Making and Using Handmade Paper, by Helen Hiebert. Websites: www.thedailygreen.com >NEWS > News Articles. This site has a good free video on papermaking. www.eho.com>Home Maintenance & Repair. This site also has a variety of free video instruction. Reviews.ebay.com/How-To-Make-Handmade-Paper
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ILLUMINATED INITIALS
Visual Arts Before/After School Art Grades 4-6 Length: 3-5, 40-minute class periods
Kellie Fay Mr. Germaine, Shelley Elementary Alpine School District
Overview
Goal
Learning Outcomes
Essential Questions
This lesson combines illuminated manuscripts and papermaking. Students will learn a brief history of each and apply their learning to art making. They will be involved in the process of making their own paper using a paper scraps, a blender, and screens. This lesson will take a few days to complete and will need some
The goal of this lesson is to examine traditional forms such as papermaking and illuminated manuscripts using modern techniques and materials. Students will consider the environmental and personal value of making their own paper rather than purchasing it.
Students will identify illuminated manuscripts by surveying Medieval history Students will go over some of the history of papermaking
Students will be able to follow the steps of papermaking with the assistance of the teacher.
1. How do we make paper today compared to traditional techniques? 2. What are the benefits of making your own paper (environmental, personal)?
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Students will apply their knowledge acquired in the lesson and use wax resist and watercolor to create illuminated manuscripts
Vocabulary
Manuscript:Illuminated: MonkLesson Materials
Part 1: Introducing Illuminated Manuscripts
Needed
Handouts/examples of illuminated manuscript Example of your own final project
Pencils Rulers
Production Materials Needed
Paper 8 x 11 or larger if desired
Students will identify illuminated manuscripts by surveying the Middle Ages
Prior Knowledge Assessment
A Brief History Earliest known illustrated manuscripts come from Egypt (Example: Ramesseum Papyrus, 1980 BC and the Book of the Dead) Book of Kells from 800 created by Celtic monks in Ireland, gospel book in Latin Paris was the center for illuminated manuscripts in the 13th century, resembling stained glass windows in cathedrals A Modern Illuminated Manuscript
Donald Jackson, Ireland, Saint Johns Bible, Calligraphy (Complete title is Praying the Word: Illuminated Prayers and Wisdom from SJB)
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Vocabulary
Pulp: paper, glue, water, etc. after its been blendedlike whats in the bottom of orange juice
Part 2: Lets Make Paper!
Sizing: amount of glue in paper, more sizing = more strong against ink/ paint/moisture
Screen: attached to wooden frame, is the part that you use to catch the pulp
Lesson Materials Needed

Example of paper types Instructions posted on board
Production Materials Needed

An old blender that still works White glue Choose from scraps of: paper, cardboard, pencil shavings, organics Framed screens Small tub/bin (needs to be larger than screen), fill with a few inches of water Place for paper to dry
Students will be able to follow the steps of papermaking with the assistance of the teacher ProductionHomemade Paper
Make the Screen 1. Stretch a fiberglass screen, such as a window screen, over a wooden frame.
2. Nail or staple the screen to the edge Make the Pulp 1. Tear up approx. 1-inch long pieces of paper (can use other materials such as boiled vegetable/fruit skins, cardboard, etc.) and put in blender 2. Use ratio of 2:1 water to paper 3. Add sizing (white glue) as needed2 tbsp. max per batch Make the Paper 1. Pour pulp into bin
Get Students Involved

Although it does save time to make the pulp before class, students will greatly enjoy being a part of the entire process. Its a great way to discuss recycling and something you can save scrap paper for from your and other classrooms.
4. Blend itStart with slow mode on blender increasing speed as pieces are broken up. Run approx. 30 seconds total 2. Submerge screen into water (fiberglass screen side down), hold to bottom while making sure pulp is mixed into water (I just swirl it around with one hand) 3. Slowly lift screen, suspending it above water to allow it to drain 4. Pulp should completely cover screen and be at least thick. Even out any lumps or remove undesired pieces. 5. Set on towel to remove excess water. Prop up and either let it air dry for a while or use fan or blow dryer. 6. Use teasing needle to help remove damp paper from screen. Allow to air dry.
Note
A good idea is to save extra pulp from papers to use for next time or to make sculptures with. Either store in an airtight container, or let it dry up and next time you need it, just add water!
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Art Criticism What is the environmental and personal value in making homemade paper?
Part 3: Wax Resist Illumination
Is it worth all the extra work to make your own paper when you can just buy it readymade?
Interdisciplinary Connections
History: monks, Middle Ages Literature: manuscripts National Standards #2 #4 #1 #4 #5
Students will apply their knowledge acquired in the lesson and use wax resist and watercolor to create illuminated manuscripts Production Students will choose their best (most successful) sketch to recreate as their illuminated manuscript.
Standards Met
INTASC Standards
Using knowledge of structures and functions Understanding the visual arts in relation to history and culture Making content meaningful Instructional strategies/problem solving Motivation and behavior
1. Use crayon to draw outlines and fill in any sections that they dont want to have filled in with watercolor. Make sure the crayon is layered well so watercolor wont stick. Also, it helps to sharpen crayons so that they make marks easier 2. Use watercolors to paint sections of illuminated manuscripts. 3. Allow time to dry
Utah State Elementary Core (5th Grade)
#1.2a Preplan the steps or tasks to achieve a desired image #3.2b Use a personal experience as inspiration to create a work of art Creativity Standards Elaborate, refine, analyze and evaluate their own ideas to improve and maximize creative efforts Demonstrate inventiveness and originality within real world limits
Extension Students who finish early may do the following:
Use this page as the cover to a sketchbook, folder portfolio, or journal Assessment Have students create an artists statement that includes the following: Name, grade, and title of work Reasons for symbols, letter, and colors chosen in work If hanging these in a show, include typed artists statements with each piece 22 Thoughts about making paper and illuminated manuscript
STUDENT ILLUMINATION IMAGES AND EXAMPLES
PRESTON 4th grade Working on his handmade paper illumination
OMAEI, 3RD grade A finished monogram (illumination) on handmade paper. Each child made his or her own paper.
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The Hidden A and Secret H, by Adam, 5th grade. Adam wrote: I made the paper from recycled paper. I choose the A because thats what letter my name starts with. I made the H by accident. Its O.K. Mr. Germaine calls it a happy accident!
The Flowery P. by Abby, 5th grade. Abby wrote: I thought that drawing a P with flowers coming out would be cool. I also didnt let the curve on the P go all the way around. My last name starts with a P.
My Initial & Me, by Miranda, 4th grade Miranda wrote: This is my initial floating in the air with flowers and leaves. I made the paper. I made the drawing. I painted it. That is me.
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A is for Addison, by ADDIE, 4TH GRADE. Addie wrote: I choose red and orange because my favorite season is Fall. This is my favorite background because its really fun to draw. I made my A in bold letters because you dont get to use these everyday in school. FINISHED ILLUMINATION ON HANDMADE PAPER.
My Beautiful S, by SABRINA, 6TH GRADE. Sabrina wrote: I find it very fun to make my own paper. I also loved to make the paper sing. Ive been practicing for, well since I could pick up a pen! I want to thank Mr. Germaine. He has been my art teacher since I was in Kindergarten. He inspired me to do my best! FINISHED ILLUMINATION ON HANDMADE PAPER.
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PAPER MULCH DOUGH SCULPTURES
ElementarySecondary Visual Arts Lesson by Joseph Germaine OBJECTIVE Students will demonstrate an understanding of direct sculpture and papermaking by creating an original sculpture made from homemade (classroom made) paper mulch dough. MATERIALS Paper Blender Cornstarch an active imagination.
PROCESS This is a great way to use recycled classroom paper, old flyers and handouts, construction paper scraps and the principals daily bulletin, or scraps from the District Office. This is also a great alternative for schools that dont have a kiln to fire clay sculptures.
Tear up bits of paper into small pieces. Make it one color or mix it up. Add about 1 cup of paper to about 1- cups of warm water. It is best to let this sit for an hour or even overnight.
Pour the mixture into a blender and pulse until it is a uniform consistency. Add extra paper or water to get the desired thickness. You can also add some white glue and /or paper mache paste to thicken it and create a stickier consistency. Avoid wheat paste, as that will promote mold growth and smelly artwork. Paper mache paste recipe: Ingredients: Cornstarch (about 1-2 tablespoons for each cup of water), cold water, and an optional dash of salt.
Stir together cornstarch and water in a small saucepan. Heat on medium heat while continuously stirring until the mixture starts to thicken and become translucent. Let cool to room temperature. You can experiment with the amounts of water and cornstarch you use for this depending on the consistency you want to end up with. 27
Use the thick dough to form into shapes or press into press molds or cookie cutters and let dry. It can
also be rolled out flat to make an extra thick paper. To make it stronger when dry, add a small amount of white glue or paper mache paste to the mixture and /or use some officequality paper in your mixture (it already has a lot of sizing) and pulse it in the blender for a slightly shorter time (so you still see some individual specks of paper in the mixture). The smoothness of the medium can be controlled for by how long you blend and how fine the finished material is. This work can also be done in bas-relief flat sculptures with raised figures. This is a natural way for younger students to learn how to handle the paper mulch medium.
When the sculpture is finished, set it aside to dry. Let it dry completely before applying a decorative surface. Color can be applied with watercolor or tempera or any other decorative medium. Paint and/or varnish the dried pieces with acrylic to seal them and help them last longer. Be adventurous and try some other surface sealers to see if they create a desired look. Try adding textures such as rice, poppy seeds, colored sand and so forth. SOURCES Paperclay: For Ceramic Sculptors by Rosette Gault Claudia DeMonte by Elanor Heartney Paperart: The Art of Sculpting With Paper by Michael Lafosse Websites: ultimatepapermache.com/ This site is specific for sculpting animals and masks. good recipes for paper pulp.
The first step in any art project is to get an idea. The next step is to make a plan. This is a thinking sheet made by Isaac, a 2nd grader.
www.nelsonmore.com/art/PaperClay SculptureHandout. PDF This site is about Paper Clay for direct sculpture. www.ehow.com> Arts & Crafts This site has several www.easyfunschool.com/article1050.html
site for very young students.
This is a good
VARIATIONS AND EXTENSIONS The easiest way to work with paper pulp for young students is by direct application. That is, to just grab the pulp in your hands and shape it into the form you want. Attend to the strengths and limitations of the medium, as must be done with all art materials. Ceramic clay makes good pottery but is not very good to draw with. Get it? 28
This is a bucket of paper mulch ready to use. Ice Cream buckets are a handy art supply
IMAGES: Shaping the paper mulch just like clay. Dont worry about making it hollow. BELOW, LEFT: The Bird by Kendra, 4th grade BOTTOM LEFT: The finished sculpture with wings made separately and added while the paper mulch was still sticky. RIGHT: This is Teyler, 5th grade, working on a Pineapple sculpture. RIGHT, MIDDLE: This is the top of the pineapple sculpture, quick drying on the edge of the kiln. Paper pulp does not have the tensile strength of clay. It does not stand up well. Make components separately and add them together while still sticky. RIGHT, BOTTOM: This is the finished Pineapple sculpture. The top has been attached and is ready to dry.
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So here are some other ways to work with this material. By the way, it can be purchased commercially. It is usually called Celluclay or some other brand name. It is expensive and generally not as good as the paper clay you make yourself because you can adjust the mixture for the project you want to make. Remember that your first batch will probably not be your best just like the first time you tried to write your name was probably cute but not your best. The learning window does not exist just for your students. Be involved, be committed, and be courageous! Try using armatures to build your pulp around. An armature is an internal buttress made of wire or stick or rolled up butcher paper. There are many other materials that can be used for your armature. Unlike ceramic clay, you will not be firing these sculptures, so you can put most anything inside the project to hold it up. I suggest that you start with the rolled and twisted butcher paper armatures (newspaper will work but it will also discolor the pulp with printers ink). By twisting and rolling up a generalized form and taping the shape together
Gracie, working on a paper and masking tape armature for her paper pulp sculpture.
Gracie adding paper pulp to her paper and tape armature. you can have something to hold the paper mulch together and in the form you want. Remember that you will put the details on with the paper clay and with paint after the form is built. The armature is just a generalized gesture of the desired from. Have students start by drawing the form and suggesting either animal or human forms. Here is a chance to teach them anthropomorphic This is Gracies finished paper pulp sculpture, drying and waiting for color. 30
PAPER ARMATURES (butcher paper sculptures)
Here we have a group of twisted butcher paper and masking tape armatures for paper pulp sculptures. WIRE ARMATURES: Working on the wire armature, and RIGHT: Taping up the wire armature to avoid rusting when we apply the paper mulch. This is Teddys butcher paper and masking tape armature. He is now ready to add the paper pulp to it or he can choose to keep it this was and just paint it with tempera paint or acrylic paint. Watercolor wont adhere to the masking tape very well.
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ABOVE LEFT: The finished wire armature stapled and glued to a matte board base. ABOVE RIGHT: Adding paper pulp to the base and wire armature. LEFT: The unfinished sculpture to show how the armature works. After finishing the sculpture it is time to add color and varnish or lacquer.
and zoomorphic forms. Craftsticks, popsicle sticks, and small tree sticks from the back yard all make good armatures. Old coat hanger wire can also be used but it is difficult for most young children to manipulate. Try a thinner gauge wire like bailing wire. If you want the finished piece to be free standing, you will have to build some sort of base or stand.
One last alternative is to use molds. We like to make terracotta press molds for our clay projects by pressing a slab of clay over an interesting object and them pulling it off and firing the negative mold to a bisque temperature in the kiln. The clay mold has the advantage of being water absorbent and will help dry out the paper mulch quickly. You will need to use a mold release such as Pam or Vaseline, or you can line the press mold with a thin sheet of plastic wrap or even a plastic bag. Let the paper 32
mulch set up a little before removing it from the mold. Dont let the mulch dry completely in the mold because it will stick and be difficult to remove. Dry completely and then add a surface treatment. Try varnish or lacquer or a spray treatment over a watercolor surface. Good luck and good sculpting.
This is a press molded star taken out of a terra cotta clay mold.
Finished and painted (watercolor and spray varnish) Paper Mulch Sculptures
The Boy in the Yellow Shirt, by Gracie, 5th grade.
The Hawaiian Pineapple, by Teyler, 5th grade
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The Blue Bird, by Kendra, 4th grade
Here is one last idea (not really). Try using plastic or ceramic vessel forms like bowl and plates or even metal cans. Cover them in a plastic bag. Tape down the edges and apply the paper pulp. After it dries you will have that form in paper. If you can find one with textures or incised patterns on the inside use it. You can either put the pulp on the outside or on the inside of the mold form. The paper mulch does not shrink much when it dries so dont worry about putting it on the outside of a form. When completely dry, use your choice of surface treatment. This is paper, so dont try to use it with food and dont try to wash them.
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SCULPTING WITH PAPER MACHE
Elementary-Secondary (Really!)Visual Arts Lesson by Joseph Germaine Sculpting is made simple with paper mache. This is not the paper mulch but the use of strips of paper dipped into an adhesive bath and then applied. Paper mache is a composite mixture of fiber-based paper pulp and thin fabric and an adhesive (sizing) substance such as flour or glue. While wet, the material can be freely shaped when applied to a mold. Once the paper mache dries, it forms into a rigid skin around the mold. The medium is ideal for temporary lightweight sculptures, theater props or simple childrens art projects.
MAKING PAPER MACHE 1. Measure three cups of water and pour into a large bowl. 2. Add 2 cups of white flour and mix until smooth. Wallpaper paste works also. 3. Cut several sheet of paper (newsprint works well to start with, or newspaper) into long strips 1 to 2 inches in width. These will become as the skin of your sculpture. The size is up to you. Thinner strips afford more detail and a smoother, wrinkle free surface. Place the strips in a pile next to the bowl. WORKING WITH PAPER MACHE 1. Prepare your mold or template. Depending on the look, size, and shape of your desired sculpture, a mold or template may consist of an inflated balloon, toilet paper, or paper towel cylinder, shaped wire or chicken wire template. One of our favorite molds is a small tissue box. Old wire coat hangers from D.I. work well. Use wire cutters to cut and shape the chicken wire. 2. Submerge several strips of paper into the bowl, ensuring each is completely saturated in the mixture.
3. Drape the strips over your mold to begin forming the skin. Overlap each strip by at least inch for best results. Cut more strips of paper as needed.
Jonnis Bluebirds, used by permission

http://ultimatepapermache.com/cheap-art/paper-mache-bluebirds
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4. Apply a second layer of paper mache once the first has begun to harden. Avoid applying more than four layers to your sculpture, as this may weaken the bond of the paper mache to the mold or armature and cause portions of the skin to break off.
5. Allow the sculpture to dry overnight or longer, depending on the relative humidity, the thickness of the skin, and how saturated the strips were. Once hardened, the outer layer may be carefully painted or written on. You may want to add some kind of sealer to the finished sculpture. EXTENSIONSecondary If you use an appropriate armature, paper mache sculpture is limited only by your imagination, as shown by the sculpture below. Paper Mache is a very cheap medium for sculptures and students can make very large sculptures because the paper mache is lightweight, although the armature will add weight. The web site for this image has great pictures of the process. The Troll was a group project divide the class into small groups and have each group design and build a paper mache sculpture. VARIATION: Make sculptures to liven up your library, the city library, a public space or as part of a drama production, dance, or other special occasion.
Seattle sculptress Kim Graham and her team made this amazing troll sculpture out of reclaimed lumber, discarded cardboard, and papier mache. http://superforestnyc. blogspot.com/2008/12/kimgrahams-giant-paper-eco-troll. html
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I HAVE A FRIEND IN YOU One Solution to the Bullying Problem
Elementary Visual Arts/Social Skills Lesson By Vicki Gehring
OBJECTIVE To promote friendship and a sense of community each student in the school, or participating classes, will have a school buddy that they are to befriend during the school year. MATERIALS a life-size photo of the face of each student butcher paper pencils scissors black markers paints and brushes glue masking tape writing paper
LESSON All the teachers will explain to their classes that they are going to participate in a collaborative work of art. They are going to participate by doing three things. 1. Bringing a photograph of themselves (school picture) to school with the face enlarged so it is life size. 2. Creating and painting a life-size paper image of themselves on which to glue their photo. 3. Writing a short autobiography
TEACHER PARTICIPATION The teachers will pair the students up in a buddy system by putting lower-grade students with upper-grade students, or students that need a friend with popular students, etc. and exchanging the autobiographies so they have the biography of each of their students buddies. This should be done thoughtfully as the buddies created will help the students feel a sense of community because they have a friend outside of their normal friend circle. STUDENT PROJECT Each participating class will get long enough pieces of butcher paper so the students can lie on them and have someone trace their image. The students will then draw around their figure with a black marker, paint the image and glue on the picture of their face. When it dries, they will cut out their image. They will then write a short autobiography. 37
TEACHER PROJECT After all the images and biographies are complete and the buddy pairs have been created, the teachers will put the buddy pair images together in the halls. This should be done in a random manner so the students will have to search for their image. (The students should find their images on their own time.) When they find their image, they are to notify their teacher who will then give them the autobiography of their buddy. After the students have read the autobiography of their buddy they should be instructed to find their buddy and get to know them a little better. They should understand that it will be their responsibility to look out for this person during the school year. This could include helping with homework or schoolwork, making sure the buddy isnt being teased, or bullied at recess, sitting with them at assemblies, etc. There could be buddy lunch days where buddies eat together.
