Unbound: Book Art & Illustration

Contents
Artist List .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Artist Information & Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 Unbound: Book Art & Illustration Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Will Terry Illustrates a Book .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Writing And Illustrating My Own Book .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Haiku Illustration Printmaking: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Collagraphic Printmaking .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Haiku Writing Worksheet .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Weslandia- Inspired Self-portraits and Mind Mapping .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Visual Arts: Weslandia Record .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Weslandia- Inspired Dance Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Getting Into the story with Process Drama Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Music with Weslandia .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Art/Story: Watercolor/Illustration .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Staging Reading through Art .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Joining Literacy and Art through Pop-Up Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Conveying Information: Illustrations for Science or Social Studies .. . . . . . . . . . . . . . . . . . . . . 89 Handmade Books For Illustrated Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Illustrating Simple Math Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 The Graphic Novel Timeline or Personal Timeline .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Additional Ideas for Using the Images & Books from the packet in the Classroom . . . . . . . 125 Contemporary Illuminations: Modern Illuminations .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Visualizing Stories between the Ages: Working as an Illustrator .. . . . . . . . . . . . . . . . . . . . . . 143 The Visual Research Journal .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Alice Merrill Horne.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 1

Unbound: Book Art & Illustration

Artist Information & Images

Bethanne Anderson Matthew Armstrong Pat Bagley Robert Barrett E. J. Bird Mark Buehner David A. Carter James C. Christensen Cambria Evans Carolyn Fisher Guy Francis Howard Fullmer Mark Graham Nathan Hale
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Kevin Hawkes Brett Helquist Lily Toy Hong Richard Hull Fumi Kosaka Sherry Meidell Robert Neubecker Greg Newbold Julie Olson Ben Sowards Greg Swearingen Will Terry Hala Wittwer

BETHANNE ANDERSEN
Boise, Idaho Bethanne Andersen has illustrated several acclaimed books for children, including Seven Brave Women by Betsy Hearn, winner of the Jane Addams Childrens Book Award and a Boston GlobeHorn Book Honor Book. Bethanne studied abstract painting at Brigham Young University, earning a Bachelors and then a Masters degree. Several years later, she attended the School of Visual Arts in New York to study illustration. She currently teaches illustration at Brigham Young University in Provo. When you work on a childrens book it is like entering your childhood again. - Bethanne Andersen Patience Wright Cover, Patience Wright: American Sculptor and Revolutionary Spy by Pegi Deitz Shea, Henry Holt, 2007 mixed media, 16 x 12 (40.6 x 30.5 cm) courtesy of Bethanne Anderson Puttering Bluebird Summer by Deborah Hopkinson, Greenwillow Books, 2001 So the next morning, I pulled on my jeans and grabbed Grandmas sun hat from the peg. mixed media, 15x 15 (38.1 cm x 38.1 cm) courtesy of Bethanne Anderson

Mama in Her Garden A Packet of Seeds by Deborah Hopkinson, Greenwillow Books, 2004 Healing power of the earth. mixed media, 15 x 29 1/2 (38.1 x 74.9 cm) courtesy of Bethanne Andersen 4

MATTHEW ARMSTRONG
Salt Lake City, Utah Matthew Armstrong has been a voracious drawer since he was just a boy. He has studied fine arts at the Visual Art Institute in Sugarhouse, Utah, and now draws and paints for video games, comics, and especially for picture books. This type of artwork and story telling has always deeply appealed to me. Having my daughter really affected me and my artwork. Im always trying to create stuff shell like. I really coudnt imagine a more wonderful and fulfulling job than writing and illustrating books for children. - Matthew Armstrong Jane and the Mizmow Jane and the Mizmow by Matthew Armstrong, HarperCollins, not yet published pencil, watercolor, digital/archival inkjet print 9 1/4 x 7 3/8 (23.5 x 18.7 cm) courtesy of Matthew Armstrong

The Return to Narnia Cover, The Return to Narnia: The Rescue of Prince Caspian based on the book by C.S. Lewis, HarperCollins, 2006 pencil, watercolor, digital/archival inkjet print 13 3/8 x 10 3/8 (34 x 26.4 cm) courtesy of Matthew Armstrong 5

Aslan Cover, The Chronicles of Narnia Pop-up Book based on the book by C.S. Lewis with Robert Sabuda, HarperCollins, 2007 pencil, watercolor, digital/archival inkjet print 9 1/4 x 7 3/8 (23.5 x 18.7 cm) courtesy of Matthew Armstrong

PAT BAGLEY
Salt Lake City, Utah Pat Bagley is the editorial cartoonist for The Salt Lake Tribune. Born in Utah and raised in California, Pat pursued a career involving art despite his mothers warning that the only artist is a starving artist. In the nineties, Deseret Book engaged Pat to create a series of Mormon-themed books similar to the then popular Wheres Waldo. His invention of a time-traveling Nephite named Norman proved very popular with the LDS audience and more than 150,000 books made their way into eager young hands. Pat has also illustrated several successful books for both children and adults published nationally by White Horse Books. He is not starving. I like drawing for children because they havent yet learned how to be polite. You know right away how they feel about your work. - Pat Bagley

The Construction of the Salt Lake Temple I Spy a Nephite by Pat Bagley, White Horse Books, 1999 hand watercolored on black & white line art copy 14 5/8 x 22 3/8 (37.1 x 56.8 cm) courtesy of Pat Bagley

ROBERT BARRETT
Provo, Utah Robert Barrett grew up in Moab, Utah, where his dad was involved in the uranium boom. His mom and dad both painted and he remembers the smell of oil paints in the house he grew up in. Richard attended the University of Utah and graduated with a BFA in painting in 1973. He is currently on the faculty in the Visual Arts Department at Brigham Young University. When I got into illustration, I never planned to illustrate childrens books, but one thing leads to another. I started illustrating covers for books, including some for Newbery winners, so I decided to read them to my children. It occurred to me how influential childrens books are in shaping the ideas, values, aspirations and imaginations of children. - Robert Barrett

Twilight Silent Night, Holy Night: The Story of the Christmas Truce by Steven Wunderli, Shadow Mountain, 2003 oil on canvas, 14 1/2 x 16 (36.8 x 40.6 cm courtesy of Robert Barrett

The Real Story of the Creation Cover, The Real Story of the Creation by Paul L. Maier, Concordia Publishing House, 2007 oil on canvas, 26 x 27 3/4 (66 x 70.5 cm) courtesy of Concordia Publishing House 7

The Real Story of the Flood Cover, The Real Story of the Flood by Paul L. Maier, Concordia Publishing House, 2008 oil on canvas, 26 x 27 3/4 (66 x 70.5 cm) courtesy of Concordia Publishing House

MARK BUEHNER
Draper, Utah Mark Buehner grew up in Salt Lake City and remembers countless hours drawing pictures just because he thought it was fun. He majored in illustration at Utah State University, and shortly after graduation his young family packed up and headed for New York City. After about a year of little success in finding freelance work, he met up with Debra and Sal Barracca, who were looking for just the right artist to illustrate their picture book. The Adventures of Taxi Dog was his first book and more projects followed. Mark expecially enjoys working with his favorite author, his wife Caralyn. My approach to my work is simple. I try to illustrate books that both children and their parents will enjoy reading together. I love art and view childrens books as an art form. I often feel illustrating childrens books is a bit like doing movie animation. I have to figure out which frame of the animation will be just right for each page and the subsequent pages which follow. I love the challenge. - Mark Buehner

Harvey Potters Field of BalloonsHarvey Potters Balloon Farm, by Jerdine Nolen, HarperCollins, 1994
acrylic and oil on masonite, 16 1/2 x 26 3/8 (41.9 x 67 cm) courtesy of Mark Buehner

Snowmen at Christmas Cover, Snowmen at Christmas, by Caralyn Buehner, Dial, 2005

acrylic and oil on illustration board 16 5/8 x 14 3/8 (42.2 x 36.5 cm) courtesy of Mark Buehner

Fanny Thinking of Her Marriage Fannys Dream by Caralyn Buehner, Dial, 1996
acrylic/oil on masonite, 15 x 18 (38.1 x 45.7 cm) courtesy of Mark Buehner

Elzy Jay Bill Bird

Elzy Jay Bill Bird (1911-2001) is a Midvale, Utah, oil and opaque-watercolor painter, printmaker, designer, cartoonist, arts administrator, and architectural draftsman who was born in Salt Lake City. He studied with a number of well-known Utah artists including Cornelius Salisbury and James T. Harwood. In addition, Bird spent a year studying at Chouinard School of Art, Los Angeles. He wrote and illustrated childrens books, including Ten Tall Tales (1985), and How Do Bears Sleep? Bill Bird worked as an animation artist at Walt Disney Studio and participated in several government programs such as the Public Works of Art Project, as well as a stint as director for the Utah Federal Art Project. In 1939, Birds critically acclaimed watercolor Takin Five was shown at the New York Worlds Fair. Then in 1940, Birds genre piece, The Gossips, an admirable example of American scene painting, was exhibited in a show of regionalist painters, with a Thomas Hart Benton on one side and a Grant Wood on the other. In 1997, a series of pen-and-ink drawings of his youth were shown at the Springville Museum of Art and in January, the museum held a major solo exhibition of his work.

One of a group of 12 pages of drawings for the book Where Do Bears Sleep? pen and ink and pastel drawing Springville Museum of Art Collection, a gift from the Bird Family 9

DAVID A. CARTER
Auburn, California David A. Carter was born in Salt Lake City, Utah, home to some of the best powder skiing in the world. He has been an artist and a skier ever since. He grew up in Bountiful and attended Utah State University, where he studied illustration and art. He worked for many years in graphic design in Utah and then California. Since learning the fine art of paper engineering and pop-up bookmaking, David has created more than 50 pop-up books. His motto is have fun! I see art as entertainment for the mind. My hope is that my art will make you think and chuckle and leave you with a smile on your face. - David A. Carter

Mondrian Floats with Shadows 600 Black Spots: A Pop-up Book for Children of all Ages by David A. Carter, Little Simon, 2007 rough cut dummy for publisher approval courtesy of David A. Carter

Fauve Kaboom 600 Black Spots: A Pop-up Book for Children of all Ages by David A. Carter, Little Simon, 2007 Inkjet prints of digital files courtesy of David A. Carter 10

Fauve Kaboom 600 Black Spots: A Pop-up Book for Children of all Ages by David A. Carter, Little Simon, 2007 rough cut (experiment) courtesy of David A. Carter

JAMES C. CHRISTENSEN
Orem, Utah James C. Christensen was raised in Culver City, California. He studied painting at Brigham Young University and the University of California at Los Angeles before finishing his formal education at BYU. Since then he has had one-man shows in the West and the Northeast, and his work is prized in collections throughout the United States and Europe. He was recently designated as a Utah Art Treasure, one of Utahs Top 100 Artists by the Springville Museum of Art and received the Governors Award of Art awarded by the Utah Arts Council. While I am not primarily a childrens illustrator, I enjoy doing work for kids because they are so open to fun and innovation. They are willing to imagine all sorts of things around an art work. - James C. Christensen Three Wise Men of Gotham Rhymes & Reasons by Mother Goose, The Greenwich Workshop Press, 1997
etching hand tinted with watercolors 7 7/8 x 10 7/8 (20 x 27.6 cm) courtesy of James C. Christensen

Dickery Dickery Dare Rhymes & Reasons by Mother Goose, The Greenwich Workshop Press, 1997
etching hand tinted with watercolors 11 3/4 x 8 3/4 (29.8 x 22.2 cm) courtesy of James C. Christensen

There Was a Crooked Man Rhymes & Reasons by Mother Goose, The Greenwich Workshop Press, 1997
etching hand tinted with watercolors 11 3/8 x 8 (29.8 x 20.3 cm) courtesy of James C. Christensen

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CAMBRIA EVANS
Brooklyn, New York Cambria Evans was born in Richmond, Virginia, but grew up in Provo, Utah. After graduating from Timpview High School, she briefly attended Brigham Young University and then transferred to the Rhode Island School of Design to study graphic design. In addition to writing and illustrating childrens books, Cambria works as a freelance illustrator, writer and designer. The combination of words with pictures has always fascinated me. Ive never liked books that talk down to children or are heavily moralistic. So, I write about what makes me laugh and hope it makes others laugh, too. I enjoy working from 10 p.m. to 3 a.m. because thats when all of the emails stop and art directors are sleeping. - Cambria Evans

Finnigan Comes to Town, Bone Soup by Cambria Evans, Houghton Mifflin, 2008
pen, watercolor and collage with digital color 10 1/8 x 10 (25.7 x 25.4 cm) courtesy of Cambria Evans

Townscreatures Hide Their Food, Bone Soup by Cambria Evans, Houghton Mifflin, 2008
pen, watercolor and collage with digital color 10 1/8 x 20 (25.7 x 50.8 cm) courtesy of Cambria Evans

The Only Thing Left Were Two Socks Martha Moth Makes Socks by Cambria Evans, Houghton Mifflin, 2006

watercolor and ink, 9 3/8 x 18 3/8 (23.8 x 46.7 cm) courtesy of Cambria Evans

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CAROLYN FISHER
Calgary, Canada Carolyn Fishers illustrations have been commissioned by hundreds of magazines and newspapers. Carolyn has written and/or illustrated several books for children, including Fifty-Five Grandmas and a Llama, Two Old Potatoes and Me and Twisted Tale. When not illustrating and writing, Carolyn talks to kids and grown-ups about writing and art. After graduating from Brigham Young University, Carolyn moved to Canada to live in a snow cave. I want to jazz up peoples eyes and make them smile. I like stitching words and pictures together into stories. - Carolyn Fisher

Ingredients, The Snow Show by Carolyn Fisher, Harcourt Childrens Books, 2008
digital/archival inkjet print, 12 x 23 3/4 (30.5 x 60.3 cm) courtesy of Carolyn Fisher

Clouds, The Snow Show by Carolyn Fisher, Harcourt Childrens Books, 2008
digital/archival inkjet print, 12 x 23 3/4 (30.5 x 60.3 cm) courtesy of Carolyn Fisher

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GUY FRANCIS
Provo, Utah Guy Francis was born and raised in Provo, Utah. He attended Brigham Young University and majored in illustration. He has always enjoyed drawing and has been a professional illustrator for about 15 years. He currently freelances from his studio in his home in Provo. I love illustrating childrens books. As a child, I spent hours looking at picture books and they were a big influence in my life. The most rewarding thing for me is knowing that my books may affect other children in the same way. - Guy Francis Shelly Cover, Shelly by Margie Palatini, Dutton, 2006
acrylic on arches watercolor paper 13 3/8 x 10 3/8 (34 x 26.4 cm) courtesy of Guy Francis

Mrs. McBloom, Clean Up Your Classroom! Cover, Mrs. McBloom, Clean Up Your Classroom! by Kelly S. Dipucchio, Hyperion, 2005
acrylic on arches watercolor paper 10 5/8 x 28 3/8 (26 x 72.1 cm) courtesy of Guy Francis

Dance by the Light of the Moon Cover, Dance by the Light of the Moon by Joanne Ryder, Hyperion, 2006
acrylic on arches watercolor paper 11 1/8 x 25 (28.3 x 63.5 cm) courtesy of Guy Francis