NOTE: The installation of the images should be done in such a way that they can remain in the halls for several weeks. This will give all the students time to be reminded about their buddy and hopefully make a real connection with them.
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MAGIC WANDS
Elementary Visual Arts Lesson by Elicia Gray OBJECTIVES Students will investigate the different aesthetic issues that pertain to sculptural or multi-dimensional artworks. Students will design, draw, and produce a paper wand in order to investigate various ideas. Students will recognize the visual culture around them that incorporates wands in general. STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning. MATERIALS Toothpicks Newspapers Tape Various decorative items
ACTIVITY How to create a magic wand: Lay out one large sheet of newspaper. Wrap one corner of the paper around a toothpick and roll tightly to the opposite corner until you have one enormous wand. Secure with scotch tape. Wands may be cut into two pieces and secured with tape as well. What can you do with a magic wand? Here are some simple ideas:
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1. Cut flower shapes out of colored paper in varying sizes. Layer shapes with contrasting colors and patterns. Secure flower shapes to wands with tape. Add leaf shapes to wand. Place wands in a decorative vase and create a bouquet. Talk about why people send flowers to others. What do flowers represent? How are paper flowers different than real flowers? Can both be considered art? Do we ever give flowers to enemies? Who usually receives flowers? Which holidays are popular for giving flowers? Have students create a bouquet to give to an unlikely person. Use the leaves on the flowers as tiny message boards. Have students write messages to the recipient. (This makes a great activity for Mothers Day, Valentines Day, or Memorial Day) 2. During Autumn time, have students gather fall leaves and lay them on their desks. Compare/Contrast the different leaves. What do they have in common? What are the differences? Trace the different shapes onto colored paper. Cut out leaves and attach them to wands. Play leaf games and sing leaf songs with the wands. (Songs could include, Hokey Pokey you put your red leaf in, you put your red leaf out and so forth.) Have students pretend that their leaves are blowing and falling to the ground. Invite them to create a Leaf Dance with their wands. Some students are the wind, and some students are the leaves. If you want a more complex idea, discuss how people are a lot like leaves. People share a lot of commonalities, but we all have different attributes as well. Have the students compare/contrast people with leaves. Have students design a leaf that would represent them and attach it to a unique leaf wand.
3. Stagnant Sparklers: In order to celebrate patriotic holidays, have students create star shapes in layers and attach them to the wand. Talk about the meaning behind a patriot. Have them create a series of patriotic wands in order to use as an installation. Invite students to research a historical event that needs to be remembered or celebrated. For instance, maybe your class needs to understand how many children died in the Tragedy of September 11. Have students create a wand for each of the deceased children and create an installation by placing the wands in the school grass. Make a hole in the grass with a screwdriver and then place the wand in the hole. The wands will stand tall and straight. After the installation has been constructed, invite students to discuss feelings about the numbers expressed. As an alternative, Have students research names of community members that serve in the armed forces, and create patriotic wands that can be placed in their lawns as a thank-you or a reminder. 40
4. Cinderella VS. Harry Potter: Have students create a lengthy list of popular icons that use wands. What do they have in common? What types of people usually carry wands in literature? If you carried a wand, would you be evil or valiant? Invite students to create a wand for someone who does not usually carry one. This can be a celebrity, or a politician, even a teacher. Invite students to decorate the wand accordingly. They should create an explanation of the wand to accompany it so that viewers can understand what powers or special attributes could be gleaned from using that wand.
5. Dancing Wands: Add yarn, crepe paper, or long plastic strips to the ends of the wand. Talk about the definition of Line, and explain that a line is a long, narrow mark. Can it still be a line if it is drawn in the air instead of on a paper? What kind of lines can students make with their wands? Is it easier to make curved lines or jagged lines with their dancing wands? Play some music and ask students to dance with their wands. Show photographs of Picasso drawing with light, and compare/ contrast their experience with Picassos experience. Can art be just an experience, or does it need to end with a product? 6. Messages in the Grass: The object of this assignment is to invite other students to more fully appreciate the beauty in their surroundings. Read some simple poetry to students. Look around the school and have the students choose an object that they could respond to. Have student write a poem about that object. Decorate the poem and add it to the top of a wand. Install the wand in a place near the object where viewers an see the object and the poem. Allow other students to give feedback about the experience. Explain that part of seeing the world aesthetically is learning to view our surroundings in an aesthetic manner.
7. Flags: Talk about flags from all around the world. Give each student a flag to re-create or invite them to create their own version of a flag for a country of their choosing. Attach the flag to a wand and place in a prominent area. Discuss why flags are important to our society. What do they represent? Why do we show respect to flags? Invite students to attach the flag to a wand and place it in a prominent area. 8. Puppets: Choose a theme that you wish to address and have students create a series of simple puppets. Flat puppet characters should be attached to the end of wands, and then students 41
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THE QUALITIES OF PAPER
Background Information and a Visual Arts Lesson by Joseph Germaine In the world of Fine Arts, materials and medium are seriously important. Even at the Elementary level the quality of the paper will impact the quality of the final product. By quality of paper we are not indicating if it is good or not but what kind. The right paper for the right job is an important consideration. Using lightweight newsprint for watercolor (and I have seen this because newsprint is cheap) is a very poor idea. Let us briefly look at paper in a somewhat analytical way to determine some of the characteristics we are looking for.
There are many kinds of paper and many uses, including painting, watercolor, crayon, pen and ink, pencil drawing, graphics, printmaking and calligraphy. Papers are available in an extensive range of sizes, thicknesses, and finishes, as well as in different degrees of durability, permanency and quality. Most types of paper can often be used for other purposes. Print papers, for example, can be used with acrylics, and many graphics papers are ideal for drawing. Keep in mind, however, that certain papers have poor aging characteristics and should not be used for permanent fine artwork. A that I use when determining what to use is simply, what would an artist use? Show deference to your students and supply them with adequate art materials. Here is some important vocabulary for paper description: weight (thickness) opacity (transparency, translucency) surface quality (glossy-matte) (kaolin coated like National Geographic) tooth (texture, bite) content (what is it made of) absorption (does the paper absorb or repel liquids such as water color and marker pens?) color (the right color for the right jobnot all white paper is the same color) photo paper (light sensitive) blue print paper thermal paper (temperature sensitive) recycled paper archival paper (acid free)
WEIGHT: a pound number the lower the number the lighter the paper, the high the number the heavier the paper, represents the thickness of weight of a paper. For example: most copy paper is at #20, translucent vellum is #17, linen paper (common in resumes) #70, linen (textured) cardstock #80, high quality stationary #100, index card #110 OPACITY: Opacity has to do with the transparency of a paper. Tracing paper, some vellum and some tissue papers are very translucent while other papers and completely opaque sometimes depending on their thickness. 43
SURFACE QUALITY (texture): Many people prefer a type of paper because it just feels right. The feeling you get when you brush your hand across the surface of the paper conveys an important sentiment about the paper and the project you have in mind. Glossy finishes might evoke sentiments of excitement and glamour and are good with pen and ink and markers (but messy), while traditional, softer finishes are more appropriate for medium like crayon, colored pencil and watercolor. Here is a listing of some of the paper industrys descriptive vocabulary about the surface quality and texture of different papers: Dull Finish: A flat finish on coated paper that is smoother than matte paper giving the appearance of reflecting a small amount of light. Eggshell Finish: A slightly grainy finish that resembles the texture of an eggshell, it is rougher than a machine finish like a copy paper but smoother than an antique finish. Antique Finish: Slightly rougher than eggshell and English finish, it has a handcrafted look and feel that provides an interesting textural accent. Resembling a tight burlap sack, this finish is bold and can be seen on both sides of the paper with an obvious front and back. English Finish: Also called smooth finish, this generally has less texture than eggshell and antique finishes. Calendar Finish: A smooth, glossy finish created by calendar rolls, it is also called an English or machine finish. Embossed Finish: A delicate pattern pressed into the surface of card stock. Glossy: A shiny hard finish that provides added durability. My favorite glossy paper is called Kaolin because it is coated with a microscopic coating of clay (kaolin) and is what the National Geographic Magazine uses for those beautiful off set prints of photographs. Caution: because there is a thin coating of clay medium can be rubbed off easily and tends to smear. Matte: Paper with a matte coating that creates a smooth and silky non-reflective surface. A matted finish is easily impressionable and is good for relief printing and embossing. Linen: Linen finish paper is considered a classic and one of the oldest finishes. Resembling linen fabric, linen paper has an elegant texture that is especially fun for relief printing and crayon rubbings. Parchment: A smooth, buttery surface created from animal skins or pelt linings with a slight brownish color. Good for calligraphy and printmaking and book making. Not actually paper but there is artificial parchment made from paper. Satin/Silk: Resembling a tighter version of an oil painters canvas, this finish is aggressive but works wonderfully with oil pastel, chalk and crayon. DIFFERENT PAPER FOR DIFFERENT USES: We can also categorize paper by the preferred use of the paper in art production:
>DRAWING PAPER: Any paper that has enough tooth to bite off sufficient particles from a drawing material, such as graphite, to form a visible mark could be called a drawing paper. However, to be considered good, a drawing paper must be durable enough to take repeated erasure without serious damage to the surface. I should also take ink without bleeding or excessive absorption. In watercolor, the brush is the most important component; in oil paint, it is the paint; in drawing it is the paper. Each artist and art student should make his or her own experiments and comparisons among the varieties available in the major categories of drawing paper. There are five basic categories of drawing paper: Bristol, charcoal and pastel, drawing and sketching, bond, and graphics paper. 44
>WATERCOLOR PAPER: Watercolor surfaces have been around since before Tsai Lun developed papermaking in China in 105 A.D. Western watercolor paper as we know them today, were developed during the eighteenth century. James Whatman developed the first absorbent smooth surfaced watercolor paper in the 1750s by replacing the papermaking screen with a super fine mesh of very thin wires so fine it was called wire cloth. This paper was developed primarily for printing but turned out to be excellent for watercolor painting. Today there are still the three categories of paper developed by Whatman: hot press, cold press and rough. Good watercolor paper will probably have hard sizing. Sizing is particularly important for watercolor because it allows the color to stay on the surface while the water sinks in. >PRINT PAPERS: Some print papers are used for drawing and painting. Like watercolor papers, print papers are available in a range of sizes, quality and content. It can be hand-made, mold-made or machine-made. They differ from watercolor paper by having a softer surface and little or no sizing. They are ideal for printmaking but not very good for painting, drawing or watercolor. There are of course many other kinds of paper and there are volumes written on the qualities and variations and history of paper. We tend to disregard these subtle and not so subtle variations and opt for the cheap district copy paper. This is kind of like cooking using only one condiment like salt. It could end up being pretty boring. Some other kinds of paper are writing paper, cardstock, oak tag, matt board sketch paper, news print and colored/patterned origami paper to name a few. QUALITIES OF PAPER, LESSON
Objective: Students will demonstrate an understanding of the kinds and qualities of paper as art medium by drawing the same design on a variety of papers and using the same medium to color them and compare and contrast the results. Each student will write a brief critique of the results making a handmade book employing a variety of different papers and using them with appropriate art medium.
Materials: At least three or four different kinds of paper (try handmade, high quality rag watercolor, cardstock, velum, glossy surface, matt surface, textured surface and colored). For this project we will use good watercolor paper, copy paper, cardstock and a glossy surface paper. We will also need watercolor, marker pens, pencil or ballpoint pen. Process: Have students draw the same figure, shape, design or object on 3 or 4 different kinds of paper. Try to find papers that are different from each other. The more different they are the better. Have them watercolor each drawing the same (or as close as they can). The students will automatically make adjustments for the different qualities of paper. This is what artists do. If your papers are significantly different the product will also show variations in the way the medium (watercolor) works on a particular paper. This is the point. Students should then write a brief evaluation and description of how the different paper affected the medium they were using. They should address color, absorption, stability and ease of application. The test sheets can be displayed in a handmade booklet or mounted on a piece of matte board for future reference. Sources: Much of the information here comes for two old books of mine that may be out of print. Papermaking: A look into the History of an Ancient Craft, by Bo Rudin and The History of 45
Modern Paper, by H.H. Arnason and Elizabeth C. Mansfield. The Dictionary of Paper, by American Paper and Pulp Association. 1965. Some good websites are: www.learnhowtomakeit.com/paper.html en.wikipedia.org/wiki/Paper www.rbms.info/committees/bibliographic/paper/th343.htm www.biltpaper.com/atoz3.asp
Variations: There are of course other ways to do this. Try using a different medium like marker pens or colored pencils or even crayon and have students document the differences. Extensions: A small handmade book could be made of the test variations. Try the Brown Paper Bag QUALITIES OF PAPER LESSON EXAMPLES These students tested five different qualities of paper. They tested copy paper, cardstock, rag paper, semi-gloss and super gloss (kaolin coated) papers. Kevin tested 5 different qualities of paper with
watercolor.
Kevin 6th grade I used watercolor on 5 kinds of paper. The copy paper soaked up all the water and made it look dull. It wrinkled up the paper. The rag paper looked the best for watercolors. It kept the paint even and had the best color. The super gloss was the worst type of paper for watercolor because it pushed out the paint and ran all over the place. Semi-gloss sort of soaked in the water and left the stroke marks on the paper. I couldnt get a smooth color. Cardstock really soaked up the paint and 46
made the color really light even after 3 coats of paint. Hannah 6th grade I used colored pencil and five different kinds of paper to test it out. My favorite was cardstock and semi gloss and the worst was the super gloss paper. The copy paper felt pretty good to use colored pencils on. The rag paper felt a bit weird to use. I did like the textures it showed but it was the same all over. Now I know why you are supposed to use watercolor on rag paper. Cardstock felt just like using the copy paper but in my opinion the cardstock had a better result that the copy paper. The colors were brighter and easier to get. The semi-gloss had to have been one of the better papers to use for colored pencils. The colors stand out and a lot more than they normally did on the copy paper. Super-gloss paper sucked. It looks so good when you get it but its not good for colored pencil. I had to do about three layers just to be able to see the colors and these are good Prismacolor pencils. Even after that they didnt look good at all. Ill be sure to avoid this paper next time. I asked my teacher what good the super-gloss paper was and he showed me how to print a photograph on this paper and it was really super and much better for printing than the others. Some of the students collected their tests in small hand made booklets for future reference. The booklets were made from small brown paper bag and stitched together with yarn, jute or decorative twine. Brown Paper Bag Booklet
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Another Example of a Brown Paper Bag Booklet
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DANISH PAPER CUTS
Elementary Visual Arts/Holiday Lesson by Louise Nickelson OBJECTIVES Students will develop an appreciation for folk arts by learning about the history of paper cutting. Students will demonstrate their understanding by creating Danish-style heart baskets and/or cut paper scenes. Students will practice safe and careful paper cutting skills and improve their ability to follow instructions.
STATE CORE OBJECTIVES Identify qualities of folk art, Contextualize art with the society that produces it, Build Skills with scissors, glue and design, Create own design.
MATERIALS For heart baskets: (see other variations for material lists) Images of paper cuts from various cultures, on CD Colored paper, 2 different colors (Slick paper is easiest to usepaper for origami or good-quality wrapping paper both work well. You can use construction paper, but its harder to weave.) Scissors, glue An example of a heart basket (this will also give you a chance to be sure you understand the directions) LESSON Show the class some images of various paper cuts and give the students some historical background information. The History of Paper Cutting Cutting paper into designs is a tradition in many countries. The oldest paper cut that has survived is from the 6th century in Xinjiang China[1]. By the eighth or ninth century paper cuttings appeared in West Asia and in Turkey by the 16th century. Within a century, paper cutting was being done in most of middle Europe. 49
Paper cutting came as a natural extension of leather sheet cutting and silver or copper foil cutting. We know, from archeology excavations, that such art was already practiced during the 5th century BC. Each country has different traditions, but many of them are associated with particular celebrations, such as Christmas.
In Denmark, paper heart-shaped baskets are traditional ornaments, and cut paper scenes and mobiles are common decorations. The most common Danish paper cut is a heart basket.
Some Danes say it a symbol of the heart of Christmas (love and respect) and was invented by Hans Christian Andersen in 1867 (or 1860). During Christmas, the hearts were filled with treats (nuts, candy or dried fruit) and these were the only gifts the children received many years ago after their Christmas ring dance with singing around the tree. The Danes are master paper cutters and have devised several special patterns for these heart baskets. http://www. daughtersofnorway.org/crafts_papr.html ACTIVITY Ask the students to respond to the various paper cuts. Ask them what is similar about the paper cuts and what different. How might the paper cuts reflect the culture that makes them? Explain that they are going to make Danish heart baskets. Directions are on the next page. All patterns are at the end of the lesson A more complicated heart can be made by cutting twice in from the fold, an equal distance apart. First you weave one flap: hook over, in between, hook over. Then the second: inbetween, hook over, inbetween. The third flap is woven in the same way as the first flap. You can vary the appearance by making 4 or 6 flaps, or with a wide central flap and two narrow outer flaps, or vice versa. (see example, next page). VARIATION 1 Allow the students to color a design on the basket paper especially useful if you only have one color of paper.
VARIATION 2 The heart baskets can have slightly to much-more complicated shapes. Make more the cut lines wavy, or use one of the patterns from this web site, or design your own. I have included 2 rather simple ones and an image of what they look like when theyre put together. http://www.haabet.dk/users/julehjerter/figure.html
Paper Scenes
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Directions for a paper heart basket:
1. You need two pieces of smooth paper, each a different color. The folding and cutting instructions are the same for both pieces. Fold each piece in half, colored side out (if the two sides are different colors). From the fold and upwards, mark off a square (to the broken line). 2. Taking the top of the square as the diameter draw a semi-circle above the square with a compass or by tracing something circular such as a glass. Cut off the shaded portion, cutting through both layers of paper. 3. In the two folded pieces of paper, cut from the exact middle of the fold up to and just past the top edge of the square. If you use heavy paper, the cuts must go a bit higher, especially if you are doing more than one cut per half. 4. To assemble the basket, slide B inside C and then slide C inside A. Next, slide D inside B and 51
MATERIALS Construction paper or cardstock Heavy thread or thin yarn Large needles or small hole punch Scissors or craft knives such as Xacto, or Fiskars detail knives Boards or cardboard to cut on
After introducing paper cutting as an art form, show the class some examples of traditional Danish paper mobiles and scenes. Have students identify what the artists have done to make these artworks successful. For example, many of the mobiles use very simple shapes, relying on the repeated shapes and/or variations in color for their interest. Plus they move!