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HOWARD FULLMER

Springville, Utah Howard Fullmer grew up in Ammon, Idaho. He started illustrating on an old Mac Performa computer in 1994. His work has been featured in corporate and editorial markets throughout the world. The Kings Highway is his first childrens book. When I first heard the story of The Kings Highway (or at least some version of it) I thought, with a few adaptations, it would make a good childrens book. The tone of the story needed illustration with the feel of early Christian illuminated manuscripts, including symbolism. Fortunately, my medium lent itself to this feel while still giving the book a modern twist. - Howard Fullmer

The Kings Highway original cover

digital/archival inkjet print, 9 x 6 3/4 (22.86 x 17.15 cm)

The Young King in Front of a Rosette Window

digital/archival inkjet print, 9 x 6 3/4 (22.86 x 17.15 cm) courtesy of Dr. Leslie Feinauer

The King in His Throne

digital/archival inkjet print, 9 x 6 3/4 (22.86 x 17.15 cm) courtesy of Dr. Leslie Feinauer

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MARK GRAHAM
Provo, Utah Mark Graham graduated from the University of Utah, attended the Art Students League of New York, and graduated from Columbia University with an MA in art education and an EdD in curriculum and teaching. He moved from New York to Provo in 2007. As an artist and illustrator of books, I have long had an interest in how the art form of the illustrated book could contribute to the educational experience of students of all ages. I am interested in many kinds of illustrated books, including comics, graphic novels, and childrens books. - Mark Graham Rollercoaster If I Were the Queen of the World by Fred Hiatt, Margaret K. McElderry, 1997
oil on paper, 13 3/4 x 11 1/4 (34.9 x 28.6 cm) courtesy of Mark Graham

Stormy Night Charlie Anderson, by Barbara Abercrombie, Margaret K. McElderry, 1990

oil on paper, 9 3/8 x 15 3/8 (23.8 x 39.1 cm) courtesy of William and Liz Gibbs

Sunflowers Shadows Are About, by Ann Whitford Paul, Scholastic Trade, 1992

oil on paper, 11 1/2 x 20 1/2 (29.2 x 52.1 cm) courtesy of Mark Graham

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NATHAN HALE
Provo, Utah Nathan Hale is a childrens illustrator with a background in scientific and natural history illustration. He has written two picture books, The Devil You Know and Yellowbelly and Plum Go to School. Nathan has illustrated for several publishers, including National Geographic. His most recent project is the graphic novel Rapunzels Revenge, written by Newbery author Shannon Hale (no relation) and her husband. The childrens market is wide open, more diverse and interesting than any other illustration field. Detailed scientific work and scribbly, goofy illustrations are given equal billing. Dinosaurs and teddy bears seem to get along fine in the world of childrens books. It never gets boring. - Nathan Hale

The Devil You Know Cover, The Devil You Know by Nathan Hale, Walker Books for Young Readers, 2005
acrylic on illustration board, 11 x 19 1/8 (27.9 x 48.6 cm) courtesy of Nathan Hale

Rapunzels Revenge Cover, Rapunzels Revenge by Shannon Hale and Dean Hale, Bloomsbury, 2008

acrylic on illustration board, 13 1/8 x 19 (33.3 x 48.3 cm) courtesy of Nathan Hale

Amphibians Poems of the Prehistoric Swamp National Geographic, not yet published
acrylic on illustration board, 8 3/4 x 16 1/2 (22.2 x 41.9 cm) courtesy of Nathan Hale

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KEVIN HAWKES
Gorham, Maine Kevin Hawkes was born into an Air Force family and moved around quite a bit. He ended up in North Logan where he attended high school, and then studied illustration at Utah State University. After graduating, he moved to the Boston area where he worked as an editorial illustrator and at a bookstore in the childrens section. Kevin has lived several places in New England, including a small Maine community on an island in Portland Harbor. The Famous Colombo Clowns Sidewalk Circus by Paul Fleischman, Candlewick Press, 2004 I decided early on in my career to focus my attention on childrens books. I saw immediately that it was where the most creative work was happening. I consider it a worthwhile ambition to take a fully developed artistic vision and focus it on children. - Kevin Hawkes

acrylic on paper, 10 3/4 x 16 3/4 (27.3 x 42.5 cm) courtesy of Kevin Hawkes

He Made a Comfy Backrest Library Lion by Michelle Knudsen, Candlewick Press, 2006
charcoal and acrylic on watercolor paper 5 7/8 x 9 1/2 (14.9 x 24.1 cm) courtesy of Kevin Hawkes

After Five Days the First Seedlings Appeared Weslandia by Paul Fleischman, Candlewick Press, 2002

acrylic on paper, 9 x 21 1/4 (22.9 x 54 cm) courtesy of Kevin Hawkes

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BRETT HELQUIST
Brooklyn, New York Brett Helquist grew up in Orem, Utah. He graduated from Brigham Young University with a Bachelor of Fine Arts degree in illustration in 1993. Shortly after graduation Brett left for New York City with hopes of becoming a childrens book illustrator. It took a while, but he finally made it. Pictures are very important to me. When I was a kid I spent my summers going to the library. I was a slow reader and had a hard time imagining why anyone would want to read a book without pictures. Even today I still prefer a book loaded with images. The more the better. - Brett Helquist Baudelaires in Trunk The Hostile Hospital (A Series of Unfortunate Events) by Lemony Snicket, HarperCollins, 2001
graphite on paper, 12 x 9 1/4 (30.5 x 23.5 cm) courtesy of Brett Helquist

Roger with Pirates Roger, the Jolly Pirate by Brett Helquist, HarperCollins, 2004

oil and acrylic on paper, 17 1/4 x 25 1/4 (43.6 x 64.1 cm) courtesy of Brett Helquist

Petra and Mrs. Sharpe The Wright 3 by Blue Balliett, Scholastic Press, 2006

oil and acrylic on paper, 14 3/4 x 9 1/2 (37.5 x 24.1 cm) courtesy of Brett Helquist

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LILY TOY HONG

Sandy, Utah Lily Toy Hong grew up in a large ChineseAmerican family, the seventh of nine children. After earning an AAS degree in commercial art at Salt Lake Community College then graduating from Utah State University with a BFA, Lily worked for three years for Hallmark Cards before becoming a freelance designer and illustrator. Two of Everything was chosen by the children of Utah as their favorite picture book in 19951996, and it was on the New York Public Library list, 100 Picture Books Everyone Should Know. I remember spending Saturday mornings walking to the city library with my sisters and brother. I would take the escalator to the second floor, say hi to the bird, and then head straight for the picture books. - Lily Toy Hong Market Scene Two of Everything by Lily Toy Hong, Albert Whitman & Co., 1993 airbrushed acrylics and gouache 8 1/2 x 19 1/2 (21.6 x 49.5 cm) courtesy of Lily Toy Hong

The Emperors New Robe The Empress and the Silkworm by Lily Toy Hong, Albert Whitman & Co., 1995 airbrushed acrylics and gouache 10 7/8 x 13 (27.6 x 33 cm) courtesy of Lily Toy Hong

Eating Lots of Rice How the Ox Star Fell from Heaven by Lily Toy Hong, Albert Whitman & Co., 1995 airbrushed acrylics and gouache 8 1/4 x 20 1/2 (21 x 52.1 cm) courtesy of Lily Toy Hong 20

RICHARD HULL
Orem, Utah Richard Hull was born in Logan, Utah, but raised on a farm in Quincy, Washington. He studied graphic design and illustration at Brigham Young University. In 1987, after 15 years as a graphic designer for the Ensign magazine, Richard took a faculty position teaching illustration at BYU. He has also been a freelance illustrator since 1970. As a young boy I was really gifted at drawing in the margins of math and science tests. It would be irresponsible to claim that goofing off can be fun and profitable, but while I worked hard to develop strong aesthetic skills, the play became some of my best stuff. - Richard Hull

F Is for Fake But Not for Phony The Alphabet from Z to A (With Much Confusion on the Way) by Judith Viorst, Atheneum, 1994
acrylic, 7 7/8 x 4 1/2 (20 x 11.4 cm) courtesy of Richard Hull

Eggs in Kegs, My Sisters Rusty Bike by Jim Aylesworth, Atheneum, 1996

acrylic, 10 x 10 (25.4 x 25.4 cm) courtesy of Richard Hull

Hey Gravy Gravy The Cat & the Fiddle & More by Jim Aylesworth, Atheneum, 1992
courtesy of Richard Hull

mixed - colored pencil over pastel, watercolor, colored marker, 10 1/4 x 16 1/4 (26 x 41.3 cm)

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FUMI KOSAKA
Provo, Utah Fumi Kosaka was born and raised in Japan. She studied illustration at Ricks College and Brigham Young University in Provo. After graduation, she worked in the childrens art department of a New York City publishing house while doing freelance illustration. She has illustrated nine childrens books. Art was always my favorite subject growing up. The way I draw seemed best suited to childrens book illustration, so I pursued that goal. It has been a fulfilling career, and earning a living by doing what I enjoy is a real blessing. Previously I saw picture book illustration as mostly an artistic endeavor, but now that I have children, I realize how much reading picture books enriches not only the lives of children, but also the lives of the adults who read to them. - Fumi Kosaka

Lets Count the Raindrops Cover, Lets Count the Raindrops by Fumi Kosaka, Viking, 2001

acrylic on board, 8 x 14 1/8 (20.3 x 35.9 cm) courtesy of Fumi Kosaka

Skeleton How Do You Know Its Halloween? by Dian Curtis Regan, Little Simon, 2002
acrylic on arches paper, 10 x 24 (25.4 x 61 cm) courtesy of Fumi Kosaka

Time to Have Some Bubble Fun Bubbles, Bubbles by Kathi Appelt, HarperFestival, 2001
acrylic on board, 8 7/8 x 17 1/8 (22.5 x 43.5 cm) courtesy of Fumi Kosaka

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SHERRY MEIDELL
West Bountiful, Utah Sherry Meidell attended Salt Lake Community College so long ago it was called Utah Tech. She graduated in the commercial art program. Sherry keeps her paint brushes busy illustrating picture books and painting watercolors. She is a member of the Society of Childrens Book Writers and Illustrators and received an Award of Merit from the Los Angeles Society of Illustrators. In 2007, Sherry traveled to Kenya, Africa, and visited schools, talking to students about illustration and painting murals in three classrooms. Have you discovered an old book that you held close as a child? Its like finding an old friend. I love taking a story and turning it into a book that children can hold in their laps and that parents can read to their children while holding them safe on their laps. - Sherry Meidell

I Smell a Mans Flesh The Devil with Three Golden Hairs by the Brothers Grimm, Silverleaf Press, 2006
watercolor, 5 1/2 x 8 1/2 (14 x 21.6 cm) courtesy of Sherry Meidell

The Centaur, The Centaur by May Swenson, Utah State University Press, 2007
watercolor, 11 x 17 (27.9 x 43.2 cm) courtesy of Sherry Meidell

The Howling Followed Us Emma Jos Song by Faye Gibbons, Boyds Mill Press, 2001
watercolor, 11 x 17 (27.9 x 43.2 cm) courtesy of Sherry Meidell

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ROBERT NEUBECKER
Park City, Utah Robert Neubecker has been an illustrator for 30 years. He is currently on the staff of Slate.com and is a regular contributor to Business Week, Time, The Washington Post, The Wall Street Journal and The Los Angeles Times. Robert has worked for Newsweeks cover department and apprenticed with The New York Times. His first childrens book won an ALA Notable Book award in 2005. Upcoming releases include I Got Two Dogs with John Lithgow and Monsters on Machines with Deb Lund. A longtime New Yorker, Robert now lives in Park City. Beasty Bath , Back cover, Beasty Bath by Robert Neubecker, Orchard Books, 2005
watercolor and ink on arches paper 3 1/4 x 7 (8.3 x 17.8 cm) courtesy of Robert Neubecker

I create childrens books because, like a painting, one can create a rich and perfect world within the four corners of the image or the cover of a book. Nowhere else in life can you do that. - Robert Neubecker

Wow! Subway! Wow! City! by Robert Neubecker, Hyperion, 2004

original drawing/india ink on arches paper 15 3/8 x 26 3/4 (39.1 x 67.9 cm) courtesy of Robert Neubecker

Wow! Subway! Wow! City! by Robert Neubecker, Hyperion, 2004

digital color/signed print (artists proof) 11 x 18 (27.9 x 45.7 cm) courtesy of Robert Neubecker

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GREG NEWBOLD
Salt Lake Valley, Utah Award-winning Utah native Greg Newbold has been drawing and painting since age three. He earned a BFA from Brigham Young University where he teaches part time. Greg is currently pursuing an MFA at the University of Hartford. Notable clients include Simon & Schuster, Random House, HarperCollins, Heinz Foods, Smuckers, Kleenex, Boys Life Magazine and Sony Pictures. Greg is also pursuing gallery work and fine art prints. As a child I loved pouring over such masterpieces as Sendaks Where the Wild Things Are and anything by Dr. Seuss. I remember realizing one day that somebody painted these things! Then I knew what I wanted to do for the rest of my life. It is this same spirit that I try to instill in my paintings. - Greg Newbold Santas Arrival The Barnyard Night Before Christmas by Beth Terrill, Random House, 2007
acrylic on illustration board 14 1/2 x 10 3/4 (36.8 x 27.3 cm) courtesy of Greg Newbold

The Touch of the Masters Hand Cover, The Touch of the Masters Hand by Myra Brooks Welch, Stellar Books, 2007
acrylic on bristol board, 8 x 17 (20.3 x 43.2 cm) courtesy of Greg Newbold

Scattered Sunshine, Winter Lullaby by Barbara Seuling, Voyager Books, 2002

acrylic on bristol board, 10 3/8 x 20 3/8 (26.4 x 51.8 cm) courtesy of Greg Newbold

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JULIE OLSON
Spanish Fork, Utah Julie Olson was born in the east, raised in the midwest, and settled in the west. She came to Utah to attend Brigham Young University where she earned a BFA in illustration. Even though shes not a particularly outdoorsy girl, she loves the mountains, the weather and the scenery Utah has to offer. For the last 10 years, Julie has been illustrating childrens picture books (seven to date), magazines and games. I illustrate childrens books for three reasons: (1) I love art, especially art in picture books; (2) I love books and how they let you dive into another world; and (3) I love kids and their limitless imagination. I wish I still possessed a tenth of their creativity. They inspire me. - Julie Olson