Mobiles are a traditional craft in Denmark, but Christian Flensted and his wife Grethe created the modern mobile in 1954. Their first design, the Stork mobile, was a great success, and now flies all over the world. http://www.driftliving.co.uk/products/view/flensted-mobiles http://www.giftsofnorway.com/noname12.html http://www.livingly.dk/pages/produktsider/jul.html Christmas Mobiles by Anni & Bent Knudsen and others http://www.livingly.dk/pages/produktsider/ design.html http://www.livingly.dk/pages/koldinghus_en.html http://www.livingly.dk/pages/ produktsider/easter.html More complicated: http://www. swedensfinest.com/danish-papercutmobiles.aspx mobiles http://haabet.dk/users/julehjerter/print. html http://www.amazon.com/s/ ref=bl_sr_baby-products?_encodin g=UTF8&node=165796011&fieldbrandtextbin=Flensted%20Mobiles
One common theme in traditional papercutting is a window that shows a scene inside or outside the house or has objects or animals sitting on the windowsill. Show the students some examples and have them identify what makes the scenes successful. (For example, simple shapes, 3-4 colors of paper, balance (you may want to talk about symmetrical and asymmetrical balance), a theme or central idea.) Have the students choose what they would show through a window. They should fold a paper in half lengthwise (hot dog fold) and then in half width wise (hamburger fold). In each of the four spaces, students will sketch their idea for a scene. Each sketch must be slightly different from 52
the last one. Students will then need to make drawings of each piece of their scene. You may want to limit the number of shapes the students will cut out.
When their designs are finished, students should carefully draw the shapes on the appropriate colored paper and carefully cut each shape out. Its easiest if the shapes are drawn on the wrong side of the paper although that will reverse the design. Assemble the scenes by putting small amounts of glue on the frame shape where it overlaps the other shapes. Add a string to the top for hanging. Display the shapes in a window or against a plain background. Younger students can be given completion points. Older students can evaluate their scenes using a simple rubric such as the following: I made 4 sketches I carefully cut out each shape The glue is hidden The scene looks good, overall
VARIATION Mobiles Balance in Action Show the class examples of traditional mobiles instead of the scenes. Use the basic approach from the lesson to discuss. In addition to cardstock, you will need narrow but strong wire and needle nose pliers.
Have students design the individual pieces of their mobiles and cut them out. Remind the students to consider how they will balance the mobile. Two small items may balance a large one, they can all be the same size, and they can adjust the position of the tie on the line. Cut the lengths of wire 1-1/2 longer than the finished length you will need. Using the pliers, bend the ends to form a small loop, then bend the loop down. Assemble the mobiles, sliding the ties so that each segment is balanced. Once the individual sections of the mobile are balanced, mark where the line goes and make a very small bend up on one side just before the mark and a bend down just after, so the finished wire looks like the illustration. Or, leave the mobile wire straight and adjust it after its hung. VARIATION Paper Cuts in Action
Show the class examples of the Hans Christian Andersen paper cuts. http://wayback.kb.dk:8080/wayback-1.4.2/ wayback/20100107153228/http://www2.kb.dk/ elib/mss/hcaklip/index-en.htm Have students identify an action they want to illustrate in a paper cut. If they have not done gesture 53
Fold an 8 x 11 piece of paper lengthwise and align the bottom edge of the pattern with the papers fold. You can get 4 patterns per page, or enough for two baskets.
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This pattern also by Peter
When you assemble this basket, make sure the rounded part is turned up on both pieces. Otherwise, the small heart in the center will be turned sideways.
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OK WHAT IS IT? Lets Be Engineers
4th - 6th Grades Visual Art Lesson by Vicki Gehring OBJECTIVES Students will learn to work with the quality of their paper and use some engineering strategies to create free standing animal shape sculptures. They will experiment with the properties of proportion and balance. UTAH STATE VISUAL ARTS CORE Using knowledge of structures and functions
MATERIALS cardstock or tag board, 2 sheets for each student, scissors, glue, pencils and markers, pictures of: 2 Alexander Calder sculptures (http://digilogue.jalbum.net/Alexander-Caulder/) Images on CD: monster truck, elephant, giraffe Tacoma Narrows Bridge see video at http://commons.wikimedia.org/wiki/File:Tacoma_Narrows_ Bridge_destruction.ogg Additional photos of animals The Tacoma Narrows Bridge Collapsing in 7 November 1940. Uploaddate 17 January 2010 public domain http://commons.wikimedia.org/wiki/ File:Tacoma-narrows-bridge-collapse.jpg LESSON Show the picture of the Tacoma Narrows Bridge (nick named Galloping Gurtie). Ask the students what is happening to the bridge. Explain that the bridge fell down because the engineers who designed it did not plan well enough for the stress strong winds would create.
Show the pictures of the elephant, the giraffe, and the monster truck. Ask: What is it about the elephant that makes it possible for it to successfully carry its weight? How does the shape of the giraffe make it able to hold up such a long neck? Why does this monster truck have such big wheels? 57
Tell the students that one of the things engineers do when they are going to build something is to decide what the proportions need to be and what kind of materials need to be used. For example, one of the reasons the Tacoma Narrows Bridge broke was because there was too much distance between the supports (proportion) and there was not enough strength in the cables (property of the material).
Show the Alexander Calder picture and explain that he was an artist who liked to create fun shapes. He used animal shapes in these sculptures, but he is not trying to make them look real. He mostly worked with metal, but even though the material he was using was strong, he had to think about how to create a shape that would stand on its own and look good. In other words, have both physical and visual balance. He had to consider the strength of the material he was using as well as the proportions that would make his sculpture look good. ACTIVITY Tell the students they will be working with stiff paper instead of metal like Alexander Calder, but they are going to create an animal shape that can stand on its own and be interesting to look at.
Step 1: Students will get supplies. Step 2: Fold one piece of paper hot dog style (long edges together) and cut out a body shape Step 3: Draw and cut out body parts: legs, neck, head, tail). Remind the students to consider proportions and that the legs are going to have to hold up the weight of the body and all the other parts that are attached. Step 4: students will decorate or color all the parts. Step 5: Students will glue on all the parts to the body. Step 6: Students will figure out what needs to be done to make the sculpture stand on its own. (This is the engineering part. As much as possible, let the students work together to figure this out on their own.) Note: Some ways of helping the figures stand are to bend the feet out or in, attach strips of paper underneath to hold the figure together, make the legs larger, glue extra paper on the legs to double the strength, put extra paper or a larger tail on the
Alexander Calder, Giraffe Educational Fair Use http://digilogue.jalbum.net/Alexander-Caulder/
back if the head is too heavy, etc.)
ASSESSMENT Discuss with the students what they had to do to create a balanced sculpture. Did they have to change 58

SCRAP PAPER MOBILES Lets Get Modern
Elementary Visual Arts Lesson by Vicki Gehring OBJECTIVE Students will learn about actual and visual balance and demonstrate their understanding by creating a scrap paper mobile. Students will explore aesthetic decisions as they design their mobiles. UTAH STATE VISUAL ARTS CORE Understanding and applying media, techniques, and processes
MATERIALS strips or other leftover pieces of construction paper or any other colored paper scissors (optional) glue sticks (staples can be used but the finished product is not as attractive) string paper clips or tape a hole punch a scale if available, or a simple set up to demonstrate actual balance objects of varying weights three pictures of visual balance (see teacher prep) a work of art that illustrates balance such as Dennis Smiths sculpture, above, (on CD) or a 2-D piece like Riders of the Range, by Paul Salisbury (SMA Elementary Poster Set)
Teacher preparation: Make a simple example of a mobile. Make three visual balance samples by putting two same size circles on each side of one piece of paper and on another piece of paper a small and large circle, and one with two small on one side and one large on the other side. Make a decision about where to display the mobiles so they will be able to hang freely and be moved by air currents LESSON Discuss and demonstrate actual balance by using a scale or other set up and various objects of different weights. Discuss why it is important to understand actual balance and what circumstances would require this understanding such as when using a ladder, or carrying a bunch of objects of different weights, etc. Show the visual balance samples. Ask which one of these looks balanced? Why? Explain that artists understand and use balance, and show or another work of art that depicts visual balance. 59
Tell the students that they are going to create a mobile using scrap paper that will have to have both actual and visual balance. Show your example, and explain that this kind of sculpture is called a mobile because it will be hanging in the air from a piece of string and will be moved around by air currents. Explain that a mobile is 3-dimensional art which means it will be seen on all sides so there should be no back or front and the mobile should therefore be interesting to look at from all angles. (visual balance) ACTIVITY Tell students they will have more success creating actual balance if they choose a large piece of scrap paper for the center or core of their sculpture. Explain the one rule: no paper chains. Have the students choose a variety of colored paper scraps, and get the scissors (optional) and glue and tell them to write their name on one of the scraps they will be using. When the student is finished have him/her decide where the top is. Punch a hole and attach a piece of string and hang up using either a paper clip or tape.
ASSESSMENT Is the mobile interesting from all angles? Did the student create actual balance? Discuss the kind of decisions the students had to make in order to create a successful mobile.
Note: Although color balance was not an actual element of the lesson, it could be an item of discussion if there is time and if some of the students have used some interesting color configurations in their mobile.
EXTENSION for Elementary Use this process to create new and modern holiday decorations by choosing paper in colors that relate to and with, perhaps, some shapes of the season. http://samizdatblog.blogspot.com/2010/07/small-local-festivals-calders-mobiles.html The two web sites listed below show Alexander Calder holding up a mobile to check the balance. http://laekhouse.blogspot.com/2009/03/acalder-and-abstract-mobiles.html http://gscsart.files.wordpress.com/2010/04/201a6e6a1da20251_large.jpg Examples of Calder-type mobile http://salamanderart.wordpress.com/2008/11/11/calder-mobile/ 60

ANIMAL SILHOUETTES
Elementary Visual Arts Lesson by Louise Nickelson OBJECTIVES Students will learn what a silhouette is and about the history of silhouette making. Students will practice using basic shapes to create an animal silhouette, cut it out, and mount it on a background. Students may be asked to consider the proportions of the animals as well as style. UTAH STATE CORE STANDARDS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.
MATERIALS copies or images of silhouettes, including the animal ones (on CD) Because the silhouettes are such simple, contrasting images, you could print copies to show the class instead of projecting them. copies of simple drawings of animals like the ones on these sites: (http://community.pencils.com/journals/ artistmatty/multiple-sketches-animals or http:// bluewolf487.deviantart.com/art/Animal-Drawings-09-118204050) black construction paper copy paper pencils gluesticks or glue scissors optional: a silhouette of someone in the class or of someone the students will recognize
Show the class an example or image of a silhouette and ask whether any students know what it is called. Show other examples as you present some information about the history of silhouette making. (see Background Info) 61
Show the class the silhouettes of animals last and ask the students to identify the different animals. Ask them to think about how we can tell which animal is which simply from their silhouette. Then explain that each student will make an animal silhouette. Have examples of animals available for students to look at, but let students make theirs without reference to the animal pictures if they choose. Have students fold the copy paper in half one way and then in half the other way to indicate 4 planning spaces. They should make a sketch of the animal they want to make in one space, and then use the other spaces to try variations of the animal design. Depending on the students ages, you can have them look at the gesture of the animal silhouettes some look like they are running or walking. Have the students figure out how to make their animal look like it is moving. When students have a design they are happy with (you may want to point out that they can make changes to their sketches over the top, without erasing, since they are planning sketches), they can transfer the design to a piece of black construction paper. Remind the students they will need to be careful as they cut out the animal shapes. Once the silhouette is finished, students should glue it to a backing of white or light-colored paper.
ASSESSMENT You can assess the silhouettes merely for completeness, or you can add criteria such as the following: Is the silhouette a recognizable animal shape? Is the silhouette carefully cut out? Has the silhouette been glued to an appropriate background? Did the student put away extra supplies and materials?
EXTENSIONLiteracy/Drama Have the students attach popsicle or tongue depressors to the back of their silhouettes instead of mounting them on paper. The silhouettes then can be used as puppets, to act out stories. If you choose to make the silhouettes into shadow puppets, you may want students to make up simple stories in groups and then act them out for the class. A table with a sheet over it works as a stage. Another possibility is to choose a few stories the class has been reading, divide the students into groups and have them make the shadow puppets for acting out the stories.
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Background Information A silhouette is the image of a person, an object, or a scene that shows only the outline. Most silhouettes are black. Before photography, silhouettes were very popular as an inexpensive way to own a portrait. Most silhouettes of people show the side view, called the profile. The profile is easy to recognize even though the silhouette has no features or details. The most popular way to create silhouettes is to cut the shape from black paper and mount it on white paper. In America, silhouettes were very popular until cameras were invented. However, traveling silhouette artists still existed, many of them making a living by traveling to places like state fairs. These artists would simply look at a person and cut that persons silhouette out freehand. More recently, people who were not artists made silhouettes by copying the shadow thrown by an opaque projector or other strong light source onto a piece of paper pinned to a wall. Ironically, some
A traditional silhouette portrait of the late 18th century
The traditional method of making a silhouette portrait
Information and images from http://en.wikipedia.org/wiki/Silhouettes
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PRINTMAKING
Elementary Visual Arts Lesson with Secondary Version by Louise Nickelson OBJECTIVES Students will learn the difference between a drawing and a print. Students will learn the process of making a simple print and will demonstrate that understanding by creating a print based on a design of their own creation. Students will demonstrate their understanding of the elements and principles of design in their print. Students will discuss the role of printmaking in visual culture. UTAH STATE VISUAL ARTS CORE Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning. MATERIALS A 4 x 4 piece of craft foam for each student (or use Styrofoam meat trays or the center of Styrofoam plates) Pencils Copy paper Printing ink or poster paint? (need to try) Brayer(s) more than one brayer and sheet of Plexiglass will make the printing go faster Plexiglass sheet(s) Newsprint or scrap paper for putting under the print while its inked. Art images: 1 example of a drawing such as Profile of a Young Girl by A. B. Wright; Desert Summer by Nadine Barton; Desert II by Royden Card; The Egg, the Owl, and the Fish by James Christensen; Killer Bee and Mountains by Harry Taylor You will need to make 1 sample of a good print and 1 sample that has problems* LESSON
Harry Taylor, Mountains SMA Collection
Show the class the images of drawings and agree on a definition. Then explain what a print is and show the class the images of prints. You will probably find that many times, when youre looking at 65
pictures of artworks, its hard to tell the difference between a print and a drawing unless you have a very-high quality image. Explain that there are different ways to make prints: The artist cuts into, draws on, or engraves a plate piece of wood, or stone, which is inked and used to print the design. Show the students what you mean by making a very simple example. Explain that prints are often made in sets, called an edition. Although you used a pencil to draw into a piece of foam, artists may use sharp tools to cut a design into wood, show the print by (Royden Card Desert II). Artists may put a coat of asphaltum (similar to the asphalt they use to repair cracks in roads) on a sheet of metal, draw into the asphaltum (so they cut away the asphaltum) and then use acid to etch or eat a design into the metal plate everywhere there is no longer asphaltum, or they may use a special greasy pencil to draw on a special stone. (Show the class the print by Jenni Christensen Blue Magnolias XII, see on RIGHT). For images of the process, go to http://www.wretchedetcher.com/etching-tutorial/etching-hard-ground. html.
Sometimes a print is just one color on paper. Show the students your examplethe areas where you drew are white, and the rest of the print is the color of the ink or paint, just like Royden Cards. Also show the class how the print is the reverse image of the printing plate of craft foam. Sometimes the plate may have areas with different colors or the artist may use many different stones or plates, one for each different color.
Royden Card, Desert II SMA Collection
You will want to talk to the students about the design of the print. Simple line drawings without detail work best. Show them your bad example if you made one. Pass out the copy paper and have the students fold it in half each direction so they have four planning spaces. The students should make one sketch in each space, each sketch a little different. Ask students to evaluate their designs to make sure they will print well, and if not, to make changes. Students can transfer the design to the foam by putting the paper over the foam and drawing on the lines, pressing hard enough to indent the foam. They will probably need to go over the design without the paper, once the lines have been transferred. Or, students can just use their drawing as a reference and make the drawing on the foam freehand. Caution the students to press hard enough to make a definite indentation but not so hard they tear the foam. (You can warn students beforehand that they each will get one piece of foam.) Once students have checked their foam plate to make sure the foam is indented, they can print the 66
foam. Older students may be able to do this with someone just overseeing the process. Younger students will need help or someone older to put the ink on the foam. (This process is not hard, and volunteers or older students can be shown how to do it in just a few minutes.) Ink the foam by squeezing out a tablespoon of ink onto the Plexiglass and running the brayer back and forth over the ink, spreading it out until it coats the brayer evenly. Once you have tried it, you can tell when the ink is ready. Carefully roll the brayer over the foam plate, making an even coating. Have the students place a piece Student Example of paper over the inked foam and use their http://wendypolish.com/blog/page/2 fingers or the back of a spoon to rub over the paper. They need to rub hard enough to transfer the ink but not so hard they push ink into the indented lines. Have a place for students to put the prints while they dry. Once dry, each student should sign his or her name and put the date at the bottom of the print.
Since the printing is time consuming, especially if you only have one brayer and sheet of Plexiglass, you will want to have other things for the students who are waiting to print to do. You may want to do the printing on a separate day. * If you make a drawing on a piece of foam that has lines very close together, a word that isnt backwards, and an area that you tried to make a large section indented (so it will be white) and then print it, you can show the students that those techniques dont work well. When students are finished with their prints, have them discuss the pros and cons of the process and identify ways printing is used in visual culture, such as to make posters.
ASSESSMENT Younger students can be assessed on whether they completed the assignment. Your biggest problem will be students who say they are done when they havent completed all the steps. You can deal with this by repeating the steps or making a list of them, i.e. Four sketches completed, the chosen sketch evaluated for how well it will print, the design transferred to the foam, and any lines that are not deep enough indented more, one high-quality print. Older students can be evaluated using a simple rubric you use in your class such as smiley faces, or using criteria you discuss with the class, based on how well they have completed the various steps outlined. VARIATIONS Use a holiday theme and print on a sheet of paper thats big enough to fold so it makes a card. 67
Relate the designs to a subject your class is studying such as plants, animals, places, self-portraits, etc.
Use a theme for your prints such as Letters of the Alphabet.
Focus on a particular element or principle of design, such as balance or rhythm. Older students can make an edition of 3 or 5 prints, depending on time and resources. Each print in the edition should be as high quality as possible.