Christmas Love, Christmas Love by Cindy Chand, Gibbs Smith, 2008

watercolor, 5 3/4 x 6 7/8 (14.6 x 17.5 cm) courtesy of Julie Olson

My Dog Zack Already Asleep by A.D. Tarbox, Moo Press, 2006

watercolor and ink, 7 1/4 x 21 1/2 (18.4 x 54.6 cm) courtesy of Julie Olson

I Want to Be an Author Theres Always a Way, Annie McRae by Brad Wilcox, Mighty Authors, 2008

watercolor and acrylic, 9 5/8 x 23 (9.625 x 58.4 cm) courtesy of Julie Olson

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BEN SOWARDS
Cedar City, Utah The son of an inventor, Ben Sowards was born in Provo, Utah, and raised primarily in New Mexico. Ben received a Bachelor of Fine Arts degree from Brigham Young University in 2001 and teaches illustration full time at Southern Utah University. Ben has illustrated seven childrens books, six fantasy novels, and his portrait work hangs in many public and private collections. My intent is to do more than visually show the action of a text or the likeness of my character, and I use every tool available. My primary goal is to create memorable images that clearly express my feelings for an individual or concept. Creating a harmonic resonance between myself, the author and the reader is what drives me to illustrate. - Ben Sowards Leven Thumps and the Wrath of Ezra Cover, Leven Thumps and the Wrath of Ezra by Obert Skye, Shadow Mountain, 2008
digital/archival inkjet print, 16 1/2 x 10 1/2 (41.9 x 26.7 cm) courtesy of Ben Sowards

He Took My Lickin for Me Cover, He Took My Lickin for Me by Timothy Robinson, Shadow Mountain, 2003
oil on linen, 19 1/2 x 23 1/4 (49.5 x 59.1 cm) courtesy of Ben Sowards

A Christmas Dress for Ellen cover, A Christmas Dress for Ellen by Thomas S. Monson, Shadow Mountain, 2005

oil on linen, 14 1/2 x 30 1/2 (36.8 x 77.5 cm) courtesy of Ben Sowards

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GREG SWEARINGEN
Rexburg, Idaho Greg Swearingen was born in Ohio and has lived in Illinois, Pennsylvania and Utah. He received his BFA from Columbus College of Art and Design and worked at American Greetings before launching his freelance career. Today, Gregs illustrations can be seen regularly on young adult book covers and in the Communication Arts, Society of Illustrators, and Spectrum annuals. I have been interested in book illustration since I was very young. At the library I studied the characters and scenes on the covers of picture books and novels. As I grew I found that the artwork played a large role in my impression of a story and whether or not I would pick up a book. As an illustrator, I want to intrigue the reader into asking What happens next? - Greg Swearingen So You Want to Be a Wizard Cover, So You Want to Be a Wizard by Diane Duane, Harcourt, 2003

colored pencil, ink, acrylic and watercolor on paper, 17 1/4 x 20 1/2 (43.8 x 52.1 cm) courtesy of Greg Swearingen

Everything on a Waffle Cover, Everything on a Waffle by Polly Horvath, Farrar, Straus and Giroux, 2001
colored pencil, ink, acrylic and watercolor on paper 8 3/4 x 6 1/4 (22.2 x 15.9 cm) courtesy of Greg Swearingen

The Giants and the Joneses Cover, The Giants and the Joneses by Julie Donaldson, Henry Holt, 2005

colored pencil, ink, acrylic and, watercolor on paper 8 5/8 x 6 1/2 (21.9 x 16.5 cm) courtesy of Greg Swearingen

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WILL TERRY
Cedar Hills, Utah Will Terry grew up just outside the beltway of Washington, D.C. He studied illustration at Brigham Young University. In 1992 he moved to Maryland in search of freelance assignments and was soon working as a full-time illustrator for corporate clients such as Sprint and Pizza Hut and publications such as The Wall Street Journal and Seventeen. Will enjoys working with students and is currently teaching a picture book class at Utah Valley University. As a child I constantly fell into daydreams looking at picture book art. The best feeling in the world is watching a child look at one of my books and get the same look on his or her face that I did as a child. - Will Terry Armadilly Chili Cover, Armadilly Chili by Helen Ketteman, Albert Whitman & Co., 2004
acrylic on 140 lb hotpress watercolor paper 17 1/8 x 22 (43.5 x 55.9 cm) courtesy of Will Terry

The Frog with the Big Mouth Right, Cover, The Frog with the Big Mouth by Teresa Bateman, Albert Whitman & Co., 2008
acrylic on 140 lb hotpress watercolor paper 16 x 19 1/2 (40.6 x 49.5 cm) courtesy of Will Terry

Those Bees Did Sting! Little Roosters Diamond Button by Margaret Read McDonald, Albert Whitman & Co., 2007

acrylic on 140 lb hotpress watercolor paper 12 1/2 x 29 (31.8 x 73.7 cm) courtesy of Will Terry

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HALA WITTWER
Rexburg, Idaho Hala Wittwer studied graphic design and illustration at Ricks College and Brigham Young University, where she earned a BFA. Hala worked as an in-house illustrator and animator for a childrens educational software company until 2000, when she left her day job to illustrate book jackets and childrens books. Her work has been exhibited in the Society of Illustrators in New York. She teaches classes on and off for BYU and BYU-Idaho and will complete her MFA degree in painting from the Art Institute of Boston in January. My paintings tell stories. Sometimes my own, sometimes the stories of others. I love to create characters and imagine the worlds they live in. A childrens book is a special place for me to share my ideas. - Hala Wittwer

Meow Cover, Meow: Cat Stories from Around the World by Jane Yolen, HarperCollins, 2005
acrylic and oil on paper, 14 x 10 1/4 (35.6 x 26 cm) courtesy of Hala Wittwer

Greyfax Grimwald, Cover, Greyfax Grimwald (Circle of Light) by Niel Hancock, Starscape, 2004

acrylic and oil on panel, 14 1/2 x 9 7/8 (36.8 x 9.875 cm) courtesy of Hala Wittwer

Look Who Is Waiting, Dragon Egg by Mallory Loehr, Random House, 2007
acrylic on paper, 10 1/4 x 7 (26 x 17.8 cm) courtesy of Hala Wittwer

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Unbound: Book Art & Illustration Lessons

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The following 7 pages are of a display by Will Terry on the process of illustrating a book. They would be a wonderful introduction to many of the lessons in the packet.. The CD has color copies of the pages that could be made into overheads or put into a slide or PowerPoint presentation.

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Unbound: Book Art & Illustration

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Unbound: Book Art & Illustration

Writing and Illustrating My Own Book
Elementary Illustration Lesson:
Objective: Students will demonstrate an understanding of narrative writing and visual illustration by writing and illustrating and publishing their own story. Materials: writing materials a variety of media: watercolor, marker pen, black ballpoint pens scissors glue interesting collage paper, stencils This is a project that was a collaborative work between the art specialist and the fifth grade core teachers. The fifth grade teachers wanted to publish a narrative writing project. In art we call publishing exhibition. The art specialist suggested that the art room and its facility and materials be used to create illustrations for the project. In many instances, the traditional core teachers have students illustrate their literary works but do not include any of the visual arts curriculum objectives in the illustration assignment. I have had many students over the years tell me, But she didnt say I had to put a horizon line in it or She didnt tell me to color the whole thing in or I didnt know we were supposed to mix colors together. These statements were in response to the art specialist asking students why they didnt use the ideas and techniques that we were studying in art class for their illustrations or on a poster for their report. Here is a great opportunity to model to literacy teachers a way to make the art curriculum be part of the literacy curriculum, not just something to do when the learning is over.

http://commons.wikimedia.org/wiki/ Image:Kakadu-painting-hero.jpg public domain Remember: Written language is perhaps 5,000 years old (cuneiform). Painting is at least 17,000 years old (cave paintings). Sculpture is even older. Long before the human condition had figured out how to communicate with an esoteric visual code that represents language, our ancestors were communicating complex ideas with visual representations of their physical and spiritual world and using abstract symbols to communicate with others. If one thinks about it, writing is actually using word symbols to paint pictures of ideas. Before someone can write a narrative story that individual has to be able to visualize the story. This is Art. 41

My Dog Zack Already Asleep by A.D. Tarbox, Moo Press, 2006

watercolor and ink, 7 1/4 x 21 1/2 (18.4 x 54.6 cm) courtesy of Julie Olson

Process: Look at a variety of illustrated books with the students such as those whose artworks are featured in the Unbound exhibit. Read and discuss how the illustration enhances the story. Read a fragment of a story and ask students to imagine what kind of illustration they would use to illustrate the story segment. What motif? Would they use landscape, portrait, still life, or design? What medium? Some possibilities include watercolor, pen and ink, marker, paper cut, collage, colored pencil, crayons, or mixed media. Discuss how the proposed illustration adds to and complements the story. Can you get the basic idea of the story from the illustrations? Is it possible to tell a story with only the illustrations? Try looking at illustrations without reading the story. WRITING ASSIGNMENT: Students are expected to develop six to eight written pages containing stories (or one long story) about their own life. They may use one or two longer narratives, or a combination of shorter personal stories. The stories should tell about things that have really happened to the students such as a visit to the emergency room, a secret clubhouse they built, a summer vacation at grandmas, the funniest prank, etc. The stories can also be imaginative and fanciful but still need to be written from the personal narrative point of view. A group brainstorming session is an excellent tool. Students will write the personal narratives in the core class, then edit and revise them. The art class will be teaching students to use new processes and art mediums to use to illustrate the stories in their book.

Illustration Assignments: We decided to assign the students six different illustration medium techniques including one of their own choice and a seventh page for the cover and title page. These illustrations had to include at least one Landscape, Portrait, Still Life and Design. We define design as lines, shapes, values, colors, and textures that do not make a picture of something else. The six assignments included: 1. Watercolor 2. Collage 3. Pointillism 4. Pen and Ink Drawing 5. Comic Strip 6. Your own choice 7. Cover and Title Sheet Students will need to have a broad-based idea before they start. They were writing at the same time they were illustrating. The first thing they write is a very brief outline scenario. They then began to flesh out the story with characters and plot and sequence. At the same time they were expected to do that visually in the art class. They started with a very brief sequence of thumbnail sketches that followed loosely the sequence of the story narrative. After deciding on basic subject matter for each picture, with one or two optional ideas just in case, they were to determine which medium and motif would be applied to which illustration. This is called a storyboard 42

Miriams Storyboard. After students have chosen their first illustration, they need to choose a medium. The class can choose one medium at a time and have everyone do his or her watercolor together even if watercolor is not going to be the first illustration in the book. Or, each student can choose any medium and do the illustrations sequentially. We do the later approach in the art class because our art specialist seems to be attracted to chaos, while in a traditional class in might be easier to have all students do the same medium at the same time, so as not to put all the art supplies out at the same time. The Narrative: Narrative: 1. A story of events, experiences, or the like: narration. 2. A written or spoken work containing such a story. 3. The art, technique, or process of narrating. --Syn. 1. Chronicle, tale, narrative, account, recital, history. When introducing the narrative style of writing, it is a good idea to share some narrative stories and books. It would also be a good idea to share some of your personal narratives with students as they develop their own. The narrative does not need to be personal but one of the important ideas in literature is to write about what one knows. Lets discuss some of the types of medium available with this project. Watercolor: We start watercolor in Kindergarten and have young students understand some color relationships by mixing secondary colors with primary colors. By second grade students should understand wet washes and by third, dry brush techniques. By the fourth grade, we have introduced glue and paper resists. Help students learn how to get wet and vibrant colors by cutting down on the amount of water and by mixing all colors in the tray, not on the paper. Look at Winslow Homer as an example. There are also excellent examples included in the packet. (see any of the watercolors) For a brief description and some examples of watercolor technique see the lesson Art/Story, watercolor illustration in the packet. 43

watercolor portrait

watercolor landscape

Collage: This is a much over-looked idiom because it is usually taught as cutting out pictures and gluing them together. Remember that Picasso and Braque, Romare Bearden worked extensively in collage. Try these two types of collage; 1. Montague: where one creates a new picture by combining elements from other pictures. 2. Color Collage: where the artist uses colors and values and textures from other paper sources, (magazines, newspapers, colored copy paper, wallpaper samples, cloth) to make a painting like project by gluing the colors and textures side by side and on top of each other to create an image.

collage portrait

collage landscape

Pointillism: Look at a Georges Seurat, some early Vasily Kandinsky and even some of Vincent van Goghs later landscapes. Also, look at Utah artists like Sven Birger Sandzen, Moonrise In The Canyon or James T. Harwood, Footsteps in Spring, to see how arbitrary placement of dots of color can create the illusion of new colors and tints and shadings of color. Try using marker pens for the pointillism project. Find pens with different sized points, especially fine point. 44

Caution students that this is not a race and each dot must be placed specifically. Young students will try to speed dot and flatten out the tip of the pen and turn the dots into dashes and little cs. Remember that in art it is not the first one finished that wins but the best one finished. If your students work in a smaller format, 3x5 or 4x6 and then mount the finished work on a backing sheet, it wont take the whole year to complete one pointillism project.

pointillism still life

pointillism design

Pen and Ink: Use black ballpoint pens. Demonstrate at least 4 or 5 value and texture techniques to achieve crispness and contrast. Show some etchings like Bible Illustrations, by Gustave Dore to see how value and texture can be used with only one value of ink by increasing or decreasing the amount of white paper left exposed.

pen and ink portrait

pen and ink still life

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Comic Illustration: This is a process of drawing and coloring short stories by using simple illustrations in small boxes such and comic books and comic strips in the newspaper use. Most young students are very aware of the look of a comic. Show some examples. My students like Garfield. The dialogue and thought bubbles are optional. Try using no words, only pictures, to tell a story. There are some excellent children books out there that use no words.

comic illustration

comic illustration

Your Choice: At this point it is time to let students have a bigger say in the type of illustration they create for their narrative. Give them some choices such as: Crayon, Collagraphic and Relief printing, Charcoal, Colored ball point pens, Marker pens, Paper cuts, Colored chalk, Photography and Stencil to name a few. The obvious and best one of course is MIXED MEDIA where the student mixes appropriate medium to achieve the artists desired result.

colored chalk portrait 46

mixed media design

Title and Cover Sheet: The binding style we use has a clear plastic sheet on top. Under this clear sheet we put a Title sheet that should include The Title, the name of the author, a decorative border and some form of illustration. Some students choose to use a self portrait photograph similar to the kind of photo found on the jacket of commercial books.

Seths coversheet

Megans coversheet

Binding: We have been using a Cerlox, plastic binding combs style of bookbinding. Many teachers use this technique and most schools will have binding machine that makes this process easy, accessible and professional looking. We used a clear plastic cover with the student generated cover sheet under for the cover of the booklet.

A class full of authors

Cassies book cover

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Artists Back Cover: Glued to the back cover of the Cerlox is the Artists page which includes a brief biography, an artists statement and a portrait. This page can also be decorated in any appropriate manner the student chooses.

Shannons author page & bio

Quinns author page & bio

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Unbound: Book Art & Illustration

Haiku Illustration Printmaking:

Elementary Language Arts and Visual Arts Lesson

Objective: Students will demonstrate an understanding of haiku as a literary form and collagraphic printmaking as a means of reproducing their poem and illustrating their ideas by writing an original haiku, printing it and illustrating their haiku with a collagraphic print. Materials: paper and pencil for writing a haiku cardstock sticky letters paper for printing crayons, glue sticks scissors Process: Share the subtle nuance of Japanese poetry, particularly haiku, and help students to write and rewrite to get the 5-7-5, seventeen syllable style of haiku. Haiku are usually about nature and specifically about seasons. See the supplemental handout on Haiku. Remember that we are not in Japan and we are most interested in literary creativity and less interested in structure. I highly recommend that you write a Haiku of your own. Personal modeling is by far the most instructive mode available in the arts. When students have created their own poem, have them first determine what the most appropriate (aesthetically Jenni J. Christensen, pleasing) shape their haiku should be written on. It Blue Magnolias XII third state (first of a can be a geometric shape or a symbolic shape and a set of three) (1993) figurative shape. Cut the shape to the size necessary intaglio/etching, 24-7/8" x 12-5/8" to fit the poem. Sketch out lightly the configuration of the poem. A decision must first be made on size and style of font. When the cardstock shape is ready, students should carefully apply the sticky letters in an interesting format onto the card stock. Have students determine if a decorative border is appropriate and if so, what kind. Glue on the border with glue stick. 49

Katsushika Hokusai The Great Wave off Kanagawa, Hokusais most famous print, the first in the series 36 Views of Mount Fuji. (18231829) Wood-block print series commons.wikimedia.org/wiki/ Image:The_Great_Wave_ off_Kanagawa.jpg

When the template is complete, it is time to print. Printmaking is called printmaking because it is about making prints not templates. While a good template is necessary, it is the quality of the printing that makes the difference. Tack the template face down on the paper to be printed with very small pieces of masking tape. The type and quality of the paper is one of the creative choices in this process. Remember the tape will also print. Use the side of a black crayon to first find the border edges and the letter edges. Color can be applied at this point. Hopefully, students will have some sense of color relationships such as monochromatic, analogous and complementary color schemes. After color has been applied, go back with the black crayon to increase value contrast if desired. Remember that this is not rubbing, it is printing. Do not use the tip of the crayon. Use the side. Make the length of the crayon the right length for the job at hand. Usually the freshly broken end of the crayon wants to leave edge lines so have students round off the tips of the crayon on some scratch paper. Do not remove the template until the print is complete. Each student should make a run of about 10 prints to trade and exchange with other students. A collagraphic print illustrating the haiku can also accompany the poem and all of these can be mounted in a hand made book. There are several accessible ways to make booklets for these prints. The accordion booklet is easy for young students to build and easy to mount the prints and illustrations in. For the illustration part of this project, have students develop an image that enhances and contributes to the character of the haiku poem. Start with a drawing then copy it to cardstock. Have students draw on the cardstock and cut out the images and glue them to a card stock backing. Repeat the printing process from the haiku for the illustration. Make a similar run of 10 prints to exchange with other students to put into their book. The following examples are the product of a response to Hokusais The Great Wave, a Japanese woodblock print, shown above. Students first wrote the wave haiku then created a wave collagraphic pri

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Lukes haiku print

Lukes wave print

Lukes haiku (sticky letter) template

Lukes cardstock (cut and paste) wave template

See more examples on the following pages

Related projects: The haiku can be prints in several ways. The words can be written with white glue from a plastic squeeze bottle of white glue. This is called a glue print. The letters can be made by cutting out masking tape and taping the letters onto the cardstock template. Letters can be drawn and cut from cardstock and glued onto the cardstock template. Another way to encourage personal involvement in the literary process is to have students create their own alphabet font and use that for their haiku. Students usually enjoy making a secret code of the alphabet and a decoding dial can be made from cardstock. These last alphabet projects are excellent ways to get students invested in the nature of literacy. Any way to create personal ownership of the process is desirable. 51

Natashas haiku print.

Natashas wave print.

How to sign prints: When signing a print we write the number of the print over the number of prints in the edition (run) as a fraction. For example the third print in an edition of ten prints is written 3/10. This number is written in the bottom margin below the left bottom corner of the print. In the middle of the bottom margin just below the print, we write the title of the work and traditionally we put the title in quotation marks. In the bottom margin just below the right bottom corner of the print the artist signs the work and usually puts the date. This kind of documentation may seem a bit rigorous and formal but it has to do the tradition of printmaking as a form of journalism. More examples: Joe is an exceptional first grader. This is his haiku template and collagraphic print.

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Gage is a second grader. This is his haiku print and wave illustration

Collagraphic Printmaking
Collagraph (also spelled collograph) is a method of printmaking in which materials are attached to a flat base (template)to create a relief surface which is then inked and printed or rubbed with encaustic paint sticks (crayon). The term collagraph is derived from the collage that is used as the relief printing template. This process is cost effective and user safe for very young artists. This is also a non-labor intensive approach to relief printmaking for overcrowded public school classrooms with minimal cleanup time. The Collagraph is an excellent way to introduce relief printing preparatory to more complex techniques such as linoleum cuts and woodblock prints.

Liz Perry, Schoolies Collographic print used by permission 53

Liz Perry, Nevins Cow collographic print used by permission of the artist

Collagraphic printmaking can be very experimental and offers less control than other printmaking methods. One popular method is to glue found objects such as yarn, seeds, fabric, leaves, etc. onto a card stock backing (template). The traditional way to print a collagraph is to ink the surface of the collage with a brayer (roller) and then print it using a baron (printmakers rubbing tool) or a spoon, a wooden burnishing tool, your finger or a press of some kind. It is also traditional to place the paper over the collage (template) and roll ink onto the paper creating a print. Both of these techniques were popular during the Pop Art Revolution of the 1960s. There are collagraphic works by Andy Warhol, Robert Rauschenberg, Marisol, Romare Bearden, and other leading Pop Artists. We use our fingers since they are inexpensive and available. However, in this lesson project we will be using encaustic paint sticks (crayon) rather than ink. This technique is sometimes called rubbings. We are calling it printing because we want to make an edition of these prints to trade and bind in a collection of collagraphs. It is also more reasonable to assume that most elementary classrooms will be well supplied with crayons rather than printers ink. It is a good idea to use art in the real world as a model to see if what we are teaching in the elementary school is a reflection of something that is really happening in the real work of art. Often we just play around with art like supplies. Can you name two or three successful and famous artists who use fat Crayola crayons and newsprint as their medium of choice?

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above Geckoes, Liz Perry, collograph left Haiku, by Liz Perry, monoprint used by permission of the artist Liz Perry is a very successful collagraphic print maker out of Blue Jacket Studios in Cape Cod. Her work can be seen online at http://www. lizperry.com/index.html

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HAIKU WRITING WORKSHEET

HAIKU HISTORY Haiku began in Japan during the 17th century. Haiku are short, image laden poems about things that make people feel a connection to nature. In Japan, haiku traditionally have seventeen short sounds (syllables) divided into three lines of a fixed five-seven-five pattern. Haiku is specifically designed for the Japanese language, which seldom puts two consonants together and divides consonants with vowels producing a lot of short somewhat choppy sounding syllables. In Japan, people of all ages write haiku as a way to relax and gain perspective. Today, haiku has grown in popularity worldwide. Haiku is written in many different languages and is now a unique art form that reflects different cultures. THE HAIKU FORM Languages differ, and Japanese and English are very different from each other. Because English is foreign to the Haiku aesthetic and in order to achieve the highest quality haiku, we allow for flexibility in the 5-7-5-syllable pattern. We typically require that the poem be three lines with the middle line longer and totaling no more than 17 syllables. For example, if a haiku is written in a combination like 4-6-4 or 3-5-3 instead of a 5-7-5 haiku, and it is felt that adding extra syllables or words. In this haiku, A cold winter wind the rolling hills of night frosty in starlight

a Japanese haiku poet would say that the poem does not need words like cold or frosty for temperature. A winter wind is already cold. In fact, this haiku example tells us it is cold three times (cold, winter, frosty) and tells us it is night twice (night, starlight). Watch what happens when we keep only the words that appeal most to the senses, and rewrite like this: A frosty wind the hills roll away under starlight

This is a much better haiku, even though it is not in the 5-7-5 pattern. Redundancy, such as bright sunny and dark stormy should also be avoided as they are words that imply judgment such as beautiful or pretty.
H. L. A. Culmer, Mountain at Night, Yosemite, byu.edu

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THE ESSENCE OF HAIKU A haiku should share a moment of awareness with the reader. Peace, sadness, mysterythese are only a few of the emotions that haiku evokes and which we can feel when we read a haiku. The key to our feelings about the things around us and to the feelings we have when we read a good haiku, are the things themselves. The things produce the emotions. In haiku you have to give the reader words that help recreate the moment, the image or images that gave you the feeling. Telling the reader how you feel does not make the reader feel anything and does not make a good haiku. The words of the haiku should create in the reader the emotion felt by the poet, not describe the emotion. Even though some haiku come from memories or things made up in the mind, each haiku should sound as though it is happening as you read it, in a specific place and a specific time. So write your haiku in the present tense, as if they are right here and now. Haiku should not cover a lengthy time span. A haiku freezes one moment in time the way a photograph does. NATURE, THE SEASONS AND HAIKU Most though not all haiku reflect nature or one of the four seasons. Although not applicable to haiku in English or any language other than Japanese, it is interesting to note that in Japan, nature is so much a part of haiku that there are over 6,000 Japanese season words used in haiku. These words may actually name the season directly, such as spring day; they may be a temperature word, such as cold wind, or they may be a word, which is particularly identified with a particular season. For example, we especially notice the sound of a frog in the spring because we take it as a sign of spring. In Japan, any haiku containing the word frog is automatically recognized as being about an experience in spring. CAPITALIZATIONL AND PUNCTUATION There is no firm rule regarding capitalization and punctuation in English haiku, nor as to whether the haiku comprises a complete sentence. The same applies to the physical arrangement of the poem. These things are usually decided by the poets on a poem-by-poem basis. The following samples provide excellent examples of the content and spirit of haiku. The breeze brought it-a moment of moonlight to the hidden fern. -Foster Jewell After I step through the moonbeam I do it again. -George Swede

Yoshio Mankino, Tree in Moonlight, byu.edu

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autumn twilight-in the closed barbershop the mirrors darken -Cor ban den Heuvel The fog has settled around us. A faint redness where the maple was. -Claire Pratt

On the gray church wall the shadow of a candle shadow of its smoke -L.A. Davidson

In the hook of a wave the tide. -Virginia Brady Young

Image, detail: George Inness, November, Montclair, byu.edu

HOW TO BEGIN WRITING HAIKU Writing haiku is fairly easy for people of all ages. Among the haiku that have come down to us from the great masters of Japan, the best ones are those that show us something in a fresh and new way. Before trying to write haiku, it is a good idea to look over some examples, like the ones included in these pages. Think about each one. What make the moment it talks about special? What word or phrase tells you the season? How does that affect the meaning of the haiku? Notice how many haiku create emotions by connecting two or more images (things you can see, hear, touch taste, smell) together in a new way. Have you had any experiences like these? How did they make you feel? Can you put one of these experiences into words that will make someone else feel the same thing? Try looking around you. Many of the best haiku were written right after the author saw, heard or touched something. Do you see anything that might be interesting to play with in words? See if you can find words that will fit together to make other people see something the special way you see it. To help with this, it may be good to go for a walk or look outside to see what is going on. Try remembering things that you noticed a day, week, month or years ago. See if you can recreate those moments on words. Try making up word-pictures to see if any seem so real that they make you have a special feeling. Because haiku have that alive-now quality, most haiku do not have any metaphors or similes. For the same reason, haiku poets do not use rhyme unless it 59

happens accidentally and is hardly noticeable. In making a haiku, we try to present something in the most direct words possible. Haiku are about common, everyday experiences and avoid complicated words or grammar. HAIKU REVISION Like all forms of writing, much of the art of writing haiku comes from revising. You may have to rewrite your haiku several times to make it really good. Just like Leonardo da Vinci and the Mona Lisa, you may have to carry your haiku around for many years until the inspiration comes and completes the idea. MORE EXAMPLES Soap bubbles! My face is flying -Masahiro Suzuki, Japan gr. 4 too! Mr. Ant on my leaf? do you mind if I set you -Norimasa Oikawa, Japan, gr. 1 Here are some additional haiku examples, all written by children.

Where I buried The little bird, only there the ground bumps up. -Norikako Miyashita, Japan, gr 6

A heron rises under the full moon.

in the middle of the swamp -Nahanni Stevenson, Canada, gr. 6

A snowman turned into a shield snowball fight -Tooru Usui, Japan, gr. 5

A little girl stands Holding her finger out and A butterfly comes -Reuven Freesman, Canada, gr. 6

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Weslandia- Inspired Self-portraits and Mind Mapping

Elementary Visual Arts Objective: Students will identify, explore and build skills of line design and color by drawing a self-portrait. Materials 1- 9x12 size paper for each student Crayons or other art mediums Mirrors, if available Pencils Procedure: Begin by reading Weslandia by Paul Fleishman, illustrated by Kevin Hawkes. After reading the book, direct the students attention to page six, which shows Wesleys portrait and his burst of a great idea mapping. Discuss the portrait, pointing out the proportions used by the artist to create the self-portrait. There are great resources on the web to help with portrait

drawing. The SMOA packet entitled Arts Unique Contribution to Culture has a good description to help with the delivery. Give students time to explore and build skills of portrait drawing on a sheet of paper or in their sketchbooks. They can draw each other, use a picture as a guide, or use a mirror to practice. After they have been given time to build skills, students can begin their drawings. To help with the apprehension of drawing a self-portrait, students may design a pair of glasses they would wear and draw them on their portrait. That simple alteration many times lessens their anxiety, especially for older students. After they have completed their portraits, direct student attention to the drawings around Wesleys head in the book, and discuss the use of monochromatic colors to keep the main focus on the portrait. Have students brainstorm what they would consider dominating their thoughts right now and then map out their thoughts through symbols drawn around their self-portrait. Invite them to use contour, structural lines, stick figures, and overlapping of objects. They should use

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monochromatic colors to finish the rest of the artwork. This is a good time to introduce chalk pastels since, when used correctly, they can give a soft texture to art. You may also want to finish the art by doing a crayon resist technique on the outside of the portrait. Markers should be used only for outline because when they are used to color the background, their intensity redirects the focus. Extension: Study other self-portraits. The wall of Artist Self-Portraits in the Springville Museum of Art has variety and quantity both. A PowerPoint of the self-portraits would be helpful for discussion. Students may research a time in history and draw themselves in that time period in correct period clothing and mind map their thoughts as if they lived in that time period. Make a paper bag book. Page one and two are a self-portrait and a description of self in the insert. Pages two through ten are symbols. Inserts are for elaborating on the symbols. Finish off binding by sewing, putting brads on or using a bamboo skewer and elastic. Instructions can be found on the Internet. Search How to make a paper bag book, or Paper bag book. Or, use an appropriate book form from the lesson on bookmaking. Good instructions for making a bamboo skewer and elastic binding can be found at http://schwooo.blogspot.com/2008/06/ bamboo-skewer-mini-album-tutorial.html How many of these self-portraits can you identify? Make a visit to the Springville Musuem or visit the web site at smofa.org to find the names of any artists you cant identify. Hint: the museum has a list at the end of the selfportrait gallery. 62

Visual Arts: Weslandia Record

Objective: Students will identify, explore and build skills of line design by creating an accordion book full of line drawings. Materials: Strips of paper over 20 inches long and about 3 inches wide. Recycled large grocery bags are great but any paper is fine. 7- index size cards for each student. Glue Markers Procedure: Begin by reading Weslandia by Paul Fleishman, illustrated by Kevin Hawkes. After reading the book, direct the students attention to the title page showing Wesleys recorded history of Weslandias activities through drawings. Discuss the use of contour lines, structural lines, organic lines etc. See Utah Visual Arts Core. Have students identify, explore and build skills on a sheet of paper or in their sketch books. Have students create a symbol for their life and seven activities that are prominent parts of their life. Instruct them to draw each activity using their knowledge of line on the seven cards. The first card will be their cover of the accordion book. Have them draw their symbol on it. The rest are designated for activities done in their world. Construction of the accordion book: After all the cards are finished, give each student a strip of long paper. Have them place their cards on the strip with the cards centered in the middle no more than 3/8 of an inch apart. Instruct the students to glue the strip to the back of their art work with the first card at the top. Cards are facing up. After the glue has dried students fold their production accordion style. They can get a piece of yarn, jute or ribbon, glue it on the back of the card and use it as a tie for their art.