Once students know how to print, they can make a variation by putting 2-3 colors of ink on the Plexiglass, spaced a little apart and create a blend that transitions from one color to another. (see example) SECONDARY VERSION
Print based on Aboriginal Art http://kezs-blog.blogspot.com/2010/10/aboriginal-artprintmaking-workshop.html
Use the examples of prints from the CD and others you find on the Internet or have images of to discuss printmaking. Based on whatever equipment you have, assign the students to create prints. This lesson can focus purely on understanding the printmaking process, can be a way to use design and drawing skills, can give students another medium to explore, or can be used for a more specific purpose such as exploring line quality or negative and positive shapes. You will need to create a rubric based on what your students can do as far as type of print and the assignment you choose. Or, use or modify the one included here. High School Student Examples of Block Printing using lino blocks Students from Owyhee Combined Schools
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Printmaking Rubric
CATEGORY 4 Understanding of The student can define the term Media printmaking and tell
how it differs from two other media. S(he) can also name at least 5 things that make a print more powerful or attractive.
3
The student can define the term printmaking and tell how it differs from two other media. S(he) can also name at 3-4 things that make a print more powerful or attractive. One or two of the graphics or objects used in the print reflect student creativity in their creation and/or display. The print shows attention to construction. The items are neatly trimmed. A few barely noticeable stray marks, smudges or stains are present. Print is mostly aligned. Class time was used wisely. Student could have put in more time and effort at home.
2
The student can define the term printmaking and tell how it differs from two other media. S(he) can also name at least 1-2 things that make a print more powerful or attractive. One or two graphics or objects were made or customized by the student, but the ideas were typical rather than creative
1
The student has trouble defining the term printmaking and describing how it differs from other media AND/OR the student cannot describe how to make a print more powerful or attractive. The student did not make or customize any of the items on the print.
Creativity
Several of the graphics or objects used in the print reflect an exceptional degree of student creativity in their creation and/or display The print shows considerable attention to construction. The items are neatly trimmed. There are no stray marks, smudges. Print is carefully aligned and labeled. Class time was used wisely. Much time and effort went into the planning and design of the print. It is clear the student worked at home as well as at school.
Quality of Construction
The print shows some attention to construction. Most items are neatly trimmed. A few barely noticeable stray marks, smudges or stains are present. Some of the print is aligned. Class time was not always used wisely, but student did do some additional work at home.
The print was put together sloppily. Items appear to be just slapped on. Smudges, stains, rips, uneven edges, and/or stray marks are evident. Print colors are not aligned properly Class time was not used wisely and the student put in no additional effort.
Time and Effort
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HOW TO GET STUDENTS TO OVERCOME THEIR FEAR OF DRAWING
by Joseph Germaine Years ago I started a program at my Elementary School called Art Search. It was designed for gifted and talented students back when it was o.k. to identify gifted students. It was a before and after school art program, and I was expected to write an official statement as to the nature of being gifted in art to get the program funded. It took me over a year to figure out what the talent in art was. Finally I submitted a document that stated that any student who was willing to come to school an hour and half early on a cold wintery morning exhibited the gift for art. It was suggested that I be more specific so I answered, The gift and the talent in art is COURAGE. To be more specific, tenacity and perseverance with a large dose of curiosity. There are students who do not naturally exhibit that kind of courage. So I had to ask what is that kind of courage? It seemed to me that the personality quality that kept students from performing in the arts must be PERFORMANCE ANXIETY. Sohow to get students to overcome their fear of drawing? Try getting them to overcome their anxiety and fear of performance. All art and all learning is a kind of performance. These are the same students, regardless of aptitude, who cannot tolerate criticism. Many of us pick and choose our strengths and avoid our weaknesses. So here are a few classroom strategies. ONE RESOUNDING FAILURE IS WORTH 10,000 MEDIOCRE SUCCESSES: The most important idea in overcoming performance anxiety is that all growth comes from overcoming mistakes and failure. Share with students the idea that the only way to learn to walk is to fall down. Any child who is unwilling to fall down will never let go of the sofa or the coffee table long enough to fall down or long enough to learn to walk. It is the courage to fall down that allows us to learn to walk. We do it in all aspects of our life. Walking, talking, potty training, the first two wheeler without training wheels, school locker combinations and drivers licenses are all examples of starting your success with what you cant do. Failure can be a great teacher. To avoid failure at all costs is to avoid the possibility of success. It is hard to convince certain personalities of this truth. Point out to the students that the first time they tried to write their name it was not necessarily the best they could ever do. It was something they could and would LEARN to improve.
Fearful students learn to avoid mistakes or public embarrassment by not participating from adults and the family environment, and this is frequently re-enforced by teachers and peers who also practice avoidance of public art performance. Always demonstrate at whatever level of competence you can master. There is no excellence in art without effort and repetition. Please let your mistakes hang out there for all to see. It is liberating and cathartic and not a judgment on your character or worth as a person. One way to teach timid art students how to overcome this fear is for the teacher to draw on the whiteboard with a dry-erase marker held in the mouth. By holding the marker in ones mouth it is assured that it wont be a very good rendition of the drawing. Try to draw something specific and tell students what it is before you start. By doing it in front of the class and having the children laugh with you about your inability you are modeling that it is o.k. not to be good at 71
something but persistence will pay off. You are also modeling that it is fun to try new and difficult things even if it doesnt turn out well at first. Have students come to the board and do their own mouth drawings make a game of it. Have students use a ballpoint pen and hold it in their mouths and draw and make a fun game of this also (use Clorox or disinfectant wet wipes to clean the pens). Have students draw with their non-dominate (right or left) hand. Give specific assignments like, Draw a person or draw a flower. There is security in a specific assignment. Have students do blind drawings wearing blindfolds. Make it a game and have fun with the inaccuracy. Have students invent their own subject to draw using the handicapped technique. Making mistakes with grace and humor is an important strategy for the good life. Avoiding a challenge is not!
My experience is that this avoiding mistakes, behavior is taught by parents and teachers. Never being wrong about anything, including drawing, is not the source of authority for a sincere teacher. Being a committed, life-long learner who has mastered the learning craft is! Demonstrate to your students how to learn from mistakes and inabilities and how to learn what you dont all ready know. TALENT DAY:
We designate one class a week as talent day. The idea is to get students more comfortable with performing in front of their peers. There is always a percentage of the class who love to be in front of everyone, showing their stuff. The quality of the stuff seems incidental to these students need to perform. One way to recruit the more inhibited students is to have them work in groups. I have found that if I invite the more withdrawn students to perform with me, their comfort level rises considerably. Everyone gets applause and positive reinforcement. Each student is expected to talk about their talent in terms of Genre (music, dance, drama or visual art) and to discuss medium, motif, and authorship. The class is expected to ask the performer questions and create a dialogue. This disarms some students and sets up some for anxiety. Recognize the angst and help students recognize it so they can work through it. POSITIVE RE-ENFORCEMENT: Success is not the thing you do. Success is the way you feel about what you do. When giving positive encouragement make sure you are giving specifics about the artwork. We hang our childrens artwork on the refrigerator door because we love our children not necessarily because we admire the artwork. Try to find the positive success in the artwork and point it out to the student and have the student share it with the classmates. This is where exhibition plays an important role in art education. The last step in every successful art project is exhibition. It can be on the classroom wall, on the hall wall, or in the school art gallery. If you dont have a school gallery, make one. In fact, make several places where students can see successful work. Make sure the work is labeled with title, name, grade, and a short artists statement. This makes it personal and gives a big boost to the students confidence. Have a space to rotate Artist of the Day, Artist of the Week, Artist of the Month, and Artist of the Year. Break it down by grade or teacher. We want as many as possible to get highlighted. This is not the same as class exhibitions where everyone gets their effort on the wall. We usually do this just outside the classroom in the hall. These should also be labeled with artist statements. Do not use the teachers name except as in Mr. Germaines class. This gives the success to the teacher, who we all know needs the success also, but share it with the students. 72
I have several picture frames mounted permanently in my classroom and the artwork rotates daily, weekly, and monthly. Each student gets a standing ovation for his or her success. Any artwork created
at home and brought to school will be exhibited in our art studio classroom. We will all stand and applaud the performance. SOME STRATEGIES TO OVERCOME CRITICISM I teach art to Kindergarteners. I have taught pre-school art students. Nearly all children love to express themselves with the preliterate visual communication of line, shape, color, and texture. It is a natural. By the time they are in second grade several of the students have began to exhibit anxiety about their artwork. I dont know how to draw a horse. I cant do that. Somewhere since Kindergarten they have learned this way to avoid mistakes. Take the time to let them know that there is not just one way to do any of these projects and that what they do is the best place to start. Dont make the mistake of teaching them that it doesnt matter. It does matterthere just isnt a right or wrong here. It is only what you do. It may be perceived by the student as, Not what I wanted. We tend to see this as a failure instead of a learning opportunity.. It is just a step toward the success one expects of oneself.
By fourth grade, most students hit the external locus wall and want to retreat from criticism of their artwork. When I poll groups of teachers who say, I dont have any art talent,, or I cant draw, I ask them if they made art when they were young and unanimously they say, Yes, and I really enjoyed it! So when did you forget how? Of course you didnt forget how, you just started not feeling good about what you were doing. Why? Almost always teachers remember it was about fourth grade, maybe fifth grade, and many can actually recall the incident and name of the critic who told them, That dont look like a horse (or whatever). Well, here are some strategies to overcome the uninformed often mean spirited critic. ONE: Teach students to answer negative criticism like this, Horse? Thank you for recognizing what I was going for.
TWO: You thought there was a dead horse on my paper? No my friend, it is just lines and shapes and colors that are supposed to remind you of a horse, and I guess it did just that. Thank you for your encouragement and compliment.
Or, THREE: Learn to render an accurate anatomically precise drawing of a horse. This may seem difficult if you have never pursued this kind of drawing. It is this easy: Look at a horse until you can see it then draw what you see. The more you do this the more you can see. The more you can see, the more you can render it accurately. The talent is not in the drawing it is in the SEEING and this is mostly a learned behavior. Do you see what I mean? Seeing means to understand we do it with our minds.
Mastering the visual vocabulary of line, shape, value, color, and texture give the art student power and confidence just as mastering the alphabet gives power and confidence to the fledgling writer. Have anxious students do non-objective subject matter so there is no model to compare it to. It is only what it is. Compliment the students one their efforts and try to single out the hesitant artist in this manner. By the way, accurate rendering is an overrated visual trick in a world where realistic images can be captured as easily as pushing a button. This is not to say that you shouldnt learn how to see and draw what you see, its just that realistic rendering is only one of the many ways to express oneself visually. Be patient, be nurturing, but expect performance. 73
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AVOIDING SKETCHBOOK INTIMIDATION
Elementary Secondary Visual Arts Lesson by Louise Nickelson OBJECTIVES Students will understand the reasons artists sketch and how that process relates to finished artwork. Students will explore the benefits and drawbacks of using scrap paper to practice drawing on and will demonstrate their improved drawing skills by making a portfolio of their sketches. MATERIALS Images from the CD of Mahonri Young sketches, Hopi Snake Dance, and Da Winnah! Also, Minerva Teichert, Indians Pencils Scrap paper
Note: Mahonri Young, Bearded Man with Hat Some students do well with sketchbooks they have made BYU MOA or purchased, or with good drawing paper. Other students find themselves intimidated by all those perfect, blank pages. To help students let go of their concerns, have them use odds and ends of paper of various kinds. LESSON Show the class the images of Indians from Myrtles Task by Minerva Teichert and Hopi Snake Dance by Mahonri Young. Ask the students how the artists got so good at drawing. (Lots and lots of practice! Mahonri Young and Minerva Teichert, two Utah artists, drew all the time, on whatever surface was available. ) Show the class a couple of the sketches by Mahonri Young and ask the students to try to decide what kind of paper he used. Ask the class to consider why he didnt always use good drawing paper or a formal sketchbook. (You can also share the story of Minerva Teichert, who got one last look at the ranch she and her husband had owned just before the area was flooded by the water that was filling a new reservoir. She didnt have any paper with her, so she made a sketch on her apron.) Ask the students to point out qualities of sketches as opposed to finished artworks. (Done quickly, no attempt to include detail, feeling out the form by using repeated lines, more 75
Minerva Teichert, Detail From Indians SMA Collection
than one drawing on the same page, or more than one drawing of one part of the subject.) Finally, ask the students to think about the purpose of sketching and how it relates to finished artworks. Explain that BYU MOA has hundreds of sketches that Mahonri Young made of boxers like the one on the right. Then show the class the image of Da Winnah! and ask the students how Young used his sketching experience when he created sculptures.
Tell the students your class is going to try an experiment and try using all kinds of paper to sketch on. Assign the students to find scrap paper at home and use it for sketching (remind them to check with family members that they can use the paper). Have the students think about what and when they could draw. Assign them to make at least one sketch a week (older classes could do more). Have the students bring the sketches to school and keep them in a folder. After the students have several sketches, have them discuss what its like to use scrap paper. What are the advantages and drawbacks both for themselves, individually and for the sketches? (Some students may like it a lot and others dislike the process. Consider letting those students who have a favorable experience continue to use scrap paper.)
ASSESSMENT The most important factor in this assignment is participation. Give students credit for having met the criteria of a specific number of sketches and for using scrap paper and encourage them to have fun. VARIATIONS This process can be done in class as opposed or in addition to at home.
Mahonri M. Young, Da Winnah! SMA Collection
One of the images by Mahonri Young is of the conductor Arturo Toscinini (very famous) and the sketch is done on a program from a concert. How does knowing the sketch is on the concert program affect the sketch? Have students brainstorm ways they could use paper that relates to what they are drawing in some way. You can have the students bring specific paper or choose from what is available. Ask students to discuss the experience. They should consider any ways that using paper with some sort of tie to the subject affected how or what they drew. 76

GESTURE DRAWING
Visual Arts Lesson grades 46 by Cindy Clark Standard Element:LINE-- Teaching/Learning Goal: Making marks (gesture) and seeing the whole
Lesson Goal 1. Students will overcome fear of the blank page as they immediately put expressive marks on paper. 2. Students will SEE the image as a whole (mass) rather than a sum of parts (outlining) as they create gesture drawings. 3. Students will develop a sense of SPACE as they learn to use the whole paper. Key Words/Vocabulary 1. Gesturerapid and quick sizing up of the primary physical and expressive attitudes of a subject or object 2. Mass 3. Overlapping 4. Light and dark values of colors Materials Colored markers or crayons Large sheets of drawing paper Drawing boards and tape DVD The Dot, if available Book The Dot (but movie is better) Prior Knowledge and Experiences This is an introductory activity and is beneficial for students to use as they are beginning art, or need to loosen up and see the whole rather than the details. It is a good activity to help them realize that they can make marks and use space Preparation Helps Mahonri Young, Boxer Down for the Count BYU MOA Samples of gesture drawings, paper and supplies available for students AV Needs:, computer, projector, screen, and table sturdy enough for teacher to stand on. Room Arrangement Preference --All students need to face the table where the teacher stands.
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Procedures (Lesson Activities) 1. Show THE DOT by Peter Reynolds (available on amazon for $4.50$8.53). [This book is the story of a little girl who doesnt think she can draw and what happens to her as she draws.] Explain that everyone can do art if they keep at it. ATTITUDE is the most important thing in art. And commitment. Notice how once she changed her attitude, she became a great artist by sticking to it and developing her skills. Notice how she expanded her thinking by creating many solutions or different ways to show a dot, even by painting where the dot wasnt. This is divergent, creative thinking. Tell the children WHY visual arts are so important in their future. Explain to them that ART can help them become creative problem solvers, with a chance to excel in the work force of tomorrow.
2. Arrange students so that they can see the teachers desk or table from a front view. (Students cannot turn around or look sideways). Give them a drawing board, crayon or marker, and large sheet of paper folded in half to make a four-page book. Explain what students are going to do: Create a gesture drawing. Explain that a gesture drawing is QUICK, RAPID, and SHOWS THE WHOLE MASS. Students may not understand MASS, so explain that mass is the whole thing at once, not the little parts. They wont have TIME to do the little parts because they are only going to have 20 seconds. Students will be like a camera and try to freeze the moment. Show students what gesture drawing IS. (The teacher will need to draw on the board and not be afraid of SHOWING students how to do a gesture drawing). Show students what gesture drawing is NOT. Drawings should NOT contain CSI murdered body outlines, sausage figures, same directional lines, or filled-in stick figures. Students should use their whole arm, multi-directional scribble lines, and fill the whole space. 3. Next, the teacher or assistant stands on a table and creates an interesting pose. Students are given 20 seconds to draw the pose on the first side of the paper.
http://kms.kapalama.ksbe.edu/art/lessons/03line/l03_line.html
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4. After 20 seconds, the teacher asks students to hold up their drawing so he/she can see them. At this point, the teacher can assess if students understand the directions. Demonstrate on the board a figure that looks too small. Have students look at their drawings and see if they have filled in the whole space. If they think their drawing is too small, have them write
5. Have students try another gesture drawing on the second page (back of the first) filling the WHOLE SPACE, using scribble lines to show the MASS, without outlining. Have students check again. If they have created outlines, not filled the whole space, or used outlines instead of scribble lines, have them write on their pictures Mahonri Young, Boxers, BYU MOA again to remind them. Some students really have a hard time filling the whole space, so keep reminding them. Praise them when they draw LARGE. Help them develop a sense of SPACE. (This is the horse whisperer partguiding, gently showing, directing). EXTENSION for older or more experienced students Try capturing the gesture of a motion by putting 3-4 gesture drawings overlapping each other.
draw larger next time on their paper so they will remember. This way they can self-assess. If they have created outlines, have them write on their picture no outlines--show mass or the WHOLE, or no outlining or no sausage figures, etc.