Extensions: When exploring the use of line, show students pictures of petrogylphs and pictographs of ancient peoples such as the Anasazi and Fremont Indians of the southwest. Study Egyptian hieroglyphs and their significance in recording events in Egyptian life.

Cursive hieroglyphs from the Papyrus of Ani en.wikipedia.org/wiki/Image:Papyrus_Ani_curs_hiero. jpg public domain

Pictographs from Nine-Mile Canyon

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Weslandia- Inspired Dance Lessons

Elementary Dance Ideas from Weslandia
Created by Chris Roberts This lesson assumes the teacher already has a basic understanding of the elements of dance: Body, Energy, Space and Time (BEST). You will get much better results if you have already taught your students these elements and they have experimented with them. Some good beginning books are by Mary Joyce, First Steps in Teaching Creative Dance, or Anne Green Gilbert, Creative Dance for All Ages, or Anne Dunkin, Dancing In Your School. Locomotor Movement In the very beginning of the book we see Wesley fleeing his tormentors. The picture shows him making a flying leap over a garbage can (not the best leap- his back leg is bent). This page is a great inspiration for a lesson on all the locomotor movements. Walk students to the gym and do a warm up that includes many ways of moving. After the warm-up place the students into 6 or 7 lines as even as possible. Have the students in the front of each line raise their hand and tell them they are number 1s. Have the next students raise their hands and tell them they are number 2s etc. down the lines. Remind the students what was happening to Wesley- he was being chased. Have 1s walk across the floor showing the emotion of being chased and playing with the other elements of dance (change levels, crazy energy, different pathways, etc.) but their walk cant turn into a run. Continue with 2s, 3s, until everyone has gone across the gym. Now do the same with running. Dont allow regular running like in PE. It has to be creative; playing with the dance elements. Continue with jumping, hopping, sliding, galloping, and skipping. Ask the students what is missing that Wesley had to deal with. They should answer, The garbage can. Place some cones in each lines path for them to leap over. Remind them that a good leap has the lead leg and trailing leg out as straight as possible. The focus should be forward, not downward. Have the students go back and forth across the gym several times (in their groups) practicing their leaps. Creating Place the students into groups of 5 to 7. Give the following directions: Your job is to create a dance that shows fleeing. It must have a beginning, middle, and end. It can be 1 to 2 min. long. It needs to include at least 4 locomotor movements and changes in the basic elements. You may ask me to use the drum or you can choose music. Give the groups 8 minutes and then let each group share. The West Wind- Pathways The page that shows Wesley in bed and the west wind flowing through the air and to the ground is a great beginning for a lesson on pathways. Show your students this page. The following lesson is based on ideas from Anne Green Gilberts book, Creative Dance for All Ages. (Ch. 13) Introduce concept: When you walk in wet sand or snow what do you create with your feet? Yes, footprints that form a path. In dance we make pathways with our feet and our whole body. We move through general space in different pathways and we can create pathways in the air in self space with different 65

body parts. If you painted your feet red and walked around the room, what kinds or shapes of pathways could your red footprints make on the floor? Yes, you could move in a straight line or pathway. You could create curved, circular lines or pathways. You could move in sharp, angular or zigzag lines or pathways. Lets explore moving in different pathways more fully. Exploring the Concept: String: I am going to give each of you a piece of string eight feet long. Take your string and make a straight pathway on the floor. Can you jump in a straight pathway along the string? Can you move backwards in a straight pathway move slowly and quicklytake big steps and little stepsdo strong movements and light movementsdo high movements and low movements tiptoefloatslashroll along the string in a straight pathway? Now, create a curved pathway with your string. Your pathway does not have to look like your neighbors pathway. You could make a circle, spiral, the letter C or Sanything with curves. Lets try some dancing on this pathway. Can you skiphopturnglide backwards move sharply and smoothly? (Continue with many different challenges.) Can you make a zigzag pathway with your string? Make the letter Z, or mountains, sharp teeth, a crownanything with angles. How can you dance in a zigzag pathway? Can you poke punch float slide gallop leap stretch high and low swing forward and backward advance and retreat? Try creating two pathways with your stringhalf curved and half straight or half zigzag and half curved. Shaping: Shape Museum: Half the class will form statues. Choose a curved, zigzagged or straight shape. Choose different levels. The other half will dance around the statues. If you are a curved statue and you are copied by a dancer, then you will become free and dance in curved pathways until you copy a statue. The type of shape that you copy will determine the kind of pathway you will dance in when you become free. Remember to hold your shape until someone copies you. Dance in curved pathways around the statues and in straight and zigzag pathways between the statues.

Developing Skills: River Run: Practice running like a river (or in our case, the west wind) smoothly and in a curved pathway. The arms are by your sides, not stiff, but controlled. I use the image of invisible arms. The body must curve or lean right and left in whatever direction the pathway curves. Keep the knees bent and body relaxed. This will allow you to run very quickly but smoothly in a curved pathway. You may add swirls whenever you feel like it. Choreographing: Pictures: Have dancers draw designs or use designs created earlier in class. They can create a dance drawing the designs through space with body parts and the whole body. New and Unknown This lesson gets its start from the page where Wesley is kneeling on the ground and examining his seedlings with his magnifying glass. The words give the inspiration: Following ancient tradition, Wesleys fellow gardeners grew tomatoes, beans, Brussels sprouts, and nothing else. Wesley found it thrilling to open his land to chance, to invite the new and unknown. Share this page with your students and then head for the gym. Warm-up: Lead your students in a good warm-up including making unusual shapes on different levels. Have the students spread out and use up all the space. Give them 8 (remember the number 8 is important in this story) beats of the drum to get into a shape they have never been in before. Have them freeze. Pick some of the best shapes and have them continue to freeze while the others relax. Have the other students look at those you chose and if you can pick one up (remind the student to stay frozen) and move it to a new place or on its side. Give them 8 more counts to really explore and get into the most creative shape possible. This is shape # 1. Tell the students to memorize this shape. Give them 8 slow drum beats and have them get into another shape. This is shape #2. Have them memorize it. 8 slow beats 66

again to get into a final shape (they should be exploring level changes with these). Have them memorize shape #3. Tell the students to get into shape #1 for their beginning shape of a dance. Start drumming or play music and the students are to choose a locomotor movement and move through general space as creatively as possible until you stop drumming or the music stops and they freeze into shape #2. Continue the music again and the students move about in creative ways until the music stops and they freeze into shape #3. You could repeat this with the students working in pairs or trios. Explore with the students the opposite of all this- the fellow gardeners. Discuss how traditional gardeners grow their crops in neat rows with no weeds; everything neat and tidy. Get them into groups of 5 to 7 and have them explore moving together, all in unison. Play some very even beat music or drum as the students move through the gym. Call out various challenges (level changes, skip, gallop, slide, focus changes, energy changes, etc.). Now have the students (in these same groups) create a dance that shows both the fellow gardeners and Wesleys styles. Give them 8 minutes to create and rehearse and then have each group share.

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Getting INTO the story with Process Drama Strategies with WESLANDIA by Paul Fleischman
Elementary Theatre
I. In the first four pages of Weslandia, we discover that Wesley is an outcast. We have all felt like outcast before. Have students do ROLE ON THE WALL to share and empathize with Wesley. What has made us feel like an outcast?

ROLE ON THE WALL: This strategy can make visual a particular character important in the development of a story or drama. The character is represented by a picture, a photograph or a life-size outline which is displayed in a prominent position. This serves as a focal point for deepening the understanding of the character. Children contribute by speaking or writing their ideas and thoughts on the image: information and feelings for the character can be written, the viewpoints of other characters noted, and consideration given to the thoughts and opinions of the central character. Suggestions can be written on sticky-notes or directly on the character. The role on the wall can be revisited at different points in the drama and labels removed or added as the character develops. II. In the middle of summer, Weslandia is a buzz with activity. Have the students be a character from the page and freeze doing their action (human or animal). Then have them share their thoughts with THOUGHT-TRACKING.

THOUGHT-TRACKING: The strategy of thought-tracking involves asking the children to share their in-role thoughts by speaking them aloud. This can be done by stopping the drama and asking what each child is thinking or signaling them to share in some way. The difference between speech and thought can be emphasized though this strategy; that what characters are saying is not necessarily what they are thinking. Thought-tracking can be used during or after freezeframe or still image to draw out individual responses. III. At the end of the story, Wesley has to return to his old world and school. Has he changed over the summer? Its time for him to decide. Have the students participate in a DECISIION ALLEY and see what our Wesley will decide. Half of the students will try to convince him to be true to himself and Weslandia and the other half must convince him to be like everyone else and not an outcast.

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DECISION ALLEY: Decision alley can be used when a character is required to consider a course of action and make a decision. It needs to be used when there are different choices to be made, conflicting interests and dilemmas to be resolved. The children, in role as other characters with viewpoints to share, make the alley by forming two lines facing each other. The character who has to make the decision walks slowly between the two lines listening to the warning and persuasive advice offered by the other characters. At the end of the line a decision has to be made. The lines may represent contrasting viewpoints or they may be random. The fact that the character is undecided and can be influenced by the childrens power of persuasion is motivating. The conflicting thoughts and voices in the characters head can be likened to the characters conscience speaking to him at a key moment. IV. Read the last page and see the outcome of Wesleys decision. Drop to the universal that being true to oneself is the only true way of being happy.

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WESLANDIA by Paul Fleischman Song Flute Experience
Concept/ Topic to Teach: Music/Group compositions in three notes Standards addressed: Standard 2: PlayingThe students will play instruments as a means of musical expression Objective 2Perform independently or with others simple melodies and accompaniments on classroom instruments Standard 3: CreatingThe student will create music through improvising, arranging, and composing. Objective 1Create original music and add expression and new form to existing music. General Goal(s): The student will be able to play the first three notes of the song flute (b, a, g) and then will work within a group of three to five students to create an eight-count bar of music to be added to other groups bars to complete a simple song. Specific Objectives: The student will be able to hold and play a song flute correctly. 1. The student will be able to finger the notes b, a, and g correctly. 2. The student will be able to read and play Merrily We Roll Along on the song flute, using letter notation. 3. Within a small group, the student will be able to compose an eight-count bar to play along with the whole class. Required materials: One Conn Song Flute per student. One Song Flute Fingering Chart (Either one small chart for each student, or a large chart for the whole class. Chart of Merrily We Roll Along notation Blank bar chart for each group. Anticipatory set (Lead-in) Re-read Weslandia, stopping at the picture of Wes in his hammock playing his flute. Step-by-step Procedures: 1. 2. 3. 4. 5. Pass out song flutes and fingering charts. Demonstrate holding of the flute in the b position. Demonstrate the sound of b. Practice intonation of b. long, short, and series of notes. Demonstrate, in turn, a and g fingerings and sounds. Practice a and g intonations in turn. 71

6. Demonstrate and practice combinations of b, a , and g. 7. Introduce and demonstrate Merrily We Roll Along. 8. Organize class into groups of three to five students. 9. Pass out a blank bar chart to each group. 10. Demonstrate creation and playing of an original bar of music using b, a, and g. 11. Challenge student groups to create and practice playing an original bar of music. 12. Combine all group bars into one line of music: have each group play their bar as you point to it. 13. Challenge the class to play the whole line of original music together. Plan For Independent Practice: Supply students with other b, a, and g songs and challenge them to play them on their own or with friends. Closure (Reflect Anticipatory Set): Review the two pages of Weslandia dealing with Wes and his flute, and discuss what kind of songs the students think Wes was playing. Ask what kind of songs the students would play on their flutes while sitting in their hammocks and looking at the stars. Assessment based on Objectives: See Specific Objectives

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Art/Story Watercolor/Illustration
Lesson Concept: Book illustration using watercolor techniques Grades: K-6 Artwork: Brown Bear, Brown Bear, What do you See? illustrated by Eric Carle Content and Process Indicators: Students will demonstrate . . . . An ability to produce numerous watercolor techniques An understanding of abstraction An understanding of the history of illustration, especially with regards to the illustrator Eric Carle An ability to create a childrens book replicating the style and techniques of Eric Carle National standards: 1. Media, techniques, and processes- Use different media, techniques, and processes to communicate ideas, experiences, and stories (Watercolor, washes, glazes, dry brush, resists, splatter, scraping, blotting) 2. Structures and functions- Describe how different expressive features and organizational principles cause different responses (Design a center of interest) 3. Subject matter, symbols, and ideas- Select and use subject matter, symbols, and ideas to communicate meaning 4. History and Culture- Demonstrate how history, culture, and the visual arts can influence each other in making and studying works of art 5. Characteristics and merits- Describe how peoples experiences influence the development of specific artworks 6. Making connections between visual arts and other disciplines- Identify connections between the visual arts and other disciplines in the curriculum. Key Terms: Abstract Illustration Graphic Arts

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Materials: Eric Carle books Glue, scissors, rulers Watercolor paper Tissue paper Watercolor paint/brushes Markers Crayons, colored pencils Watercolor handout Resources: www.eric_carle.com Procedures: 1. Motivation: Reading Read any of Eric Carle books. A list of books is provided at his official website www.eric_carle.com. Also on the website are short video clips on how he makes his tissue paper designs, how he creates his books, photos of his studio, etc. Explain that Eric Carle is an illustrator or graphic artist. Briefly discuss the career/ history of illustration. (Experience) (AH and VC) 2. Watercolor techniques Explain to the students that they are going to practice some watercolors techniques in order to make their own book. Each student will receive a board with a sheet of watercolor paper which has been divided into 1215 small squares. Using the watercolor handout practice various watercolor techniques. The number of techniques may vary for different age levels. (Experiment) (P) 3. Watercolor painting On a separate sheet (or on the back of their watercolor techniques) have the students create a small watercolor painting. Encourage the use of the techniques they have just practiced. The painting can realistic, abstract or 76

non-objective. The main objective of the painting is to explore the varied outcomes of watercolor. (Explore) Advanced students might try to express a specific emotion (i.e., joy, sadness, gloom) with their watercolor painting. (Express) (P) 4. Tissue paper painting Have the students paint a couple of sheets of tissue paper using the techniques they have learned and referring to Eric Carles techniques. Watercolors or acrylics can be used. Allow the sheets to dry for future use. (P) 5. Brainstorming Encourage the students to think of a theme or concept for a childrens book. Depending on the length of the book have them sketch out the main idea and text for each page. Younger children should only do 3-4 pages but older students can do more pages or work in pairs or small groups to complete longer books. Emphasize the importance of brainstorming and sketching before they begin the actual production of the book. Remind the students of the various watercolor techniques they have practiced and encourage the students to use several in the creation of their book. Have the students also consider the backgrounds of their pages. Remind the students of the order in which the pages will appear in their book (e.g., facing pages, title page) and have them also determine the text (if any) to be used in their book. Both the sketches and the book should be done in an abstract manner (similar to Eric Carles) as the object of the lesson is to practice various techniques rather than creating a likeness or aspect of realism. Have the students show their sketches before they are given the paper to start their book. (Conceptualize) (P) Teaching tip: The students might be assigned to use their social studies theme for the basis of their book (e.g., kindergarten-self, 1st grade-family, 2nd grade-neighborhood, 3rd grade-community, 4th-statehood, 5th gradecountry, 6th grade-global.