Gesture of someone bowling

http://kellhighschool.typepad. com/laquaglia/2010/09/gesturedrawing.html
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THE UPCYCLED LIVES OF PAPER
Elementary Visual Arts Lesson By Brenda Beyal I was lucky enough to have a principal who worried about the excess use of paper in our schools long before it became being environmentally conscious. He had us use both sides of the paper, think twice about whether a worksheet was necessary and use donated paper from printing companies. Since then recycling has become a part of my teaching priorities. In the last decade a new term has emerged, upcycling. Upcycling is the process in which waste is converted into new product. I have had a fun journey into upcycling paper. It has lead me to create books that are primarily made from recycled or found paper that would have otherwise been put in the waste basket in most classrooms and in the recycling box in others. Here are two upcycled lives of paper that can be use in schools and other places. The projects are familiar with a thoughtful effort to giving another life to the paper so easily discarded. Simple fold notebook: this project starts with any kind of paper you have that can be used again. My husband was a project manager for a construction company and he had access to many drawing plans. He threw them in the recycling bin and I fished them out and cut them to use for this project. You can also use clean sheets of paper but finding paper is much more gratifying and it adds character to the book. MATERIALS Any size paper: Lightweight works best. (You will need to fold it). I use standard size or legal size. Cardboard or chipboard: I have my students bring in cereal boxes. They work perfectly. Glue stick Scissors
Folding the book: This book can be used for book responses, nature journals and many other learning projects. Learn how to make the book, and then have the students make their own. Fold your paper in half lengthwise. Open the paper back up and fold in half widthwise. Keeping the paper folded, fold one side back on itself to the center fold. Then repeat the process for the other side. Unfold and refold on the lengthwise fold. With the folded edge away from you, and the open end toward you, number each box, 1, 2, 3, 4. Flipping over the paper and making sure the folded side is still away from, you number the boxes starting from the left, the first box 5 and the second 6. These are the number of small pages available for the book. When you completely unfold the paper, you have the whole paper for a picture, diagram etc. At this point it is good to decide on the contents of your book. I used mine to journal a nature The folded sheet of paper 81
field trip, a water cycle review, and a mini history journal. There are all kinds of possibilities. The book can be finished with blank pages or the book can be assembled after the pages have been written on. I have done both. Finishing the book: Fold your book in half on the widthwise fold. Use your scissors to cut from the center to the second fold line. Unfold so the paper is completely unfolded. You will have a slit in the middle of the paper. Fold your paper lengthwise on the fold. The paper will come together with a hole in the middle. I call it the mouth of the paper. Holding on to the sides of the paper, bring your hands together to form an x with the paper. Fold it over on itself and you have a book.
ABOVE: Cutting to the fold LEFT TOP: Fold the paper into a mouth shape LEFT BOTTOM: Finished book Making the cover for the book: Using a cereal box, chipboard or heavy cardstock, cut two covers for the book about 1/8 inch bigger than one page of your book. Glue the two pages onto a large paper about 1/8 inch apart in the middle. Cut around the board, leaving at least inch of paper on each side. Cut paper on a diagonal at each corner. Fold over and glue each side down. Glue your book into the book cover. Youre done! Upcycled books: About a year ago, I found some discarded old library books in the storage area of our school. I asked the librarian what she planned to do with them. She said some of the books were outdated, some gave inaccurate information, and others were beyond repair. I asked if I could have them and then used them for art books for that year. Each page was used for a particular art technique. It was amazing to see how careful the students were with their upcycled books. Some pages we glued over, others we painted, and still others we used as a canvas for collage. The books became treasures for many of the students.
This year we had some Native American artists come to our school. I wanted to do something unique as a thank you other than the usual cards wrapped in a ribbon. I found five discarded books, cut out paper the size of the pages in the books (slightly smaller 82
The secret picture inside the book
is better I found out) and gave each student a cut paper. I instructed them to write and design their thank you on the paper. I glued the papers into the book. I added a couple of pictures and a place for my thank you and gave the book to the artists. They were pleased and surprised at the quality of the work. Upcycled books can be elaborate pieces of art and/or useful keepers of information. The only thing stopping you from upcycling is your imagination. Give another life to a book or a piece of discarded paper. You will be surprised by the results and in addition will have helped the environment in your own small way.
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MORE IDEAS FOR PAPER PROJECTS
by Joseph Germaine 1. HANDMADE ENVELOPES use an envelope template and having students decorate the paper before folding 2. BEADS use long strips of paper rolled around a wooden stick or made in a variety of shapes from paper pulp. http://www.instructables.com/id/How-to-MakePaper-Beads/ image from http://artideasthatgrow.blogspot. com/2011/02/paper-pulp-beads.html
3. PAPER MASKS use construction paper or paper pulp laid over a head-shaped mold like a ball or a balloon.
4. PAPER CHRISTMAS ORNAMENTS fold and glue geometric forms, fan fold paper and spread out into a circle with student decorations, make candy canes by spiraling paper up a pencil, or create origami forms.
5. LACQUER BOXES in the tradition of Asian lacquer ware are made by layering strips of paper over a mold and then lacquering over the shape to make it stiff and strong. 6. PAPER CUTS (MATISSE) use colored paper forms assembled to create interesting designs. 7. DIRECT APPLICATIONS ON WIRE ARMATURES (SPRAY DOWN WIRE SO IT WONT RUST) 8. PLATONIC SOLIDS AND OTHER FORMS make from folded paper.
9. PAPERCUT POP-UPS make for holidays and to create a feeling of depth, to explore the organization of space, as well as to develop simple skills like cutting. 10. COLORED PAPER POINTILLISM (VARIED SHAPES, DOTS, TORN PAPER) use a hole punch to make colored dots and glue each dot down to create shapes to render a picture.
11. COLLAGE SELF-PORTRAITS use colored paper to assemble a self-portrait. Use magazine photos to assemble a self-portrait montage. This doesnt have to be a self-portrait. 85
12. EMBOSSING use a thin-gauge, soft paper that is dampened and laid over a textured surface and then pressed and pushed into the texture. Use embossing tools or a ballpoint pen with the ink gone. Wooden clay tools will also work. 13. KIRIGAMI (Japanese style of folding and cutting paper) use it as snowflakes, but it can be any shape and any design and by multi-layering the cutouts, new and interesting negative shapes can be created. Try using different colors of paper and layering them.
14. PAPIER-MACHE use to cover most any object. Try covering a tissue box, a tin can, a shoebox, and those funny heart-shaped candy boxes at Valentines time. Paper mache can also work like a collage by gluing strips of colored paper over an object. The object can remain part of the project or be used as a mold and removed after drying. Make sure that the mold object is covered with a removable paper resist, so you dont trap the objects inside the paper-mache mold. Try paper plates and paper bowls and paper cups.
15. PAPER BAG BOOKS fold small paper bags in half and lace them together with twine to make a booklet. Each paper will be hollow and can be used to store small items. Paper buttons or ties can be attached to the opening to secure them. 16. NEWSPAPER AND TELEPHONE PAPER MACHE use the colored pages in the newspaper (advertisements) or yellow pages from the phonebook to create interesting handmade paper.
17. EGG CARTON PULP FOR MOLDS (make a big pumpkin mold from plaster) make paper pulp from egg cartons and make ceramic press molds or plaster press molds from small pumpkins and squash. Fill the molds with egg carton paper pulp. You can make them in two hollow pieces and glue them together. Cut out the face features with x-acto or utility knives and paint. The face can also be painted on if knives seem threatening. Features can be added on while the pulp is still sticky. 18. PAINTING WITH COLORED PAPER PULP (got an eagle image) use colored paper pulp to create a picture in a very painterly manner. 19. EASY ORIGAMI: BUTTERFLY AND BOX
20. NOTANS are a Japanese design motif with positive and negative forms made from each other. (see examples, next page) 86
Notans can be very large.
Notans make excellent templates for printmaking.
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PAPER QUILTS AND PERSONAL NARRATIVES
Elementary Secondary Visual Arts Lesson by Elica Gray OBJECTIVES Students will examine the works of Faith Ringgold. Students will investigate the different aesthetic issues that pertain to multi-dimensional artworks. Students will design, draw, and produce a paper quilt block based on a personal experience. Students will recognize the visual culture around them that incorporates narrative themes and abstract shape. Students will compare and contrast Ringgold quilts with traditional quilts. Students will internalize and appreciate their own life experiences. Students will write a descriptive narrative of a memory from their own lives. STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.
MATERIALS Paper, colored paper, scissors, glue Images of Coming to Jones Road Series Faith Ringgold, 1998, http://www.faithringgold.com/ (click on Where you can see my art and scroll down) Assorted traditional quilts and quilt blocks (http:// elmcreek.net/gallery/quilts is a great resource)
Traditional Amish-style Quilt Block SMA 2011 Quilt Show
ACTIVITY 1. Hand out the Waking up one morning questionnaire, and invite students to respond to it as honestly as possible. For very young students this may be done through a class discussion or a small group discussion. Older students may review and submit their responses to the Faith Ringgold website. Be sure to give students ample time to review their findings with peers as well. 2. Emphasize the fact that Ringgold is an artist who has devoted much of her creative energy to the cause of equal understanding among the races. By taking a walk in someone elses shoes 89
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ASSESSMENT Teacher will review the brainstorming sheets and the Waking up one morning questionnaire, for completion. The teacher will also interview the student after he/she has completed the written narrative. The written narrative and brainstorming sheet will be used in the personal interview in order to ensure that the student has identified an appropriate memory to explore. Finished works will be graded using a three-step rubric. Smiley face= exceeded standards, Flat face= Okay, Frowny Face= needs work. Teacher should be able to identify repetition, variation, pattern, and unique narrative elements. 90
students may begin to understand different hardships and challenges that they may not have encountered in this way before. Show Ringgolds Coming to Jones Road Series and explain that the series began during a period in her life when she encountered some personal struggles when she moved to New Jersey with the dream of constructing a studio and garden there. Locals were not welcoming, so Ringgold turned her attention away from their unfounded animosity and instead focused on the stalwart tradition of black people who had come to New Jersey centuries before me. In this series she tells the story of her own ancestors who made it possible for her to enjoy freedom today. By focusing on her own personal experiences Ringgold is able to impart wisdom to viewers visually. Explain that students will be producing a work that will be a personal narrative about their own lives. Students should brainstorm in order to identify memorable experiences that they would like to translate into a visual representation. Once they have decided on a memory to explore, they should complete another brainstorming session in order to extract key images and shapes that would help them illustrate their message. Show students traditional quilt blocks and emphasize how contour shapes are usually simplified in order to facilitate the sewing. Point out that usually with quilts repetition, variation, and pattern are crucial in order to create a balanced piece. Display a sample of a Ringgold quilt next to a traditional quilt block. Point out the similarities and differences between the two. Compare and contrast different aspects of the quilts, and then invite students to differentiate between the aesthetic of Traditional Early American quilts and Faith Ringgolds contemporary quilts. Can they both be considered art? Why or why not? Now that students understand the concept behind narrative quilts they can begin the creation process. First of all have students write a descriptive narrative of the memory they have chosen. They should also include WHY they decided to focus on that particular memory. Use similes, metaphors, and expressive language in order to create a clear mental picture of the event. Then, students must go back through their narrative and circle key words or phrases that could be easily transformed into simple shapes. For instance, if the memory is Camping with my family on the Green River then some of the simple images might include trees, fish, marshmallows, rocks, and so forth. Other images could be simplified or abstracted to represent obscure parts of the memoryfor example, maybe a black choppy shape represents the sound of a cricket, or a purple abstract shape represents how the air smelled. Invite students to think creatively as they interpret the entire experience. Once the shapes have been decided, have them draw and cut out of colored construction paper. Encourage students to think in layers and also encourage them to use principles of repetition, variation, and pattern. Glue the shapes onto a sheet of paper that is 8x8. Students may also choose to add bits of text as Ringgold did. Pin up all of the quilt blocks to create a large paper quilt in the classroom, and invite students to report on their quilt block to the class.
Being an artist who has devoted much of her creative energy to the cause of equal understanding among the races, Faith Ringgold is particularly interested in what a person would feel, think and do if their racial identity were suddenly changed. What would it be like to Wake up Black in America (if you were white) or, what would it be like to Wake up White in America (if you were a person of color)? As you answer the following questions, imagine that when you woke up this morning you realized that you had taken on a different cultural identity. In other words, if you are white, imagine you are a person of color, and if you are a person of color, imagine you are now white. Imagine Waking up One Morning Black/White in America! (1) Would you choose to be Male or Female?: Male Female (2) Why?
Waking up one morning

Faithringgold.com
(3) How do you feel about your new identity? (3a.) And your new appearance (skin color, hair, eyes, body type, etc)? (4) Whom would you tell first? (5) What would you say? (6) What would you do next? (7) What are some of the major changes you foresee in your new life? (8) How would you deal with these changes? (9) If you had one dream that was guaranteed to come true, What would it be? (10) Any further comments about Waking up One Morning Black in America?
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VARIATIONS Have students paint their quilt blocks on fabric that will be sewn together for an authentic quilt. Students may also create their quilt blocks out of colored pencil in order to achieve a painterly, yet abstract quality.
EXTENSIONS Have students create a series of works, much like Ringgold. Or, have students write and illustrate a simple childrens book based on a personal narrative. Visit a quilt show and compare/contrast the works there with the ones they have studied in class. Have students bring real examples of quilts from home to display. Discuss the tactile nature of quilts, and investigate the aesthetic questions that surround a work that is both functional and beautiful. RESOURCES Faithringgold.com http://www.museumquilts.com/Quilts/Antique_Quilts/antique_quilts.html http://heartsfullofjoy.typepad.com/hearts_full_of_joy/quilts/
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SILHOUETTES: An Examination of Light and Darkness
Secondary Visual Arts Lesson By Elicia Gray OBJECTIVES Students will examine the artworks of Kara Walker, Cyrus Dallin, Hughes William Curtis, and Alma Brockerman Wright. Students will investigate the aesthetic issues that pertain to historically based narrative artworks. Students will design, draw, and produce a contemporary silhouette image after the manner of Kara Walker. Students will recognize the visual culture around them that incorporates a variety of silhouette techniques. Students will compare and contrast traditional silhouettes with those of Kara Walker. Students will compose a written response to Kara Walkers aesthetic viewpoint.
STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.
Kara Walkler Low resolution image fair use for education See RESOURCES for details http://www.tfaoi.com/aa/2aa/2aa535.htm
TITLE OF ARTISTS & ARTWORKS Artworks by Kara Walker *, Bust of Emmeline B. Wells (1928), Cyrus Edwin Dallin, (Springville Museum Collection) Death and the Drunkard (2940), Hughes William Curtis, (Springville Museum Collection), Profile of Young Girl (1902), Alma Brockerman Wright. (Springville Museum Collection) *Be aware that many of Kara Walkers works contain adult themes and should not be shown in a public school environment. The works on the following websites should be appropriate: 93
Wilhelm Ernst Julius Gro (18831974) Authors heirs granted a CCA 2.0 license, http://en.wikipedia.org/wiki/File:Wilhelm_Gross-4.jpg http://sarahcoey.wordpress.com/2011/03/02/kara-walker/ http://www.tfaoi.com/aa/2aa/2aa535.htm http://www.rethinking-nordic-colonialism.org/files/imagesc/act1/act1exhib/Kara-Walker.14.jpg http://www.learn.columbia.edu/courses/fa/images/medium/kc_femart_walker_1.gif
MATERIALS Large paper, scissors, pencils, glue or wax, PBS Art 21 video about Kara Walker, and image of cartoon silhouettes from http://www.houseofmove.com/cartoon-silhouettes
ACTIVITY 1. Create an overhead transparency of the cartoon silhouettes and ask students to identify as many cartoon characters as they can. After completing the exercise, divide students into small groups and ask them to identify what characteristics make a silhouette unique. Silhouettes can be extremely important visual cues to help viewers recognize different moods, mannerisms, even stereotypes. Viewers can understand a wealth of information just by paying attention to the simple outline of a subject. 2. Invite students to define the word silhouette. (A drawing consisting of the outline of something, especially a human profile, filled in with a solid color.) Explain that during this lesson, students will be invited to explore the idea that silhouettes can be more that they appear. When seen in an abstract light, silhouettes can tell an entire story with a simple contour line. 3. Silhouettes, a brief history. According to silhouette artist Kara Walker, The history of papercut portraits dates back to the court of Catherine de Medici in the late 16th century in France. This decorative practice, which grew increasingly popular during the second half of the 18thcentury, was named for Etienne de Silhouette (1709-1767), Louis XVs widely unliked French finance minister who cut black paper portraits as a hobby. Beginning in the 1700s, silhouette94
cutting gained credence as an art form in the United States because of its popularity among the aristocracy and haute bourgeoisie. However, by the mid-1800s, shadow portraits had lost most of their prestige. Being deemed a craft rather than an art form, secured this portraiture technique a place at carnivals and in classrooms devoted to the training of good ladies. During the early 20th-century, silhouettes gained favor as sentimental keepsakes and souvenirs at fairs. 4. Remind students that a silhouette is really a contour line that has been cut out of paper. Show students the works of Cyrus Dallin, Hughes William Curtis, and Alma Brockerman Wright. Invite them to create simple contour drawings of these works. Then ask students to cut out their drawings in order to create simple silhouettes. 5. Show the PBS Art 21 video about Kara Walker (many school districts have these videos on CD) 6. Invite students to compare/contrast the works they have created with those of Kara Walker. Explain that for Walker, meaning is the most important aspect of the artwork. It is much more than a simple contour line. For Walker, the simplified details of a human form in the black cutouts seem cartoonish, and resonate with racial stereotypes that are also reductions of actual human beings. By reducing a narrative to a simple cut-out, Walker is able to address complex themes and concepts without being distracted by other details. Walkers work is layered with images that reference history, literature, culture, and the darker aspects of human behavior. Connecting all of her work is an examination of power. The characters in her environments display power struggles of all kinds: physical, emotional, personal, racial, sexual, and historical. 7. Of her work, Walker has said, The work is two parts research and one part paranoid hysteria. Invite students to write that quote in their journals, and explain the possible meaning behind it. 8. Remind students that Walkers work is based on fact, but is also laced with fictional attributes. Ask students to choose an event from history or from their own lives that they wish to explore. Create several thumbnail sketches of the event and identify characters that can help them tell that story. Encourage students to identify a theme or message that they wish to portray with their work. When students have identified several key images, they should complete a series of detailed contour drawings that visually represent the narrative they have chosen. Then students will transfer their images onto black paper and cut them into silhouettes. Students may also choose to change the scale of their works by placing their silhouettes on the overhead projector, enlarging them, and cutting them out of black butcher paper. 9. When the works are complete, have them display their works prominently around the school. The teacher may wish to have students complete a simple artists statement in order to explain to other student viewers that there are additional messages to be found in the works. 10. Have students review and respond to other student works. What concepts worked well? Which ideas were difficult to convey through this artform? After attempting to re-create Walkers medium, do students have Gwen Stinger, college student, silhouette narrating the an added appreciation for her work? death of a close friend http://gwenstinger.blogspot.com/2010/10/first-surfaceproject-silhouette.html 95
ASSESSMENT The teacher should carefully review the written definition of silhouette, the written responses to the artists quote, and the thumbnail sketches, looking for quality content and completion. Personal interviews should be conducted in order to evaluate the finished silhouettes. Teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. VARIATION If time is short or supplies are unavailable, students may create silhouettes by projecting shadows onto the wall and cutting out those shadows in interesting shapes.
EXTENSION Compare/contrast silhouettes with other paper cutting arts, like Scherenschnitte or Chinese Paper cutting
RESOURCES http://www.houseofmove.com/cartoon-silhouettes Kara Walker http://www.tfaoi.com/aa/2aa/2aa535.htm Low resolution image fair use for education. Fair use rationale for Kara Walkers image: 1. This is a significant work that could not be conveyed in words. 2. There is no alternative, public domain, or free-copyrighted replacement available. 3. Inclusion is for information, education, and analysis only. 4. Its inclusion in the article(s) adds significantly to the article(s) because it shows the subject, or the work of the subject, of the article(s). 5. The image is a low resolution copy of the original work of such low quality that it would be unlikely to impact sales of the work. Cartoon Silhouettes How many can you identify?
Answers (cover these answers until you have completed the exercise) mickey mouse, daffy duck, fred flinstone, ren & stimpy, bart simpson, spongebob, felix, roadrunner, marge simpson, yogi bear, stewie, griffen, popeye, mr krabbs, charlie brown, bugs bunny, wilma flintstone, mighty mouse, Bullwinkle, odie, goofy, squidward, dexter, snoopy, mojojojo, olive, pink panther, betty boop, Arnold, casper, Mr. Peabody and his boy Sherman, tazmanian devil, bobby, pinky and the brain, marvin the martian http://www.houseofmove.com/cartoon-silhouettes
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DIRECTIONS FOR JELLY BEAN BOOKS
by Cindy Clark MATERIALS Scrap paper or printed template 6 strips of writing, copy or drawing paper 4 x 2 inches Medium weight paper, 9 x 2 inches Heavy thread or narrow cotton cord such as embroidery or crochet cotton Colored Media such as markers, paints, colored pencils or crayons Beads, optional Ruler Pencil Scoring tool such as a heavy paper clip or ballpoint pen thats out of ink Craft glue or glue sticks Scissors Craft knife
Use the colored media to decorate the medium weight paper. You can use this as a lesson in color, as a practice space for watercolor washes, decorate the cover based on a time of year or a theme, such as a holiday, or just let the students have fun. The inside of the book can be used as a mini sketch book, a place to write a very short story, or to combine writing with drawing. DIRECTIONS Use the template provided or make one by drawing a rectangle that is 9 x 2 inches on a 14 x 18 inch piece of paper. Mark the rectangle with 5 vertical lines at 2 inches, 5 inches, and 7 inches (the vertical lines will extend past the edges of the drawn rectangle on both sides).
Lay a 9 x 2-inch strip of medium weight paper on the rectangle and mark the fold lines. Score and fold all sections in. Reopen and apply glue to the end 2-inch section and fold it over so it is glued to the next 2-inch section. (You may want to have very young students mark the end to be folded over.)
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Create a triangle on the other end by folding in right triangles from the corners and gluing them down.
Fold 6 sheets of 4 x 2-inch paper in half and nest the papers together. This is your book block.
Align the spine of the book block with the fold that is closest to the triangular edge. Close the book and make marks on either side of folded flap, 3/8 inches from the edges of the triangular flap. (see
below)
Protect the pages underneath, and make a slit, using a craft knife that joins the 2 marks. (An adult will
have to help with this step for very young kids.) Tuck the triangular flap into this slit. Snip off the corners of the spine of the book. Open the book to the middle of the book block. Wrap heavy thread or crochet cotton around from the inner fold to the outside and tie a knot. Add beads to the cord, if desired. Close the book by folding the doubled side first, and sliding the triangular flap into the slit.
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MARKS IN SPACE: Media Exploration
Upper ElementarySecondary Visual Arts Lesson By Cindy Clark TASK 1. Explore media of charcoal, graphite, and eraser as drawing tools. (MAKING) 2. Transform paper into an imaginary space of unlimited depth (EXPRESSING) 3. Create interesting use of space using elements of line, texture, value. (PERCEIVINGelements and principles) 4. Examine how artists have used marks in space. (CONTEXTUALIZING) MATERIALS large sheets of paper garbage bags to protect clothes (make a head hole and holes for arms) charcoal of various kinds other mark-making media (optional) erasers
DIRECTIONS Use a variety of marks to create a spatial illusion. These marks should NOT be descriptive of objects. Instead, each mark should indicate a distinct physical point in the illusion of space. Vary marks in terms of size, value (lightness and darkness), and clarity. Use fingers and hands. Apply some marks with heavy pressure, use whole wrist. Make some marks fast, some slow. Explore the markmaking possibilities of materials.
Charcoal: Charcoal is one of the oldest, most widely used and popular of drawing media. There are four types of charcoal: vine, compressed, charcoal pencil, and powdered charcoal. Stick of vine charcoal is burnt wood or vine usually made from beech, bass, or willow twigs that have been reduced to carbon in a kiln. The sticks are soft and brittle. Vine charcoal, used by artists for hundreds of years to create cartoons for frescoes, preliminary sketches for paintings, portraits, and figure studies creates a lighted and more delicate mark. Burning selected wood in chambers or kilns where flames are deprived of oxygen creates compressed charcoal. This prevents burning the wood completely. The brittle carbon is ground into powder and compressed under pressure into chalk-like sticks or various shapes and hardness. Water, 99
turpentine (Turpenoid), and paint thinner can be used as solvents with compressed charcoal. Charcoal can be combined with a variety of other drawing media, with paints of many kinds, and with gesso.
Graphite: Graphite is made in many degrees of softness, providing a versatile range of line and value. Very soft and very hard graphite are hard to erase. It is difficult to apply additional media over slick graphite surfaces. Turpentine can be used as a solvent for powdered graphite and produces a thin wash. Turpentine is a dangerous solvent and needs adequate ventilation. Do not use with elementary students, and use only with MUCH ventilation in high school. Light and powdered graphite can be purchased in hardware stores or model airplane stores. Erasers: Although one function of the eraser is to eliminate marks, an eraser can also be a drawing tool. The pink pearl eraser is the most effective eraser for blending or softening lines and shaded areas and for creating marks in space.
EVALUATION Have a variety of marks in space been created with the media? Marks in Space example by Melissa Have marks in space been integrated to fill imaginary space and create depth? Has the entire space been incorporated into the design? EXTENSIONS Create marks to express themes, symbols, ideas, and feelings. Explore marks made by various artists throughout history. Use the Mark-Making experiments in a drawing with a subject.
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Drawing that incorporates a section of Marks in Space by Reika
Drawing that uses ideas from Marks in Space in a finished work by Natalie 101
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SKETCHBOOK DIRECTIONS
Visual Arts Lesson by Cindy Clark DAY ONE: Create a watercolor wash design for your outside cover on a 12 inch x 18 inch paper. Use watercolor techniques like SALT, CRAYON RESIST, WET-ON-WET, and a COLOR SCHEME that is your favorite. Let this dry.
DAY TWO: Assemble the following supplies: a. 12 x 18 watercolored sheet or drawing paper b. 2 pieces of matt board or cardboard, cut 6 x 9 c. One sheet of coordinating construction paper, cut in half, and trimmed slightly d. scissors, glue stick, and a popsicle stick or something else to burnish the paper e. inside paper to make your book f. OPTIONAL SEWING SUPPLIES: thread, wide-eye needle, push pin, lined paper, heavy paper for paper ruler.
Procedure:
1. Place 6 x 9 boards on the white side of the cover paper shown here as light blue (back). Use your SPACIAL SENSE and make the top and side the SAME WIDTH. Leave inch between the boards. Glue them into place. Burnish them down using the popsicle stick.
2. NOTE: You will have excess paper on one side. Trim it off. SAVE IT! Then trim corners with scissors.
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3. Glue top and bottom long edges and wrap around boards. Glue short edges and wrap around boards.
4. Fold extra piece in half. Trim it so it is the same size as the book spine. Trim corners leaving a flat 1/2 inch space at the top and bottom of the strip.
5. Glue this strip into the 1/4th inch space between the boards. Leave the watercolored side SHOWING. Work the strip into the space with glue and a popsicle stick. Then glue down both sides of the board to the spine strip. 6. Attach the two inside covers (colored paper) and glue down securely.
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7. To SEW by hand: a. Measure a strip of heavy paper the same as the spine of the book. This is a paper ruler. Mark inch at the top and bottom of the paper ruler. b. Using lined paper, mark 8 stations (eight lines on the paper) between the inch marks (top and bottom) of the paper ruler, making a total of ten stations. c. Fold the pages for your book in half and put them in your book. Place them inside the cover and clip into place. d. Using a push pin and paper ruler, make pilot holes through the paper and the spine pieces. e. Measure three book lengths of thread. Thread the needle but do not tie a knot. f. Begin at the second station on the outside. Push needle through to the inside leaving a tail about the book height. Continue in and out down to the bottom and then go back up. Tie off with a square knot.
8. TO SEW BY MACHINE: Sew the pages together with a wide stitch on a sewing machine. Back stitch to knot.
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PAPER MACHE PUPPETS
Upper ElementarySecondary Visual Arts Lesson with Drama and Literacy Components by Elicia Gray OBJECTIVES Students will examine the three-dimensional works of Cyrus Dallin and Mahonri Young. Students will investigate the different aesthetic issues that pertain to sculptural or multi-dimensional artworks. Students will design, draw, and produce a paper mache puppet based on a popular picture book. Students will recognize the visual culture around them that incorporates puppetry sculpture in general. Students will compare and contrast contemporary puppetry with traditional sculpture. STATE CORE LINKS Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning. MATERIALS Images from the CD Cyrus Edwin Dallin, Bust of Emiline B.Wells(1928), Cyrus Edwin Dallin, Jimbo (1928), Mahonri Mackintosh Young, Agriculture: The Farm Worker (1938) (Springville Museum Collection) Newspaper optional supplies: Flour cheap toilet paper Water linseed oil sticks (or paint stir sticks) joint compound glass soda bottles Elmers glue-all masking tape small squares of paint fabric electric blender glue gun Picture books for children ACTIVITY 1. Create a slide show of images that include various types of figurative sculpture and contemporary puppetry. Images may include Cyrus E. Dallins, Bust of Emiline B.Wells (1928), Cyrus E. Dallins, 107
2.
3.
4.
5.
6.
Jimbo (1928), Mahonri M. Youngs, Agriculture: The Farm Worker (1938), as well as contemporary puppets like Elmo, Kermit the Frog, Mr. Rogers King Friday, Pinocchio and the like. Invite students to make a list of commonalities and a list of differences. You may need to display the slide show more than once to emphasize the commonalities. When students have a sufficient number of items in each area, discuss their findings. Emphasize the three dimensional qualities of the two categories. Explain the difference between two-dimensional art and three-dimensional art. What are the challenges of both areas? Explain that in three-dimensional artworks, the artist must consider more than one angle. Invite students to bring their favorite childrens picture book from home. This book will act as a guideline for the puppets that the students will create. While looking at the pictures, encourage students to notice that the main characters must be depicted from a variety of angles. Help students to understand that in sculptural representations, each of these views or angles must be represented in one sculptural artwork instead of many. When creating a sculpture, students must view their piece from the front, the Pinochio Marionette back, and from both sides. http://www.thebespokenfor.net/ronsfashionlife/2009/12/is-everyman-aHand out the Puppet Planning Worksheet, and encourage pinocchio-part-two-.html students to complete the worksheet as carefully as possible. Explain that they should base their puppet upon the childrens book that they brought from home. This will help them more easily imagine what each view will look like. Students must then draw and color each view of their puppet. When the Puppet Planning Worksheet is complete, students may begin working on their paper mache puppets. Begin by building a ball shape out of newspaper and attaching it to the top of a stick with masking tape. Students may also add additional simple armatures with cardboard or tinfoil. Sometimes it is necessary to attach these parts with a glue gun so that they withstand the paper mache process. Mix up a batch of paper mache paste. To make up the paste, just pour some white flour in a bowl, and add water gradually until you have a consistency that resembles a thin pancake batter. You can use your fingers or a small kitchen mixer. The thickness of the paste may vary quite a bit. Keep in mind that it is the flour, and not the water, that gives strength to your paper mache sculpture. And also remember that each layer of paste and paper that is added to your project must dry completely to keep it from developing mold. (Why use flour instead of wallpaper paste? White flour is ridiculously cheap and some wallpaper pastes contain poison.) To prevent the development of mold, just remember that molds cannot grow without water. Therefore, take every effort to dry out your projects completely. Rip newspaper into strips and add dip into the paste. Add at least three layers of strips to your project. Before doing so it is helpful to place your stick inside a glass soda jar. This way you have both hands free to place strips of paper on your puppet head. Try to let each layer dry before adding a second layer. This may be done by letting the project bake in a hot sun, or going over it with a hair dryer. If you wish to add more small details or textures, you may wish to cover your armature with Paper Mache Clay instead of paper strips. Paper mache clay is also relatively inexpensive, requires only one layer, and will easily air dry. The recipe for Paper mache clay may be found later in the lesson. 108
VARIATIONS If time is short or supplies are unavailable, students may use paper mache pulp to create small sculptural heads. An example of a front and two side views You can make paper mache pulp by placing several sheets from the Puppet Planning Worksheet of junk mail, toilet tissue, paper towel or newspaper (torn into tiny pieces) into a blender or food processor with some 109
ASSESSMENT Use the Paper Mache Puppet Assessment to review the project.
7. When the puppets have dried completely, use acrylic paint to cover the surface and add details. Students may also choose to create three-dimensional props out of paper mache to add to their puppets. When the paint has dried, you may choose to seal the puppets with spray varnish but this step is optional. Acrylic paint generally leaves a beautiful glossy finish of its own. 8. If students want to have a finished look to their puppets, they may choose to cover the stick with a fabric skirt. Glue fabric around the neck of the puppet in a teepee shape. This will allow the hand to be hidden under the fabric. Fabrics can also be easily painted or decorated with acrylic paint. 9. When the puppets are complete, place the sticks back in the soda bottles and create a gallery walk for viewers. Have students imagine that they are visiting an art museum full of sculptural representations of famous people. Students must design a nameplate for their puppet that will include the title/name of their puppet, and a little bit of history or background. Encourage students to be creative. Help them to imagine unique ways that their puppet may have achieved notoriety. For example, if their puppet is the wolf, from the three little pigs, the nameplate might say something like BIG BAD WOLF, was falsely accused in the attempted assassination of three pigs. He is well known for his huffing and puffing, can squeeze down small chimneys, and met his demise when falling into a vat of boiling hot water. Some people think that BIG BAD WOLF was wrongly accused, because despite his terrifying exterior, he is really tender hearted. 10. While students browse through the gallery, encourage them to make notes about aspects of the puppets that were successful, and parts that need additional attention.
water. Strain the pulp using a colander or sieve. Mix the pulp with one tablespoon or more of white glue.
EXTENSION Instead of covering the armature with paper strips, you may choose to use Paper Mache Clay. Here is the recipe for Paper Mache Clay. More details can be found at www.ultimatepapermache.com. One roll of cheap toilet paper (1 cups pulp) cup of white glue (Elmers Glue-All) 1 cup joint compound 2 tablespoons linseed oil (preferred, but optional) cup white flour
Makes one quart of clay. You will need an airtight container to keep clay from drying out. Remove tube from toilet paper and soak paper in a bowl full of water. Squeeze out as much water as you can, pour the water out of the bowl and put the paper pulp back in the bowl. Measure how much paper pulp is in the bowl. For this recipe you should have about 1 1/4 cups of pulp. If you have less pulp you may need to use another roll of toilet paper. Paper Mache Puppet http://belladia.typepad.com/photos/uncategoBreak the paper into chunks about an inch across. rized/2008/04/13/themcauleyspapiermachepuppet.jpg Measure the rest of your ingredients and put them into the bowl with the paper. Mix it up with an electric mixer for at least three minutes. When the clay is done it will look a bit like cookie dough, but do not eat it, this clay is not edible. This pulp can be spread onto a form almost as if you would frost a cake. Details and textures can be added with sculpture tools and kitchen utensils. You can also add more white flour to make firmer clay. MORE EXTENSIONS You may choose to divide students into groups and have them write a play for their puppets. Most students will have chosen characters from diverse stories. It would be interesting to see how they might incorporate characters from diverse stories into one little puppet theatre.
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Puppet Planning Worksheet

Please carefully complete each of the following categories before you begin to create your puppet. 1. Choose your favorite childrens storybook. What is the title of your book? 2. What are the main characters in the story? Name__________________________________________________________________________________________
3. Choose one character that you would like to highlight. The main character you have chosen is: 4. Carefully examine the character you have chosen. Make a detailed list of his or her physical characteristics. (little nose, big teeth, braids, etc.)
5. What props could you bring from home or sculpt to make hour puppet more interesting? (a hat, glasses, earrings, etc.) In the space provided, please draw and color at least three props.
6. On the back of this paper, please carefully draw and color three detailed sketches of your characters head. You must have a front view, side view, and back view. 111
Front View Side View
Back View
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Name__________________________________________________________________________________________ Please carefully review the following criteria and draw a face in the space provided.
Paper Mache Puppet Assessment
Fabulous work. Amazing ideas. Superb effort.
Project is complete. Mediocre ideas. Sufficient effort.
1. ___________Student watched slide show and participated in class discussion. 2. ___________Student completed the puppet planning worksheet.
Insufficient work. Lacks creativity. No evidence of quality.
3. ___________Student followed the rules of paper mache and created a proper armature. 5. ___________Student allowed proper drying time for paper mache. 6. ___________Student added details with acrylic paint. 7. ___________Overall project is quality work.
4. ___________Student added paper strips or paper mache clay according to the directions.
8. ___________Student participated in Puppet Gallery Walk and created a proper nameplate. 9. ___________Student was respectful of classmates and materials by cleaning up properly. 10. ___________Student truthfully completed Paper Mache Puppet Assessment.
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TRUE CONFESSIONS OF A CERTIFIED PAPER NUT
Upper Elementary Secondary Visual Arts Lesson by Robyn M. Card I am a Calligrapher, designer, creative thinker (most of the time, depending on the subject), but, most of all, an Art Educator of kids 12 to 18 years old. I love paper, I love the smell, feel and look of it in all its forms and colors. One of the main purposes for writing this lesson is to inspire you to jump in and think of paper as your friend. When I look at a piece of paper one of the first questions I ask myself is, What can I do with this paper? What are its possibilities?
I teach my students the basic elements of art (i.e. line, shape, color, value, texture, form, space) and the principles of art (i.e. contrast, emphasis, repetition or rhythm, pattern, balance, movement, unity). I keep these in mind as I look at a simple piece of paper. I think, what can this paper teach besides being a surface to draw on? For example, the other day in my 7th grade beginning 3-d design class, we were studying basic color theory, and I wanted them to do something dimensional with it. I gave each student a black square of construction paper to make a simple origami box for a base. Then 1 piece, 6 x 4 inches of each primary and secondary color in the same paper, using magenta for violet, and they had to use all of the paper to make a sculpture. They could fold it, crimp it (I have a paper crimper) cut it into strips, curl it (yes, construction paper curls), accordion fold it, etc. I demonstrated these processes, of course. We used glue sticks, white glue and in a few cases, a glue gun to hold the sculptures together. I stressed that they needed to think about balance and repetition to create movement and the sculpture had to be seen from all sides. I had never done this before so I didnt have an example to show, put because I had done other sculptures with paper I could visualize the possibilities. The outcome was amazing; the kids took off and had a great learning experience. ALWAYS THINK POSSIBILITIES!!!!!