Have the students number the pages and briefly describe what techniques they plan on using. Sketches could be done in color or black and white with color descriptions. Include text too.

Create a childrens book Using both the tissue paper painting sheets and the watercolor techniques the students have learned have them create their own childrens book. Encourage the sharing of tissue paper painting sheets. Have the students use their sketches for direction but allow for changes and adaptations. (Expression) (P) 77

Class critique Have the students describe (either orally or in an art journal) what techniques they used in the creation of their books. Have them fill out a Learner Report (see below). (Conceptualizing) (C) Closure: Book Share Have the students share their books with each other or perhaps with another class. Arrangements could be made to exhibit the books in the media center. Briefly discuss with the students which part or whole of the book is art? Is the book still art if its put in the media center? Help them consider that beauty and wonder that can be found in books and illustrations. (Conceptualize) (A) Assessments: Learner Report What did I learn about watercolors? What did I learn about creating and illustrating a childrens book? What parts were the most fun or successful? What parts were confusing or difficult for me? Key: P-Production, C-Criticism, A-Aesthetics, AH-Art History, VC-Visual Culture

Standard I Media: Watercolor Technique: Varied Process:

Standard II Element: Varied Principle: Center of interest, pattern Function:

Standard III Subject Matter: Symbols: Ideas: Social studies themes

Standard IV History: Illustration Culture: (Visual Culture): Childrens books

Standard V Characteristics (Aesthetics):

Standard VI Arts: Graphic arts

Is illustration art? Other: Merits (Criticism): Description Literature or language arts

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Watercolor techniques
Washes/Flat Load a flat brush with pigment and with the paper slightly tilted, drag the brush across the top portion of a section. As the pigment flows to the bottom of the stroke, overlap the bead of paint with the next stroke. Continue to load the brush with pigment, and overlap strokes until the entire surface is covered. Wipe up excess paint at the bottom with a paper towel. Use the same color, and try to make the entire section of uniform color and value. Washes/Graded Similar to a flat wash but it gradually changes in value (either light to dark or dark to light). After the first stroke of the color, gradually add more water until the final stroke is plain water. Or begin with plain water, and gradually add pigment.

Washes/Variegated Begin the wash with one color and then, without rinsing the first color out of the brush, start adding the second color, overlapping the previous stroke. The final stroke should be the second color only. Middle strokes should be a combination of the two colors

Wet-on-wet pre-wet a section of paper. Place wet pigments on the section, and move the paper around to mix the colors. Add more water, if necessary, to mix the colors.

Wet-on-dry load a brush with pigment, and draw calligraphic lines on a section.

Salt paint a section, and then, while the paint is still wet, sprinkle salt on the paint. Generally the salt will absorb the pigment and become darker, but it can also bleach out areas of the pigment when the salt is removed after it is dried.

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Rubbing alcohol paint a section and while the paint is still wet, drop rubbing alcohol onto the section. The alcohol can also be sprayed on for a finer affect.

Scraping paint a section and while the paint is still wet, use the pointed end of the brush to scrap off an area of paint. If the paint is very wet, the pigment will collect in the line and become dark. If the paint is a little drier, the same action will leave a light line. Paint can also be lifted off with a tissue or paper towel while the paint is still wet.

Dry brush Squeeze the excess water out of the brush. Dip the brush into thick pigment and hold the brush perpendicular to the paper and quickly drag it across the surface of the paper. This technique works best on rough paper and with a stiff bristle brush.

Resist - Masking tape: Place masking tape on a dry section of paper. The tape can be placed on the white of the paper or over a previously painted area, as long as it is dry. Paint over the tape and then remove the tape when the paint around it is dry. Crayon, wax, white school glue (when dried), hot glue-gun glue, metallic marker, or rubber cement can also be used. Draw heavily with a crayon or wax onto the paper and then paint over the area. The crayon will resist the paint. The cement can be removed after it is dry. Plastic wrap dip a crumbled up piece of plastic wrap into thickened pigment and lightly stamp it onto a section of paper. This same effect can also be achieved with a natural sponge. For a varied effect, place a piece of crumbled piece of plastic wrap unto a wet, painted section and leave it on until the paint is dry and then remove it.

Splatter using a stiff bristle brush, load it with thickened pigment and either strike it across your finger or flip it with your thumb. Make sure the brush is near the surface of the paper but not touching it. http://www.watercolor-painting-tips.com/watercolor-techniques.html 80

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Staging Reading through Art
Elementary Literacy and Visual Arts
Objectives: Students will use pre-reading strategies to help them understand content when reading. Students will carefully observe illustrations in a story to help them understand content. Students will follow directions and use manipulation skills as they create a paper stage. Students will be able to demonstrate content understanding by drawing about what they have read. State Core Links: Literacy Comprehension (4000 0702-4060-0702) Will Terry, cover illustration for Armadilly Chili by Helen Ketteman Materials: Picture books (i.e. Knots on a Counting Rope) or any of the childrens books from the exhibit 12 x 18 inch piece of paper Scissors

Relate prior knowledge to make connections in text. Ask questions about text Make predictions using picture clues

Make inference and draw conclusions from text. Retell identifying key ideas. Identify information from pictures.

Pencils, crayons, markers, or other writing/drawing tools Activity:

1. Create a paper STAGE. Use the diagram to help you demonstrate step by step how to From new elementary visual art teachers construct the stage. Have students look at the guide: cover of the book and the title of the book. Form opinions and discuss artworks Ask them to predict what they think the book will be about. Write their predictions on the (under DESIGN section) curtain, the outside of the stage. 2. Help students make sense of the text DURING reading. Try a THINK ALOUD. 81

 a. Slow down during the learning process. Think aloud as you read. For example, as you read the text aloud to students, think out loud. Clarify a part, restate a segment, predict what will happen, give your opinion, visualize, guess meanings of words, connect to your own experience and the experience of those in your class. Help students decide what is important and encourage students to ask questions.

h. How would things be different if . . . i. What do you think. . .

6. Interrupt your reading, and have students draw on the second sheet inside the curtain. Avoid copying the visual from the text because the purpose is to capture ideas. Try some of these ideas:

a. Draw something that represents what b. Stop after a paragraph or so and you are coming to understand. ask: What am I doing in my mind? Am I understanding? What can I do to b. Draw how you interpret what is better understand? Have students help happening. answer those questions. c. Make a sketch that shows how the ideas relate to one another. c. Have a conversation with the author. 3. Clarify: Try to figure out a puzzling, surprising, or unknown part. 4. Make three types of connections while you read: d. Do a sketch that explains what you have read. e. Make a sketch that shows what you think the author is trying to teach you. f. Draw a metaphor that represents the meaning for you.

a. TEXT TO SELF (connect to your experiences) g. In a drawing, try to capture what you know so far and how that b. TEST TO TEXT (connect to what you understanding makes you feel. have already read or the pictures in the book) c. TEXT TO WORLD (Connect to what 7. Try to make inferences. Ask, What am I you already know, and bug issues in coming to understand that I think the author society) means but hasnt told me? and What do I predict the author will tell me later? 5. Ask Questions. You could use some of these question stems: a. What if . . . b. Why does. . . c. Why are. . . d. How would. . . e. If . . . then . . . f. How come. . . g. What would happen if . . . 82 8. Finish the text and ask questions about what the students learned. Help them make decisions about their topic. What is interesting to know? What is important to know? What is essential to understand? 9. On the stage itself, have students draw the CORE idea of the story. 10. Have them place their finger up inside the stage, and TELL about the story using their finger as a puppet.

 ASSESSMENT: 1. Students used the cover and pictures to predict what the story was about by drawing their idea on the cover of their stage. 2. Assess whether students carefully observed the illustrations from their comments. Are they able to point out details in the illustrations that support the storys meaning? This assessment can be oral or written. 3. Students are able to retell main idea in the story by DRAWING their interpretation of the story. Assess their understanding by what they drew. IMAGES: See diagram at end of lesson of how to make a paper stage. SOURCES: CALLS: Content Area Literacy Learning Strategies by Marne Isaacson EXTENSIONS: Apply what you have learned from reading the book using one of these ideas: DEMONSTRATE what you have learned by acting it out. CREATE problems that require you to apply your knowledge from the text in order to solve them. Invent something new using the concepts you have learned. Serve in a way that uses the concepts. See with new eyes by walking through your day trying to discover applications of your newly acquired knowledge. Use the concepts in new contexts that were not studied.

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Unbound: Book Art & Illustration

Joining Literacy and Art through Pop-Up Books
Pop-up books Integrate art and language arts to create a unique critical thinking experience. Jay D. Ballanger, M.A. CCC-SLP Kirksville R-III School District Making Pop-Up Books with written text can meet specific standards for any grade level depending on the focus of your lesson. In addition, making them helps students in the following ways: develops self-concept and confidence improves fine-motor skills creates opportunities for social interaction (sharing stories) improves problem solving and decision making assists in sensory awareness improves vocabularly increases literacy taken from Jay Ballangers PowerPoint Presentation, downloaded from htm http://www.artissmart.com/popups. Coil Form Inserting Forms Ideas for Story Starters Book Construction Additional Resources and Links Mr. Ballanger has included handouts he made for a presentation to educators and a PowerPoint. Not all pages of the PowerPoint are self-explanatory, but many are, and he has included a wide range of professional and student examples, including ideas for assignments. Another great site is David Carters, whose wonderful pop-up book 600 Black Dots is featured in the museums Unbound show. His site has pdfs of some specific pop ups such as a butterfly, flower, big-mouthed frog, etc. Then he has short videos on assembling the pop-up shapes, but the videos have no text and are very small. I printed off a couple of the patterns after watching the videos but wasnt able to put them together until later. I needed another look at the videos but didnt have access to a computer. I did basically figure them out, but watching the videos after I had the patterns cut out would have been helpful. If you were having students make similar pop ups, you might need to label some of the parts and indicate better what goes where and what gets glued. Having students use someone elses patterns limits their creativity, but the dies can be used to learn about pop-up forms, and there is no reason you cant alter the shapes to make them more personal. Even better than the specific patterns, Mr. Carter has another page that has dies of a wide variety of shapes that could be 85

This we site has directions for the following pop-up forms: Mouth Form Beak/Nose Form Pyramid Form Box Form

the basis for all kinds of creative and personal pop ups. These shapes would especially be useful for older students. His site is at http:// www.popupbooks.com/ Lesson: Pop-Up Scene and Story Materials: Writing paper, Construction paper, Pencils, colored media, Scissors, and Glue One simple, but fun, assignment is to have students compose a simple story. You can choose to relate the story to the season, a holiday, a social studies or science topic, or a particular skill set for Language Arts. You may also focus on a specific skill for the visual arts. Directions for the Pop-Outs: Fold a sheet of construction paper in half, hamburger fold. Make 3 sets of parallel cuts through the folded side. The cuts should be less than half the distance from the fold to the edge of the paper. If the sets of cuts are different lengths, they will provide some depth to the pop up. Figure 1. Crease the paper between the cuts and open page, Figure 2. Make three items to go on the folds such as people, animals, objects, or natural forms such as trees, rocks, etc. Cut out the items and glue each to one extended shape. Prop the page open while the glue dries.

Have students fold the paper and indicate where the pop-out shapes will be and then draw and color the fore and background. If the text will be handwritten on the foreground, students will need to leave a section blank, for the text. Text may also be handwritten or typed on a separate sheet of paper, cut and glued in place. For young students, who are only creating the one scene, have them write the text in three sections, One that comes before the scene, one for the scene, and one that comes after. The two sections not put on the scene can be written or glued to pieces of paper 1 longer than the width of the paper. So for a base paper of 9 x 12 (normal construction paper) you will also need two pieces of paper that are 2 x 10. Mark each narrow paper piece at 1 from the end and fold. Each fold will be glued under on the left or right side of the base, front edges parallel. Write the story so Part 1. is on the inside of the attached paper on the left, Part 2. is on the base paper itself, and Part 3 is written on the inside of the paper attached to the right side. Or, an additional piece of paper can be attached to the front of the scene, so that 3 pieces fold out. See Figure 3.

Figure 1.

Procedures: Based on the parameters they are given, students will write and edit their story on lined paper. Next, have students choose 1-5 scenes from the story to illustrate, depending upon the level of the student. They should make sketches of each scene and decide what will go on the pop-up sections and what on the base and background sections.

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Figure 2.

Figure 3.

Fold the additions for text towards the background page, right sides against right sides.

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Heres one example of a scene for a story about a snowman who becomes friends with a giraffe. The giraffe wants the snowman to see where shes from, but when they get to Africa, the snowman starts to melt. The story is about how the two friends tried to deal with the problem of the snowman melting. This example shows several additional techniques: 1. To have a colored background without all the time to color it in, use colored construction paper. Fold the two sheets together, cut punch-out slits, and then trim bottom color just short of half. (If the second piece of paper is exactly half, the page wont fold well.) Glue the bottom paper to the full sheet of the top color. 2. To make objects in the sky stand out from the background, make a rectangular loop of paper that will fold to the top. (Folds in the rectangle are oriented parallel to the top edge of the paper.) Glue the rectangles to the background, checking that the objects that go on them will not stick out above the paper when it is folded. Glue the objects to the rectangular loops. You could also use the same construction technique with objects in the front. In this example, perhaps the blocks of ice the giraffe is going to use to help the snowman keep from melting.

3. To help support skinny shapes, glue a support layer on the back. 4. To avoid having to cut very skinny shapesdifficult to cut and very prone to tearingleave extra space around the skinny part. Color in that extra space to match the background color. 88

Unbound: Book Art & Illustration

Conveying Information: Illustrations for Science or Social Studies
Lesson Overview: Illustrators are often asked to produce artwork for non-fiction books. These illustrations may mostly convey information in a visual format, they may help make the information more interesting, or they may help convey feelings and ideas as well as convey facts. The four artworks for this lesson are examples of these different functions. Use whichever best suits your curriculum. Objectives: (You will be directing the lesson at specific science or social studies objectives for your grade level.) Other objectives from the Visual Arts State Core will be met. Choose several that apply to your grade level. Science: For this lesson you will need to choose a scientific topic your class is going to learn about this year. Divide the topic into sections of information that could easily be illustrated. Write out a short summary of each section. Before you begin, complete the introduction on scientific illustration. Materials: Images from the packet such as Carolyn Fishers 2 from The Snow Show; E. J. Birds from How Do Bears Sleep?; Mark Grahams from Shadows are About; Nathan Hales from Poems from the Prehistoric; Robert Neubeckers WOW! CITY!; Robert Barretts from Silent Night, Holy Night, The story of the Christmas Truce Large sheets of sturdy paper, such as cardstock (or use lighter paper and glue on a backing of another sheet of paper Regular paper, for sketching Pencils and some kind of color medium A method of attaching the pages together: metal rings, split pins, or have the district spiral bind the book Introduction: Show the class the two images from The Snow Show by Carolyn Fisher and the image from Poems of the Prehistoric Swamp by Nathan Hale. If you have access to the book, The Snow Show, or have other appropriate books in your library, show the students those books. Give the students a few minutes to discuss how the illustrations help convey scientific information and why they might help the reader understand and remember the information. (Possible ideas to discuss are that when the information is presented in a fun way, like The Snow Show, its more fun to read, and easier to remember. Illustrations can create mood and setting as well as conveying information visually. They give an added dimension to the information and may help readers imagine themselves in a place they cannot go or have never been.) Tell the class they are going to produce a book with illustrations about whatever topic you have chosen. As you present the information on the topic, they should think about ways they could illustrate a specific point or idea so readers/viewers can understand or remember the ideas better. As a class, decide what approach you will take when illustrating your topic: Will it be humorous? Will you try to create a sense of time or place? Will you mainly be providing a visual presentation of facts? Divide the class into small groups and assign each a section of the topic. They must come up with a list of facts they want to convey as well as whatever additional functions the illustration will convey.

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(You may need to remind students that secondary functions, such as being humorous, shouldnt get in the way of the information they are conveying.) Then have each group make 4 sketches of their proposed illustration. After choosing the best, they may want to make a few refinements. You may also want to have groups trade sketches. The group reviewing the sketch may make suggestions, but it is up to the original design group whether and how they want to implement any of the changes. Or, have students groups submit their designs to you, the editor. You can request changes that will make the information more clear or that will make the pages coordinate better, just like a professional editor does. If the goups have trouble working together, you may want to define specific jobs within the group: One person can be the main designer, one be in charge of color (this person may want to coordinate with other groups), one can be in charge of the text on the page, one can make the drawing, etc. You may want to have additional pages that contain only text. You can write these as the editor, or you can write them as a class. When the book is finished, put it together and read it as a class. Discuss the ways the illustrations help convey the information in the text. Share the book with other classes and with parents at a back-toschool event or at parent-teacher conferences. You may want to put the book in the school library. Assessment: Use a rubric similar or an assessment form of your own devising that matches the objectives you have chosen. Variation for younger students: Write the text for the book as a class during literacy time. As the teacher, print the text on very large sheets of paper, leaving space for illustrations. Have each student illustrate one specific idea or point. Glue the illustrations on the pages. Use the book for literacy practice as well as to review the science topic you covered. Share the book with other classes. Assessment: Establish several specific criteria and write or draw reminders of these on the board or a large sheet of paper. The criteria can include something about the science idea as well as skills you may be working on for art such as covering the whole page with the drawing, making borders and filling the space within the borders, using neat strokes to fill in color, any specific use of the elements or principles of design, etc. Students whose illustrations have met each of the criteria are finished and get credit for the assignment. Encourage all students to finish.

Variation for older students: Have students work individually. Assess whether students included the specific science information they were to convey as well as specific art criteria. Variation for Visual Art Secondary Students: In conjunction with either a high school science or an elementary teacher, have each student create a short book about some scientific principle, topic, or idea. You will need to have the students and perhaps, the teachers help in deciding on criteria for assessing the books. You may want to have students make the books as part of the assignment or just make pages which are spiral bound. Social Studies Variation: Use the same ideas as presented in the science lesson, but show the image from WOW! CITY! And discuss what that artwork conveys. You may also be able to read students the book or one of Neubeckers other childrens books: WOW! SCHOOL! And WOW! AMERICA! Discuss all the different kinds of things the illustration shows about a New York City or about big cities in general. How is it different from where they live? Explain that you are going to write a book as a class about a social studies topic (such as a place, country, a time period, or a significant event.) Follow the basic steps as suggested for the science book. Assessment: Use a rubric you have adapted to match your chosen topic. See the suggested science rubric for ideas. The following web sites may be helpful: http://rubistar.4teachers.org/index.php http://www.teach-nology.com/web_tools/ rubrics/ http://school.discoveryeducation.com/ schrockguide/assess.html http://www.rubrics4teachers.com/ http://edtech.kennesaw.edu/intech/rubrics.htm http://www.ncsu.edu/midlink/ho.html and many more. Simply search for rubrics.

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Unbound: Book Art & Illustration

Handmade Books For Illustrated Stories
Upper ElementarySecondary
Objective: Given various papers, scissors, glue sticks, string, ribbons, craft foam and other media, students will make three handmade book forms that they can use for their illustrated stories and one for an educational game. Core Standards: Visual Arts Standard 1: MakingStudents will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2: PerceivingStudents will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3: ExpressingStudents will create meaning in art. Standard 4: ContextualizingStudents will find meaning in works of art through settings and other modes of learning. Language ArtsElementary Standard 2: Concepts of Print Standard 5: Fluency Standard 6: Vocabulary Standard 7: Comprehension Standard 8: Writing Language ArtsSecondary Standard 1 (Reading): Students will use vocabulary development and an understanding of text elements and structures to comprehend literary and informational grade level text. Standard 2 (Writing): Students will write informational and literary text to reflect on and recreate experiences, report observations, and persuade others. If the books are used as part of instruction in other areas of the curriculum such as Social Studies or Science, specific standards in those areas may also be met. Materials: Various papers such as, construction, scrapbooking, cardstock, white drawing, manila tag board and scraps of mat board (for stamps or covers). Colored pencils Markers, crayons 91

 Glue sticks Ribbons or twine Scissors Activities: Bookmaking is a lot of fun and is very popular these days. When students illustrate their own stories, the stories come alive. Putting those stories in a book they have made themselves makes the story and the project even more personal and meaningful for the students. In addition, the stories or writing is preserved instead of getting all wrinkled and being thrown away. As you start to think about making books with your students, try to visualize what you want the end product to look like. Make a mock up to show what the end product will look like. This way youre reinforcing the purpose in your own mind, and hopefully, working out the procedure youll do with your students. Even if you feel you cant draw, use stick figures or simple pictures you can draw with your students; learn right along with them! I feel that teachers need to show that theyll be willing to try something thats hard for them too. Never ask your students to do anything youre not wiling to do along with them. Have fun with this! If youre having fun and being enthusiastic, your students will be too!! Ready Set -----Book Form #1 Pants cut and fold accordion book This book form can be used for any short story, or just about anything you want to make into a book. There are 8 inside pages and a front and back cover page. 1. Take a piece of rectangular paper, any size: 8 x 11 or 9 x12 are standard sizes. Most school districts have 12 x18 drawing paper also, for larger books. Teach children to have clean hands before folding paper to keep the pages looking clean. All folds should also be creased (a fold that is sharp and precise). Creased folds

make the book look more professional. Now, fold paper in half lengthwise (hot dog) Teach students to match up corners of the paper and use both hands to pinch and smooth fold. When fold is correct, crease with the handle of a pair of scissors. Only fold one thickness of paper at a time. Open paper and fold again width wise (hamburger), crease fold. See illustration. When paper is all creased in the proper places, lay open and make a cut up the lengthwise centerfold up 3 sections. DO NOT cut thru the 4th section. See illustration on next page. 2. See Illustration on how to fold up. Other pages can be added by doing another piece folded the same way. Just overlap the last page of one section to the new section and glue in place. With this form you can use booth sides of the book pages. If students dont want to draw directly into the book, they can cut papers that will fit into the book and glue them in when they are complete. You can use old mat board pieces or heavier card stock for front and back covers. The instructions include a wrapped slip book cover that can be made from any paper. There are also instructions for a wrapped slipcover container that you can easily make to put the finished book into. A piece of normal cardstock that has some flexibility works well for this cover, as does classroom drawing paper.

Assignment idea: Make a simple accordian book. Have the students choose words that have meaning for themone word per page. Give them colored media and have them make colored drawings that explore how the colors and designs convey the meaning in their chosen words. 92

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Book Form III: Pocket Accordion Book Construction paper works well for this one, with file cards for illustration and text inside pockets. This book gives you 6 pockets and cards to write on. You can make it longer by gluing on another piece of paper on the end and keeping the accordion going. Play with the size. There are variations of this book form in the 2 books by Paul Johnson mentioned in the references. Book Form II The Who AM I book Instructions on next page. This book is made from file folders, plain manila or colored doesnt mater, and 12 x 18 drawing paper. I got this idea at a U of U Books Art for Teachers workshop. You can get 2 books from 1 folder. You also need a small envelope such as a coin envelope (sold at office supply stores), a hole punch, string and hole reinforcers (you know those little o things to strengthen filler paper holesthey taste terrible; yes those ones). Complete directions follow. This book could be used in a variety of ways depending on the subject and grade youre teaching. Ive used them for short artists reports with my 8th and 9th graders. Its more fun than typing out several boring paragraphs in report format. You could do them on explorers, famous places, or events. Like any bookmaking project, it requires some work to prepare all the pieces. Like I suggest in the instructions, make a template out of oak tag so you can trace it and only have to do all that measuring once. Follow the directions closely and youll be fine. When we were done with our artists books, we passed them around the class and they had to read five of them and see if they could figure out whom the artist was. It was a fun way to sneak in a writing assignment. 94 Instructions follow: Bookmaking does take some work to get all the pieces cut and materials gathered, but the more organized you are the smoother the project will be. Ask for mothers to help or former students, who often like to help. Demonstrate each step with students watching and listening (hopefully). Take a few steps at a time. The prep time may seem time consuming put it pays off in the end, and the more familiar you become with the process the easier it gets. Most of all, have fun with it, be patient; and if someone fails, start over and realize failure is part of the learning process. My art room motto is If at first you dont succeed, find out why, then try, try again. (I heard this on Ms. Frizzels Magic School Bus program one day.) I thought it fit the art room so well Ive been using it every since.

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One last FUN project!! Making your own set of alphabet stamps. Materials: sheets of craft foam (you can get about 95 1 squares per sheet, giving you enough for 3 whole sets plus some left for numbers) Pieces of mat board or cardboard, mat board preferred Masking tape for handles Glue sticks and scissors Mr. Sketch watercolor markers Pattern for letters weve included in this lesson 1. Visualize what you want your letters to look like. Cut foam and mat board into 1 squares. You can, of course, make them larger if you want. 2. Trace or draw letters onto foam and cut out. The craft foam is very easy to work with. For a letter such as A, simply cut through the crossbar to make the opening. When the letter is glued onto the board it will go back together. Save the cut pieces of foam to make fun abstract design stamps, made the same way as the alphabet. (I learned this one at the U of U also). 3. Make a tape handle by pulling off about a 2 piece of tape, fold at center with sticky sides together leaving on both end to stick down to mat board. See example illustration. 4. Layout letter to make sure you have them all. ITS IMPORTANT TO REMEMBER THAT B, D, E, F, G, J, K, L, N, P, Q, R, S, U, Y and Z have to be reversed to stamp properly. HERES THE TRICK . . . layout the letter the way it should be read, put plenty of glue on the mat board piece, press it down onto the foam, pick it up, press and adjust the letter where needed. Put the initial of the letter you just made in the upper corner on the handle side, see illustration. Let stamps sit for an hour or more, overnight would be even better. The glue has to set up and dry. To clean stamp, use a damp

paper towel only. If you try to press stamp into a wet paper towel to clean it, it puts too much water into the stamp, and the stamp will come unglued. 5. When stamps are ready to use the watercolor markers work great, just rub them on and print. Sometimes you need to press on the whole back of the stamp to get it to print like other stamps. Use the yellow, orange, or light pinks first to avoid the marker being contaminated with darker colors, if possible. You can clean the stamp after each use with a different color, of course. Putting a Sharpie marker fine line outline around each letter can be decorative. Or other patterns can also be added. See letter ideas sheet. Now you have all the information to make wonderful and fun books with your kids.

Simple alphabet stamps. Make alphabet book: You will need an accordian book with 13 folds (glue two folded sheets together if necessary). That will give you 26 pages: 13 on front and 13 on back. Stamp the pages and then add details or small drawings that relate to the letter on the page. Or, make the book as a class with bigger pages, each person making 1 page. 96

Assessment: We all assess students work differently; you have to decide how you will. I stress good craftsmanship or overall neatness and appearance because this is essential to good bookmaking. Of course you have to consider the overall purpose for making the book in the first place. Below is an idea for a rubric that Elicia Gray of Diamond Fork Jr. High gave me the other day; you can manipulate it to suit your needs. Were ALL the directions followed? 1 2 3 4 5 Good craftsmanship Application of media Did student show knowledge of Concept taught? Student score Teacher score 12345 -----------------------12345 12345

More Making Books By Hand, by Peter and Deanna Thomas There are many good books out there to explore about making books with kids. The U of U Book Arts program offers summer workshops for teachers that are excellent; you just have to sign up fast because the workshops fill up fast. You usually have to put down a $50 deposit to hold your place, which is refunded when you show up; otherwise its forfeited. The workshops for teachers are free, and they only let you go every other year to let others have the chance. I have loved them and highly recommend looking into them if youre really interested. In addition, there are many sites on the web with bookmaking instructions. The first two contain links to many other sites http://www.geocities.com/bgarden_2000/ bookmaking.html http://www.canby.com/hockmanchupp/ student_folder_websites.html http://gort.ucsd.edu/preseduc/bookmkg.htm

Just a thought to end with: And what is the use of a book thought Alice, without pictures or conversation? -Alices Adventures in Wonderland by Lewis Carroll (quoted from dedication page in Literacy through the Book Arts by Paul Johnson) References: Literacy through the Book Arts, by Paul Johnson, 1993, ISBN 0-435-08766-5 A Book of Ones Own, by Paul Johnson, 1998 2nd edition, ISBN 0-325-00014-x

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Additional Handmade Book Forms

Slip Book

1. Cut 4-6 sheets of paper into 4 x 8 rectangles, and crease each in half. 2. Cut a triangle from the folded side of 1 sheet of paper, leaving 1/3 1/2 edges. 3. Cut the corners off the rest of the folded sheets, making the cuts slightly larger than the edges you left on the 1st sheet. 4. Bend the group of sheets with the small triangles cut from the corners. 5. Slip bent sheets of paper through the opening in the 1st sheet. 6. When laid out flat, the book will look like this. 7. The finished book. 101

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Pattern for Slip-on Book Cover Enlarge pattern as neededthe pattern needs to be about 1/4 larger on all sides than the book.