Book Sculptures
MATERIALS Old books Scissors Glue Tape Paper punch Colored and white construction paper Paper scraps
The second purpose of this lesson is to introduce you to Book Sculpture. I was introduced to it by someone sending me some cool photos of books sculptures by Cara Barer. This was 3 or 4 115
Book Sculpture from the All-Strate High School Show at the Springville Museum of Art
years ago. I looked up book sculpture on Google and found about 8 artists at that time that were using old books as sculptural media. I said I bet I can do something like that with my students. So, I took an old book and started playing with the pagesthe possibilities are endless. When I Googled, book sculpture the other day I was surprised at how many artists there are now using old books in this way. I would recommend Googling book sculpture and clicking on Images of book sculpture: youll be amazed at what is there. My students first reaction to this project was You shouldnt do that to a book! I got, Books are my friends, I cant do that. Once I explained to them that we where giving old books a new life, they were good with it. I showed them a few of the images I had found on the internet and we read a couple of Scholastic Art magazines on new trends with different materials artists are using today. I had each student bring an old paperback book from home to practice with. When they were ready to move on they choose a hardback Student Examples
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book that I got from a to be discarded pile at a local library. I did write a disclaimer to put in the front of our first display that stated, only old discarded books were used and we thanked the library for their donation. Each year Ive done this project and now weve added color and other papers and things. VARIATION This year were going to put multiple books together, and Ill have the students work together to see what they can come up with, if they want to do a collaborative piece.
Its recycling, making something new from something old. I love books old and new and with all the technology threatening their existence why not use them to make art!!! There is one book Id highly recommend: Playing with Books, The art of upcycling, deconstructing, and reimagining the book written by Jason Thompson. I especially loved the flowers on pg. 57. Ive played with the form several times and come up with some very fun variables. One artist who does wonderful book sculptures is Su Blackwell. You can find her book sculptures at http://www.sublackwell.co.uk/portfolio-book-cut-sculpture/ Playing with possibilities is what its about, getting out of your comfort zone, exploring what you can do with different papers. If youll continually keep an eye out for new things and not be afraid to deconstruct something to see how its made, there is a whole world of inexpensive things you can do with paper. Ill suggest a few more fun and easy things to do with paper below.
I like to use Origami as a sculptural form, not just one piece but several forms put together to create a whole new piece. I have used bright copy paper, paper the students hand decorated, old magazines etc. I use one simple origami box form I learned 30 years ago all the time to build sculptural pieces from papers that the kids would try to throw away because they didnt think they had any worth. I didnt know origami very well, until my students taught me, and Ive learned some on my own. I am continually amazed by what my students can create. Of course while theyre creating, youre pointing out the elements and principle, and how theyre using theses ideas so they learn to see them in their own work. 117
I had my 3-d design students even use post-it notes to build pieces with as an exercise to see how creative they were. They were each given 2 small pads of post its and had to create a sculpture with them. It was very interesting to see what they came up with and a fun way to pretest. There is a fun Dover Press book called Papercraft Projects with one Piece of Paper by Michael Grater. It has all sorts of fun ideas to make several different things with your students. I did the heads idea on page 41 with my class as self-portraits; it was a lot of fun.
Images from the National High School Traveling Show
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PAPER MACHE SHOE SCULPTURE
Upper Elementary Secondary Visual Arts Lesson Name: Cindy Clark OBJECTIVES 1. Students will use craftsmanship as they create paper mache sculptures. (Techniques and Processes) 2. Students will use preplanning and sketching to come up with ideas for their sculpture. 3. Students will create CONTENT or MEANING as part of their finished idea. 4. Students will use paint and color to enhance their project, as they create UNITY of design. 5. Students will display their sculpture with a written statement explaining their idea. MATERIALS Old shoes Corrugated cardboard Toilet paper tubes Masking Tape Newspaper, Newsprint (brown paper bags or brown paper toweling), Wheat Paste (flour paste or Elmers mixed with water), Acrylic Paint (latex house paint or tempera), Brushes Embellishments Gesso or white house paint Nails Wire
ACTIVITY Introduction: Shoes are familiar and functional objects, but they can be decorated, colored, shaped and crafted in many ways. You can use shoes as a starting place for sculptural paper mache projects at a variety of grade levels. Background: It is interesting to explore the history of shoes. It might be fun for students to research shoes from a particular decade and present their findings to the class. A good website is http://www.
centuryinshoes.com/decades/1900/1900.html
Foot in a light sandal. East-ionian aryballos, 1st half of the 6th century BC. Bibi Saint-Pol 2007 Public Domain http://commons.wikimedia.org/wiki/File:Aryballos_ foot_Staatliche_Antikensammlungen_6640.jpg
Another introduction could be to bring many old shoes to class. Ask students and neighbors to clean out their closets of old shoes. I have used Deseret Industries and Savers for old shoes as well as my own closet. 119
Have students create CONTOUR LINE drawings of the shoes. (A contour drawing is an evenly controlled line drawing that shows edges and ridges of the shoe.) Another option would be to give students a COLORING PAGE of several shoes and have them create SHOE DESIGNS from the pages. Coloring pages can be found at http://members.coloringplanet.com/gallery/cgi-bin/imageFolio.
cgi?direct=Clothing/Shoes
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Your assignment: Transform a pair of shoes into an original depiction of an object, animal or person, or something that depicts a theme. SHOES CAN BECOME: wings (butterfly, bird, angel.etc) elevated platforms an animal architecture, buildings, castles, skyscrapers, etc people (Mr and Mrs, guy and gal, opposites, etc.) conceptual (anti-something, making a statement, etc) time-specific (roaring 20s, pop art 60s, seventies etc.) 121
SOME IDEAS WE HAVE USED FOR CLASS THEMES: Once we all made our shoes into animals. One term we created birds or dinosaurs from old shoes. Another time, we created shoes for the future. One semester students created shoes as a protest to make a statement. One semester we created shoes for a specific artist. PROCESS: 1. Make several thumbnail sketches of your idea. Use the shoe you are going to use as part of your sculpture to create the sketch. 2. Find necessary structures to create your sculpture from the shoe. For example, if your shoe is going to have a ball on the toe, figure out how to create the form. Are you going to wad up newspaper, and cover it with masking tape, or are you going to attach a small rubber ball? How will you attach it? If you are going to have your show on a platform, how will you create the structure for your platform? 3. Create your structure, and make it sturdy. Cut part of your shoe if you need to change it to create your structure. Younger children will need help with this part. 4. Cover your structure with layers of masking tape, if necessary, to make it sturdy. 5. After your shoe is structurally sound, begin to cover your sculpture with paper mache. Mix paper mache as dieected on the container, or use wallpaper paste, and mix as directed on the container. Another option is to use Elmers glue mixed with three parts water. 6. Rip strips of newsprint, dip them in the paper mache, and carefully attach them to your shoe structure. DO NOT leave ragged edges. Make all edges smooth. 7. Cover again with newspaper after the newsprint layer has dried. This way you can tell where you have covered with the first layer. 8. Make a third layer with the newsprint, after the newspaper layer has dried. 9. Paint the dried sculpture with gesso or white house paint. 10. Paint your shoe with acrylic paint, use spray paint, and add embellishments. 11. Give your shoe a title, write a statement about your sculpture, and display it.
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ASSESSMENT
SOURCES http//inventors.about.com/od/sstartinventions/a/Shoes.htm
http://www.centuryinshoes.com/decades/1900/1900.html
1. Sculpture is WELL CRAFTED, does not fall apart, does not have uneven edges of paper mache, and is carefully painted. 2. Sketches were made to plan a unique and creative idea. 3. Sculpture has a fitting title, and a written statement to explain the idea behind the sculpture. 4. Sculpture shows a unity of design and color. Nothing detracts, and all the parts look like they belong. 5. The sculpture was displayed for the class to see along with a written statement.
http://www.princetonol.com/groups/iad/Files/shoes2.htm http://www.batashoemuseum.ca/
This website shows samples of shoes throughout all decades since 1900s.
Student samples:
Helicopter shoe
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Water Shoe
Stegosaurus
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CONTEMPORARY PAPER CUTTING AND FOLDING
Secondary Visual Arts Lesson by Louise Nickelson OBJECTIVES Students will learn about a contemporary paper cutter, Peter Callesen, and view examples of his artwork. Students will discuss how his artwork uses the elements and principles of design in unique ways, how it expresses contemporary culture, and explore their own values in relationship to Callesens work. Students will explore how limiting media can both restrict and free their ideas by creating artworks using only white copy paper and cutting tools. Students will self-evaluate their artworks according to a classroom created rubric. UTAH VISUAL ARTS STATE CORE Foundations I & II, all 4 Standards
MATERIALS White copy paper Scissors and craft knives Pencils Sturdy paper or cardboard for mounting paper cuts Other paper and supplies, as determined by individual students
PROCESS Introduce the art of traditional paper cutting using information from the elementary lesson about Danish papercuts. Then show students some examples of Peter Callesens work. Allow students Peter Callesen, Impenetrable Castle time to discuss his workask students to consider www.petercallesen.com what Callesen must know about paper in order to manipulate it effectively, why he may have chosen to use inexpensive paper as his medium, what impact that choice has on his work. Ask them to consider how Callesens artwork relates to past and contemporary culture. Expect students to make specific comments in relationship to the work and culture.
Give each student several sheets of copy paper and let them try their hands at papercutting. Have each student set out their experiments and have the students discuss the techniques that were successful and why and identify what they feel is successful in the artworks. Give the students an assignment to look around them and to think about what ideas are important or interesting to them. 125
During the next class, have students identify an idea, an image, or a subject they want to address with cut paper. You may want to have the students complete a planning page such as the one here, to insure the students are thinking through their designs for the artwork. Give the students several days to work on their paper cuttings. Students who finish quickly can make a second artwork. Have the students design, organize, and complete an exhibit of the finished artworks including labels and explanatory notes. Students should evaluate their artworks using a rubric they help create. Give students time to discuss the effects of limiting the media to just white paper and cutting tools. You may want the students to write about their reactions in their art journals, if they have them. Background Information Peter Callesen (born 1967) is a Danish artist and author. Callesen is renowned for his exceptional talent in combining the minimalism of a big crisp white sheet of paper with the complexity of meticulously cut and folded paper and uses the two to build out some really beautiful compositions. Particularly noteworthy are his works where the remains of the cut and folded objects are literally shadows of the objects former self. He uses the positive and negative space to tell a sometimes-dark story about the past and future of his subject using only a white sheet of paper. He creates intricate paper cut artwork from A4 paper and in large-scale installations. Each work is created from one sheet of paper, be it three-dimensional flowers falling from a bouquets negative, a hummingbird flying from the page, or a child-size castle crafted from a billboard-sized paper. He uses paper because he says it is probably the most common and consumed media used for carrying information today, but we rarely notice the actual materiality of it. There is a tragic quality to most of his subjects, whether its a flower dying, an angel locked in a birdcage, or even an apple reduced to its
Peter Callesen, White Hand, above, and White Tower, below petercallesen.com
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core. So the frail and delicate paper medium underlines that element of calamity.
He says: The paper cut sculptures explore the probable and magical transformation of the flat sheet of paper into figures that expand into the space surrounding them. The negative and absent 2 dimensional space left by the cut, points out the contrast to the 3 dimensional reality it creates, even though the figures still stick to their origin without the possibility of escaping. In that sense there is also an aspect of something tragic in many of the cuts. http://www.graficaobscura.com/huffman/index. html Geographical & mathematical shapes http://www.graficaobscura.com/?/fold/page001. html http://www.graficaobscura.com/fold/page001. html http://www.langorigami.com/index.php4
VARIATION Show students examples of other contemporary papercutters. Ask each student to find some technique, approach, or subject matter that interests them and then give the students time to plan and execute their ideas.
Examples of Peter Callesens work and Jen Starks work used by permission of the artists.
A few sources for other paper artists: http://www.designboom.com/weblog/cat/10/ view/7538/slash-paper-under-the-knife-preview. html Jen Stark, Sedimentary http://www.graficaobscura.com/huffman/index.html jenstark.com Geographical & mathematical shapes http://www.graficaobscura.com/?/fold/page001.html http://www.graficaobscura.com/fold/page001.html http://www.langorigami.com/index.php4 http://einabems.com/Papercuts2.htm - web site has lots of links to historical and contemporary paper cut artists Jen Stark at http://www.jenstark.com/index.php Bovey Lee http://boveylee.netfirms.com/Site/Paper_Cutouts.html Karen M. OLeary http://www.etsy.com/shop/studiokmo Chris Natrop http://www.chrisnatrop.com/ Beatrice Coron http://www.beatricecoron.com/paper.html Dylan Graham http://www.dylangraham.nl/ Ferry Staverman http://www.ferrystaverman.nl/ Karen Sargsyan http://www.booooooom.com/2009/12/15/artist-karen-sargsyan/ And at http://www.ambachandrice.com/ARTISTS/KAREN/SARGSYAN-MAIN.html 127
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USING KALEIDOCYCLES TO TEACH PRINCIPLES OF DESIGN
Grade level: 5th-12th grade by Stephen Pratt This lesson teaches two kaleidocycle patterns: The hexagonal kaleidocycle of six tetrahedra, and the Invertible Cube.
Note: Kaleidocycles can be adapted to any lesson unit you like. I use it after weve learned about color schemes and principles of design to see if students can show a good understanding of those concepts. But it can be used as a way for students to illustrate their understanding of any concept you teach, including subjects other than art. OBJECTIVES Students will be able to: 2.
1. analyze the use of principles of design in several artworks presented by the teacher.
3. compose four designs that illustrate four different principles of design of their choice.
correctly assemble a functioning kaleidocycle out of paper, using good folding and taping craftsmanship. They will be able to choose between a hexagonal kaleidocycle or the invertible cube.
4. identify and color each design in a different color scheme: Triadic, Complementary, Analogous, and Monochromatic.
STATE CORE LINKS Art Foundations I: Standard 1, Making: Objective A Explore a variety of art media, techniques, and processes. Standard 1, Making: Objective B Create works of art that show the use of the art elements and principles. Standard 2, Perceiving: Objective A Critique works of art. Describe artworks according to art elements and principles. Standard 2, Perceiving: Objective B Evaluate works of art. Evaluate works of art based on how they were created and effective use of art elements and principles. Standard 3, Expressing: Objective A Create content in work of art. Create works of art that show a theme. 129
MATERIALS 11x17 cardstock (the heavier the better) Rulers Embossing tools (or ball point pens that have run out of ink) Scissors Terrifically Tacky double-sided sticky tape. (I get it from Roberts Craft. Its really strong double-sided sticky tape. Other types dont seem to work as well. You can try using glue, but then there is the waiting time for it to dry. With the tape, the bond is instant) Sharpies, fine-tip (or other black pen) Colored pencils or markers
ACTIVITY Previous concepts mastered: The students should have learned about these color schemes before this lesson: Triadic, Complementary, Analogous, and Monochromatic. Day 1: Give each student the Principles of Design Worksheet to complete during your presentation on principles of design (included at the end of the lesson). Make similar empty squares on the whiteboard. As you explain each principle draw some simple examples in the empty squares on the whiteboard only using the basic shapes: triangles, squares, and circles. Do several examples if you wish. On their worksheet they should write a short definition of the principle, copy your example from the board, and then sketch one of their own for each principle of design you explain.
Note: There are several versions out there of the principles of design. I suggest you research it and decide which you like. And let the students know there are variations of this, but they are all basically the same thing. This is the list I use: Balance, Emphasis (or Focal Point), Unity, Variety, Rhythm, Contrast, Pattern, and Movement.
After explaining all the artworks, show the class some artworks and discuss how these principles of design are used in each of the artworks. One of my favorites to use is the Last Supper, by Leonardo da Vinci. It is a good example of just about all the principles. How does da Vinci achieve emphasis on Christ? Answer: The disciples are all facing him, he is in the center, the imaginary vanishing point to the linear perspective is right above Christs head, his arms spread out guide your eye up to him (movement), his head is silhouetted by the bright window in the background (contrast). It is very balanced. Da Vinci creates rhythm by grouping the disciples in informal groups of three. There is also rhythm with the food spread out on the table and the square tapestries on the walls in the background.
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Example of completed Principles of Design Worksheet
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Balance:
Teacher Example Symmetrical Balance
Student Example Symmetrical Balance
Emphasis:
Teacher Example Assymmetrical Balance
Student Example Assymmetrical Balance
Teacher Example
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Student Example
Unity:
Variety:
Teacher Example
Student Example
Rhythm:
Teacher Example
Student Example
Teacher Example
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Student Example
Contrast:
Pattern:
Teacher Example
Student Example
Movement:
Teacher Example
Student Example
Teacher Example
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Student Example
Note: Start each following class period by discussing a new artwork and analyzing the principles of design in it. What did the artist do in his composition to accomplish those principles? This review helps students understand and retain the information they learned the first day. This exercise can be done verbally as a class discussion or it can be a written assignment in a journal. You can spend just 5 minutes at the beginning of each class. Here are some other paintings I like to use for analyzing principles of design: Starry Night, by Vincent van Gogh CD La Pinata, by Diego Rivera http://www.artelista.com/obra/1634390167210263lapinatainterpretacion.html George Washington Crossing the Delaware, by Emanuel Gottlieb Leutze (CD) The Great Wave off Kanagawa, by Katsushika Hokusai (CD) Day 2: Show the class an example of a finished kaleidocycle. You could offer only one pattern to limit confusion, or you can give them the option to choose from several kaleidocycle patterns. If you go with the latter, then you will want to have examples of the different kaleidocycle options and explain the differences among them. Explain the assignment to the students and make sure they understand what they will be required to display on the different faces of the kaleidocycle.
In my class they need to pick a principle of design to illustrate on each face of the kaleidocycle, and each face needs to be colored in a different color scheme (triadic, complementary, Student kaleidocycles analogous, or monochrome). Give the students photocopies of the brainstorming sheet (the sheet with blank triangles for them to come up with design ideasat end of written lesson). It would be best to show them a brainstorming worksheet completed, so they know what you expect (preferably the worksheet that was the precursor to the finished kaleidocycle example). Give them class time to fill in the brainstorming page (no blank triangles). They must pass that part of the assignment off with you before they can get the kaleidocycle template. In order to pass it off, they should have their favorite four chosen and labeled with what principle of design it uses and what color scheme they plan on using (see brainstorming example). This is an opportunity to informally assess each individual student and to make sure each one is getting the concepts before moving onto the final project. Tip: I tell the students to use simple shapes to create their designs, nothing with a lot of detail, or it will take them forever to transfer and trace them. They also must have a theme that runs through all their triangles (for example BYU, music, sports, love, stars, a logo, or their initials). 135
Kaleidocycle Brainstorming Sheet

Name Period
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Kaleidocycle Brainstorming Sheet Example
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Brainstorming Page for Invertible Cube Note: This worksheet currently matches the pattern, but both were reduced by 10% to fit on the page. You may want to copy both pages at 110% to get them back to the original size.
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Day 3-4: Demonstrate how to transfer their brainstorming images onto the kaleidocycle pattern. They will use a rub and trace transfer method. This only works if they use pencil for their design, so make sure no one uses pen. 1. Cut the triangle out from the brainstorming worksheet. 2. Place it face down on the first triangle of one of your four rows (there are four rows of 6 triangles on the kaleidocycle pattern). Line it up carefully so that the triangle with the drawing on it lays exactly on top of the triangle on the pattern. 3. Use the pencil (lead tip) to rub the backside of your drawing. This should transfer the drawing onto the kaleidocycle pattern. Rub it thoroughly. Check to see that the design transferred properly before you remove the triangle completely. Do this by holding one side of the triangle down with one finger while you lift the other end to see if it transferred. 4. For the next triangle in the row, flip your brainstorming worksheet triangle over so that the drawing side is now facing up (and the side that has been rubbed is facing down). Make sure that it is the mirror image of the drawing in the last triangle you transferred. Align it with the triangle underneath. This time you will trace the drawing, and the lead on the backside (from having rubbed it previously) will transfer the drawing onto the pattern. 5. Keep repeating steps 3 and 4 until your row of triangles is done. 6. Repeat steps 3-5 for the remaining three rows of triangles.
Day 5: Have the students trace the drawings with a pen or sharpie in order to have them show up better. After they have completed tracing it with sharpie, have them go over their whole drawing with an eraser to get rid of all pencil lines and smudges. Day 6-7: Color the designs with colored pencils, making each row one of the 4 color schemes previously learned. I like to have them color hard and solid, so there is no white paper showing through their coloring. I also tell them there should be no areas left blank.
Day 8-9: Demonstrate how to cut, fold, and assemble the kaleidocycle. Follow these instructions: 1. Use scissors to cut along the outside of your kaleidocycle pattern. Do not cut any tabs off. You will need those! (if I dont stress that, I will always have one student who cuts the tabs off).
2. If you chose the invertible cube kaleidocycle pattern, then you will need to glue or tape the two pattern halves together before moving on to the next step.
3. Use an embossing tool (its a simple metal hand-held tool with a small round ball on the tip), or a ball point pen with no ink, and a ruler or straight edge to emboss or score over ALL of the black lines of your pattern. This is to make folding easier and more precise. 4. Now fold your pattern along every line, creasing it both ways. 5. After every line has been creased both ways, bring your outer edges together, trying to form a tube with your drawn images on the outside. With pattern one, it means to bring your last row of triangles over on top of the blank row of half triangles. With pattern 2, match up the numbers on the tabs and the triangles to attach the tabs in the correct places. 6. Use the Terrifically Tacky double sided sticky tape to tape the kaleidocycle together. You will 139
7. Wrap your kaleidocycle around to make a ring so that the ends meet. Tape together the last tabs into your last geometric triangular form. Your kaleidocycle is finished.
have a long snake of geometric triangle forms.
Day 10-11: As they finish their kaleidocycle, have the students bring it to you to get it graded. Review the requirements for the interview. Students should be able to identify the strongest principle of design they used for each design, and the color scheme. They also need to explain why it is a good example of that principle. Warn them to be mentally prepared and know their stuff before they come up to you to be graded.
8. If you have the invertible cube pattern, you can make the bolts included in the pattern. These bolts arent kinetic. They will allow you to make a cube out of your kaleidocycle. When it is in mid-transforming position, the bolts can be placed in the empty spaces to form a cube.
Those that have been graded and have nothing to do can be given an MC Escher kaleidocycle pattern to color and put together (see Resources), or if they made the invertible cube, they can take this time to make the bolts that go in the corners. DO NOT let them take them home before they have been graded (you might never see them again). ASSESSMENT Each students assignment should be graded in person, because you are checking the students understanding and ability to explain what principle of design and color scheme was used for each face of the kaleidocycle. Kaleidocycle Assessment (40 points total) See next page.
SOURCES: This webpage has a lot of information on different kaleidocycles: http://www.mathematischebasteleien.de/kaleidocycles.htm
This website has an animated kaleidocycle program where you can change the properties of the shapes the kaleidocycle is made of and watch how it effects its form: http://www.kaleidocycles.de/ anim.shtml
MC Escher kaleidocycle template, ready to color, cutout and assemble: http://britton.disted.camosun. bc.ca/kaleidocycle.pdf Websites that talk about Principles of design: (This will give you an idea of how many different versions there are of the principles of design. But they are all basically talking about the same thing.) http://www.wiu.edu/art/courses/design/principles.htm http://www.princetonol.com/groups/iad/Files/elements2.htm http://www.johnlovett.com/test.htm http://www.fuelyourcreativity.com/the-lost-principles-of-design/ 140
Name
Criteria
Principles of Design (10 pts)
Color Scheme (10 pts) Criteria
Explain Four (2.5 pts each): ____ Balance ____ Emphasis ____ Unity ____ Variety ____ Rhythm ____ Contrast ____ Pattern ____ Movement
Kaleidocycle Assessment
Craftsmanship (10 pts)
Identify and Explain four color schemes (2.5 pts each): ____ Triadic ____ Complementary ____ Analogous ____ Monochromatic 10-8 -designs were transferred correctly. -used sharpie over all pencil lines. -solid coloring with color pencils, no white paper showing through. -all creases are right on the lines of the pattern. -kaleidocycle is taped correctly and rotates properly. -good use of class time. -good use of teacher asked for guidance before finishing and advice was taken into consideration. -taking time and effort to make it look nice. -Assignment 100% complete. 10-8 -designs were transferred correctly. -used sharpie over all pencil lines. -solid coloring with color pencils, no white paper showing through. -all creases are right on the lines of the pattern. -kaleidocycle is taped correctly and rotates properly. -good use of class time. -good use of teacher asked for guidance before finishing and advice was taken into consideration. -taking time and effort to make it look nice. -Assignment 100% complete. 7-0
Effort (10 pts)
-designs dont create a mirror kaleidoscope effect. -sharpie lines were traced too quickly and sloppy. -did not color in solid. white paper can be seen through the coloring. -some of the folds were not made on the lines of the pattern. -kaleidocycle comes apart when you try to rotate it.
Criteria
Craftsmanship (10 pts)
-a lot of socializing instead of focusing on their work. -didnt ask for the teachers guidance, or ignored it. -completed the work too quickly sped through the process instead of taking the time to make it look nice. -assignment incomplete. 7-0 -designs dont create a mirror kaleidoscope effect. -sharpie lines were traced too quickly and sloppy. -did not color in solid. white paper can be seen through the coloring. -some of the folds were not made on the lines of the pattern. -kaleidocycle comes apart when you try to rotate it.
Effort (10 pts)
-a lot of socializing instead of focusing on their work. -didnt ask for the teachers guidance, or ignored it. -completed the work too quickly sped through the process instead of taking the time to make it look nice. -assignment incomplete.
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Invertible Cube Pattern
Note: To get these two patterns on the pages, I had to shrink them 90%, so they match the Brainstorming pages. To make full size, you must copy them at 110%.
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Bolt 1
Bolt 2
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Invertible Cube with bolts in, top left, and with bolts out, below.
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Note: this kaleidocycle pattern can be enlarged to fit larger paper, but you will need to enlarge the Kaleidocycle Brainstorming page by the same percentage. Otherwise, the designs will not be trans-
Student Examples
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VARIATIONS Non-art related: Kaleidocycles can be used to teach any concepts, and they dont have to be visual arts. Use it as a way to display facts you want your students to memorize in geography, math, history, language arts, music, science etc. They dont have to look pretty or be so precise when transferring an image exactly on each triangle. Maybe you want them to learn about the stages of matter (solid, liquid, gas), or have them remember facts about 4 presidents. If you are not so concerned about the exactness in the image transferring and you let your students free draw on the patterns, then this lesson can be easily adapted for younger students. MC Escher: Kaleidocycles can be taught in conjunction with learning about the artist and mathematician MC Escher. He was a master at creating complex tessellations. Tessellations can be simple or complex and lesson plans can be found on the web: http://www.teachervision.fen.com/ math/lesson-plan/3522.html or http://www.princetonol.com/groups/iad/lessons/high/Myriamtessel.htm. This is an interesting book on MC Eschers kaleidocycles and other geometric sculptures with tessellations: M.C. Escher Kaleidocycles: 17 models of Eschers graphics and the story of how they were devised, by Doris Schattschneider and Wallace Walker. Other fun, paper creations shown on youtube:
Pop-up origami spikey ball (kepler origami star or revealed flower): http://youtu.be/sucsLwjJiKA and also http://youtu.be/nREHOUZd1tw and also http://youtu.be/SDai6IYzXto Modular Origami ball, 12 units: http://youtu.be/vkiYDpY7aD8 Twirled star/ flower: http://youtu.be/ogWeGz_yIr4
Origami Magic Star (but no instructions) created by Yury Shumakov. I would love to get my hands on instructions for this, but no matter how hard I looked, there doesnt seem to be anything out there. This Yury Shumakov guy has kept it pretty secret. He is part owner of a company named Oriland that can sell you one of these for $50. Im tempted to buy one and take it apart: http://youtu.be/cjfYLS1lc5U Firework Origami (but no instructions): http://youtu.be/Y3Tm0J9YLoY Teeny tiny origami stars: http://youtu.be/u4Woj9oP3AI Bascetta origami star: http://youtu.be/MUnZ7pclvHY Origami modular star: http://youtu.be/5SegnxVTkds
Kade Chan Origami Magic ball: http://youtu.be/EG3GmGZ1Ep8 Paper transforming triangular shapes: http://youtu.be/4mLOPiOjUf4
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VARIATIONS: Non-art related: Kaleidocycles can be used to teach any concepts, and they dont have to be visual arts. Use it as a way to display facts you want your students to memorize in geography, math, history, language arts, music, science etc. They dont have to look pretty or be so precise when transferring an image exactly on each triangle. Maybe you want them to learn about the stages of matter (solid, liquid, gas), or have them remember facts about 4 presidents. If you are not so concerned about the exactness in the image transferring and you let your students free draw on the patterns, then this lesson can be easily adapted for younger students. MC Escher: Kaleidocycles can be taught in conjunction with learning about the artist and mathematician MC Escher. He was a master at creating complex tessellations. Tessellations can be simple or complex and lesson plans can be found on the web: http://www.teachervision.fen.com/ math/lesson-plan/3522.html or http://www.princetonol.com/groups/iad/lessons/high/Myriamtessel.htm. This is an interesting book on MC Eschers kaleidocycles and other geometric sculptures with tessellations: M.C. Escher Kaleidocycles: 17 models of Eschers graphics and the story of how they were devised, by Doris Schattschneider and Wallace Walker. Other fun, paper creations shown on youtube:
Pop-up origami spikey ball (kepler origami star or revealed flower): http://youtu.be/sucsLwjJiKA and also http://youtu.be/nREHOUZd1tw and also http://youtu.be/SDai6IYzXto Modular Origami ball, 12 units: http://youtu.be/vkiYDpY7aD8 Twirled star/ flower: http://youtu.be/ogWeGz_yIr4
Origami Magic Star (but no instructions) created by Yury Shumakov. I would love to get my hands on instructions for this, but no matter how hard I looked, there doesnt seem to be anything out there. This Yury Shumakov guy has kept it pretty secret. He is part owner of a company named Oriland that can sell you one of these for $50. Im tempted to buy one and take it apart: http://youtu.be/cjfYLS1lc5U Firework Origami (but no instructions): http://youtu.be/Y3Tm0J9YLoY Teeny tiny origami stars: http://youtu.be/u4Woj9oP3AI Bascetta origami star: http://youtu.be/MUnZ7pclvHY Origami modular star: http://youtu.be/5SegnxVTkds
Kade Chan Origami Magic ball: http://youtu.be/EG3GmGZ1Ep8 Paper transforming triangular shapes: http://youtu.be/4mLOPiOjUf4 Paper transforming cylinder: http://youtu.be/SmV6i-jVcRU Cool kaleidocycle that has several different images on it depending on which way you look at it. She tells a story with it, but its in Spanish: http://youtu.be/-Zs_WLR5h3k 147
Some funky paper creation, I dont know how they did it, it is called dobradura estrela (in Portuguese):
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MIDTONE CHARCOAL DRAWINGSValue
UNIT TITLE: VALUE C. Clark--Drawing Length: Four Weeks Grades 10-12 I. Content Learning Goalsfrom Utah Drawing CORE curriculum Students will assemble and create drawings by manipulating art media and by organizing images with the elements and principles. Students will find meaning by analyzing, criticizing, and evaluating drawings II. Major Language Learning Goals: Learn art vocabulary terms and identify them: value, highlight, cast shadow, reflected light, shadow edge, core shadow, midtone. Also, center of interest, contrast, emphasis, activated format, composition, cropping, texture. Read about and examine works by Caravaggio, Kollowitz.( check wikipedia.org as well as wikipaintings.org)
III. Evidence of Achievement Create a double value scale using 10 different values. (Ten values are evident). Create a scribble drawing and then use values to shade the shapes, thus hiding the lines. (Values rather than lines define shapes). Create a value ball drawing and identify the terms from the drawing: highlight, midtone, shadow edge, core shadow, reflected light, cast shadow. (Formal assessment with each individual students drawing) List five significant items learned from articles, discussion, and artwork from Caravaggio and Kollwitz.. Identify works from each artist. (Informal assessment) Using the rubric, evaluate midtone charcoal drawing. (Formal assessmentrubric is given at the outset of the assignment, along with samples of former student work) Participate in a class critique (formal assessment) IV. Key Learning Activities Create a double value scale. Evidence: Students have shown ten values from black to white. (L, V) and D drawing. Create a scribble drawing using values to shape shapes. Evidence: Students have used values rather than lines to define shapes. There is a contrast of values from black to white and all other values in between. (L, V, D). Teacher demonstrates terms and shows a ball with a light source. (L) Students and teacher draw a value ball together, and teacher reviews terms. (D) Students point to their own ball, and identify the
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terms. (S, V) Teacher goes around room, using each students drawing of the balls, asks them to identify all the terms. (L, S, V) If the student doesnt know all the terms, the teacher helps them, and then comes back later to recheck them. Using magazines and artwork of Caravaggio and Kollwitz, teacher begins reading and identifying interesting ideas (L). Students continue reading, and list five interesting facts or observations about the artists artwork. (R, W) Students share their ideas with each other. (S) They list an idea another student had to their own. (W) Teacher checks each students ideas while walking around the classroom.
Teacher demonstrates working with midtone charcoal, eraser, and #2,#4, #5 charcoal pencils. (L) Students prepare their boards, and each student prepares a still life of objects that are important to them. A black and white photo is taken of each students still life. The rubric is distributed. Students begin their midtone charcoal drawing, only after discussing the rubric with teacher. Teacher shows examples or each element of the rubric. (L, R, V) Students complete their midtone charcoal drawing and their rubric, and turn it in. (D, R, W) Students participate in a classroom critique using the classroom rubric at the end of this lesson. (S, V) Teacher evaluates each charcoal drawing according to the rubric. If students evaluation did not match teachers evaluation, then teacher and student discuss the discrepancy. (S) Students write a reflection about what they learned from this assignment, what they would change, and what they feel they did well. (W)
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MINI MANNEQUIN
Math and Visual Arts Lesson by Alan Anderson Pre-Algebra math standards: Students will write and simplify ratios. Students will use proportions to solve problems. Students will explain how scale factors change for corresponding lengths, areas and volumes.
Have students measure the following body lengths: (We use fabric measuring tapes and centimeters. Using centimeters makes the division later a lot easier.) Head: Top of head to cheek bone below ear Neck: Cheekbone to clavicle Torso: Shoulder bone to femur socket Upper arm: Shoulder bone to elbow Lower arm: Elbow to wrist Hand: Wrist to finger tips Upper leg: Femur socket to knee Lower leg: Knee to ankle Foot: Heel to toe of shoe Divide each measurement by 8. Now take a sheet of construction paper and cut out rectangles that have the height that was measured and divided above. Curl the rectangle into a cylinder and tape. We just use masking tape. Tape the cylinders together to build the mini mannequin. To assess how accurate the students are I have them measure the height of their finished manikin and multiply by 8. If they are within 2 inches of their actual height then they have done it right. Now you have some proportionate manikins of your students to play with. Be creative. See more examples on the following page.
VARIATION Use correct proportions for the armatures for the Paper Mulch Lesson. 151
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MORE IDEAS
Blind Contour DrawingMultiples 1. Students will put a watercolor wash on a large piece of sturdy paper such as watercolor paper. Then students are assigned to make a blind contour drawing that uses multiple images of a subject. This process is particularly good for capturing a sense of movement. The example is a drawing of a boy playing quads.
2. Use images from the CD to acquaint students with quality artworks on paper. Because works on paper are subject to deteriation from light, they are not exhibited nearly as often as oil paintings and sculptures. Use these examples to introduce lessons, to help students identify techniques they want to learn, or just to be exposed to more possibilities.
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Elementary Secondary by Cindy Clark Oriental Book
MORE BOOK FORMS
Instructions for sewing http://www.sff.net/people/Brook.West/bind/bindit.html
1. Rip paper to size you want book. 2. Cut DAVEY BOARD to the size of your paper. (can also use matt board or even stiff cardboard) 3. Cut an edge off the Davey board. 4. Separate edge and board by two Davey board thicknesses. 5. Use RICE PAPER to make a hinge. 6. Cover outside of book. Cut off corners. 7. Cover inside. 8. Assemble. 9. Drill 10. Sew
A helpful web site, especially for elementary teachers. Has printouts for spacing the holes. http://www.bookmakingwithkids.com/?p=1301 Stab Binding Book Materials: 1 stick 1 rubber band or heavy string 2 covers 1 book block (pages)
Directions: 1. Sandwich book pages between two covers 2. Punch holes through covers and book block. 3. Push one rubber band or loop of string through top hole, from back to front. 4. Insert stick through loop. 5. Pull loop tightly holding stick in place. 6. On back side stretch the string to the other hole. Push a loop through from back to front. 7. Insert the other end of the stick through the loop. 8. Tie the string with a double knot. 9. Decorate cover with original stamp. 155
Example of lapbook http://www.flickr.com/photos/jimmiehomeschoolmom/552297949/sizes/o/in/photostream/ CCA 2.0 license
Lap books can be made on any topic. See the web sites below for examples and some instructions:
http://www.squidoo.com/best-lapbooking-blogs http://www.homeschoolingonashoestring.com/lapbooks.html http://www.ilovejesus.com/school/handmaiden/birdstudy.shtml
Links to a wide variety of sites http://www.canby.com/hockmanchupp/student_folder_websites.html
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The Many Lives of Paper

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The Many Lives of Paper

at the Springville Museum