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Directions: Fold flap A in toward the center of the cover. Fold flap B in, tucking the tab inside the slit. Fold flap C in, tucking the slit around the tab.

This simple Cross Book can be made from any size square. Do make sure the cut out sections extend slightly past the fold lines. This extra space allows for the thickness of the paper. Without this space, the tabs will not lie flat. Cut out the four corners. Fold in tabs AD. Whichever tab you fold last becomes the cover of the book. You can make a separate cover like the one above or make a tie by gluing a ribbon or piece of cord to the center back of the book.

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FlipFlop Book This book is a variation on an accordion book. It is made using one sheet of paper. If possible, use 11 x 17 sheets of paper. Step 1. Fold the sheet of paper in half, lengthwise, and crease the fold. Now fold in half again, length-wise and crease. Open out the paper, turn 90 and fold in half cross-wise. Now fold in half again. When you open the paper back up it should be creased into 16 rectangles like figure a.

figure a

Step 2. Cut the paper on the folds, as shown by the black lines in figure b.

figure b

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Step 3. Beginning at one cut end, fold the paper accordion style, always folding the paper opposite from the last fold you made, so the paper is never folded around the folded section. The reason the book is called a Flip Flop Book is because you will need to flip the paper over when you come to a corner. See figure c. The next step is to flip the paper over. figure c

Step 5. To make a cover for your book, simply cut two pieces of construction paper, wallpaper, scrapbook paper or cardstock just slightly larger than an individual page of the book. Glue the cover sheets to the outside of the first and last pages. If desired, students can decorate the cover pieces before they are attached. Step 6. You can make a closure for your book by gluing a piece of ribbon, yarn, or string to the back cover of the book. Make sure the ribbon is long enough that it can wrap around the book and tie. Cut out a small shape of the cover paper or a contrasting paper and glue it over the spot where you glued the ribbon to the back cover. See figure e & the finished book, figure f. figure e

Step 4. Your finished book should look like figure d.

figure f

figure d

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Step Book Directions

Taken from Susan Kapuscinski Gaylords Making Books with Children Used and distributed with her permission The step book can be held vertically or horizontally. Each step page flips up to reveal a section underneath which gets larger as you move down the pages. Its especially good for counting books. The directions are written for three pieces of paper which will give you six steps. You can use any number from two on. You Need: * 3 (or more) pieces of paper, 8.5 x 11 copy paper works well or pieces cut from a brown grocery bag * 2 pieces of yarn, 12 long * Hole punch * Beads are optional Making the Book: 1. Take the three pieces of paper and hold them so that each piece of paper is about 1.5 inches lower than the one before. You have made the first three of six steps. 3. Holding the papers together, open them part way along the fold. For young children, I often clip the paper with clothespins. Push the hole punch in as far as it will go along the fold from one side, and punch a hole. Do the same thing on the other side.

2. Holding the papers together, turn them over so that the steps are towards you and on the bottom. Fold the bottom over so that you now have six steps. Check to see if the steps are even. If not, adjust them and then crease.

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4. On each side, thread a piece of yarn through the hole, pull it to make the ends even, and tie a double knot against the edge of the paper. Tie beads on the ends of the yarn if you wish.

Try starting a shape book from a semi-circle and making a flower, a shell, a tree, etc. You can have the secret inside the book be a poem, a description, a thought, or a favorite quote. For a science class, try putting some relevant scientific information insidesome interesting facts the students have learned about the subject.

http://www.makingbooks.com/step.shtml

center section

Natures Secret Books

These simple little books can be made in almost any shape. The general idea is that you fold a piece of paper in thirds, with both the left and right sides overlapping the middle. Then draw the shape of an object or scene, with the back third of the book the highest part, and then the left next highest and the right the shortest. Color the pages so that when you open the book some secret is revealed. The example shown below is a Southern Utah landscape.

left section right section

Heres a very simply colored example of the Southern Utah landscape book. Students could draw details with smallpointed markers and have a different view revealed when the book opensperhaps a waterfall or small stream. Or the surprise could be an haiku about the landscape.

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4Flag

Book

Kathy Miller and Diane Weintraub The trickiest part of the flag book is cutting down the paper. In the spirit of accessible supplies use file folders split along the crease, but any papers the same size will do. THE SPINE 1. fold in 1/2 once 2. fold in 1/2 twice 3. fold in 1/2 a third time 4. unfold the paper using the creases you made in steps 1-3 refold the paper into an accordion, back and forth like a fan THE SPINE

three peaks

5. you will end up with something like this THE COVERS 6. fold each cover in 1/2 once 7. put glue on the end flaps of the spine (both sides) cover one four valleys

cover two

8. press covers onto each side of the end flaps

cover one

cover two

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5THE FLAGS 1. cut the last sheet of paper into 9 equal size flags. 2-1/2

3-1/2

the flags

3 8-1/2

11 left hills 2. lay your book flat so that 3 peaks or hills are between the covers. each peak or hill has a lefthand side and a righthand side.

right hills

3. glue your row 1 flags on the left side hills at the top of your book.

row

row

row

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4. glue the row 2 flags on the right side hills below your row 1 flags.

row

row

row row 2

5. glue the row 3 flags on the left side hills at the bottom of your book.

row

row

1 row

row 2

row

6. finished flag book 1 2 26

examples of flag books made by kindergartners at Malcolm X Elementary School in Oakland. Tip for young children: cut out pieces and put Xs on parts that will be glued to each other. http://www.bookmakingwithkids.com/?p=396

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Illustrating Simple Math Concepts
Elementary Math and Literacy
The following section contains a simple book that illustrates math concepts from the Utah Second Grade Core. The basic idea is to make a simple story line that helps students be interested in and remember or review math concepts. I made this book, and teachers may make their own books. Other possibilities include making a book as a class or having more advanced students make books for, or with, less advanced students. For example, for elementary students learning to identify specific geometric shapes, cut out examples of the shapes from construction paper. Then, as a class, make up a simple story about the shapes. Compose the story on the boardgood literacy practiceand then transfer the finished story to large paper. Have students help glue appropriate shapes on the pages. Read the book during literacy practice and then put it in your reading center. Students get to read a story they helped write and review math concepts at the same time. Second Grade Math Core: Book is shown on following pages Standard III: Students will understand simple geometry and measurement concepts as well as collect, represent, and draw conclusions from data. Objective 1: b. Compose and decompose shapes and figures by substituting arrangements of smaller shapes for larger shapes or substituting larger shapes for arrangements of smaller shapes. An addition to the book included here could address the following objective: 113 Look at the big square that Will and his 3 cousins made. Will is 1/4 of the whole, big square. Will and Lucia together make up 1/2 of the whole, big square. What part does Will, Lucia, and Ella together make? Thats right, 3/4! (More text that relates to the first book follows) c. Compose and decompose shapes and figures and describe the part-whole relationships, similarities, and differences. (If you read the book now, youll understand the rest of the explanation more easily.) If I were to make this book addition, I would make a thin line to indicate where the divisions in the shapes are. The text could start with something similar to the following:

Look at the big square the triangles made. Point to 1/4 of the whole. How many more triangles make 1/2 of the whole square? Right, just 1 more, so two triangles make 1/2 of the whole square.

Now look at the big rectangle Will and his cousins made. If you take away 1/2 of the rectangle, how many parts are left? Right, two parts, or 1/2 the rectangle. If you take away two parts of the big rectangle, what shape is left?

Its still a rectangle! Now take away 1/2 of that rectangle, and what shape is left? A square!

Use the squares and triangles in the envelope and practice making shapes that are 1/4, 1/2, and 3/4 of a bigger shape. 114

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Additional Ideas for Using the Images & Books from the packet in the Classroom

Farm Life vs City Life Bethanne AndersonBluebird Summer, Packet of Seeds Robert NeubeckerWow!City! Show both images to class and discuss differences. Pop-Up Art Matthew ArmstrongNarnia Pop-up David A. Carter600 Black Spots: A Pop-up Book for Children of All Ages Fumi Kosaka--How Do You know Its Halloween? Teach students how to make their own popup image. Use construction paper. Or have students just make their own flap-up book. Scavenger Hunt Pat BagleyI spy a Nephite David A. Carter600 Black Spots: A Pop-up Book for Children of All Ages Make a busy collage scene with eye-spy in it. Have students make a list of things to look for in their art work and have them trade work with a classmate and play the searching game. Twists on Tales Mark BuehnerFannys Dream Cambria EvansBone Soup Nathan HaleRapunzels Revenge Will TerryArmadilly Chili Students can choose a fairy tale and twist it into their own story or write a sequel. (creative writing exercise) Illustrating a Fairy or Folk Tale Will TerryThe Frog with the Big Mouth Hala WittwerMeow: Cat Stories From Around the World Ben SowardsHe Took My Whippin for Me 125

Have students choose a simple tale and make illustrations. Or, have the class choose a tale and have each student create a page. Bind and use as reading practice. Funny Foods Cambria EvansBone Soup, Martha Moth Makes Socks Carolyn FisherThe Snow Show Shadows Mark Graham-Shadows Are About Kevin HawkesSidewalk Circus Teach about shadows. Demonstrate how shadows replicate or distort the object creating the shadow. Have shadow puppet show with younger kids or have students go outside and trace shadows on sidewalk of trees, poles, etc. Have the students make a design out of the shadow shapes or color them in. Or, you could have them add to the shape to create something out of their imagination like the images in Sidewalk Circus. Geology Nathan HalePoems Of The Prehistoric Swamp, Rapunzels Revenge (image of rock layers) Ruling/Civilization Kevin HawkesWeslandia Mark GrahamIf I Were Queen of the World Teach about the beginning of Civilization with Weslandia. Teach about staple crops. Have students create their own civilization and describe what kind of crop, shelter, language, and other things it would have. Have students imagine they were Queen or King of the world. Ask them what they would do for the good of everyone. Teach about leadership. Depicting Historic Time Periods Realistically Bethanne AndersenPatience Wright Robert Barrett Silent Night, Holy Night: The Story of the Christmas Truce The Real Story of the Flood The Real Story of the Creation Ben SowardsHe Took My Lickin for Me A Christmas Dress for Ellen Show the students the images and discuss the how an illustrator would address the challenges of depicting an historic time period. Ask them to consider what possible approaches might be used to a time period we have limited information on. If desired, have students perform research and make sketches that would be useful in depicting a specific time and place of the students choosing. You could relate this to history or literature. If desired, ahve students create a finished product.

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The Graphic Novel Timeline or Personal Timeline
Secondary History, Language Arts, Visual Arts
Objectives: 1) The Student will demonstrate the ability to order events by creating a timeline using a graphic novel style. 2) The student will demonstrate an understanding of plot, exposition, conflict, rising action, climax, resolution, and character development by using them in a graphic novel. 3) The Student will create personal meaning in his or her timeline. 4) The student will demonstrate an ability to use the elements and principles of design effectively in drawings. Some of the above objectives fulfill Language Arts Standards. The lesson can be structured to include other Language Arts Standards as well. Utah State Core Visual Arts Standards Standard 1: MakingStudents will assemble and create drawings by manipulating art media and by organizing images with the elements and principles. Standard 2: PerceivingStudents will find meaning by analyzing, criticizing, and evaluating drawings. Standard 3: ExpressingStudents will create meaning in drawings Standard 4: ContextualizingStudents will find meaning in drawings through settings and other modes of learning. Applications to other areas of study: This lesson can be used in a history class. You may wish to divide an area of study into small, discrete series of events and have each student

Nathan Hale, Rapunzels Revenge or small group of students do a graphicnovel style timeline of one section. Those sections can then be assembled as chapters in a novel. Ask students to create their timeline using information from the time period and culture(s) they are depicting. In addition to fulfilling visual art objectives, students will also meet the following objectives: Objective: The student will demonstrate knowledge of specific events by creating an accurate timeline of those events.

Objective: The student will demonstrate knowledge of culture and time period through the depictions in the graphic-novel style timeline.

Artwork and Information to look at: This a good web page on the history of the Graphic Novel. It is short and to the point. http://www.graphicnovels.brodart.com/ history.htm

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Some good graphic novels to look at: (Things to look at in all the books are layout, style, use of color or dramatic use of light and darks.) A.L.I.E.E.E.N. , by Lewis Trondheim (a little violent, but fun characters) Akiko, by Mark Crilley (fun images, and black/white) Its a Bird by Steven T. Seagle and Teddy Kristiansen (soft colors) Leviathan by Jens Harder (beautiful line quality and very visual; a must see) Rapunzels Revenge, Shannon and Dean Hale (great color and story)

unusually are just stapled and created on cheaper paper. The comic book story usually uses a fictional story, but the graphic novel can be based in reality. Materials: copies of handouts pencil, pen, markers (any medium you want to use to colorwatercolor can be used to create a background) sketch paper, index cards, cardboard or cardstock (for the covers) string, if you want a tie, and tape Vocabulary: Graphic Novel, Comic Book, Sequential Order, Plot, Exposition, Conflict, Rising Action, Climax, Resolution, and Character Development

Will Terry, Little Roosters Diamond Button Springville Unbound Show: Although most are book illustrations and some graphic novels, all the images are complex and can be used as examples of concepts and ideas for images. Some of the items listed below may not be shown in the show but are the illustrators from the show. Rapunzels Revenge, Illustrated by, Nathan Hale, Written by, Shannon and Dean Hale (Interesting twist on a classic story, and wonderful illustrations that are full of action and dynamic movement) Little Roosters Diamond Button, Illustrated by, Will Terry Some of the differences between comic books and graphic novels are that graphic novels are a finished, bound book, whereas comic books

Activity: 1. Warm-up activity: Put out a lot of graphic novels, and have the kids look through them. (Check out a bunch from the library.) Have the students sketch one of the characters in the graphic novel for about 10 minutes just to warmup. 2. Introduction: Talk about the differences between graphic novels and comics (you may want to have a few comics to show). (Ideas to talk about are the different styles, use of grids or layout, and color) Plus use the handouts to talk about creating a story (Exposition, Conflict, Rising Action, Climax, and Resolution); also talk about sequential order of events in a story. Demonstrate breaking down an event, maybe for history, into the plot development handout. 3. Have students brainstorm about events in their lives in small groups (maybe 128

talk about public and private events, or events you can share with neighbors). Then, using the plot handout, have them break the event up into the different sections. 4. Character Development: Talk about what makes a person a character! Personality traits (Human, animal or alien). Have the students complete the character sketch and development paper about the most dominate character. 5. Now that the students have worked out the plot development and the character development, talk to them about laying out the grid to and how to layer images to create perspective. Use the graphic novels as examples.

6. Then give the students index cards and allow that flow to happen with the help of the handouts. 7. Then attach the index cards on the back so their finished product looks like a book (sealing the pages together, so that it looks like an accordion). Create a cover with a fun title and a back page. 8. Have students complete the assessment form and turn in the Time-line.

Example of a Graphic-Novel Style Timeline

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Assessment Rubric Student Name __________________________________ Class Period ________ Date ___________ Project: ___________________________________________________________________
Circle the number that best shows how well you feel that you completed that criterion.

Superior 5

Excellent 4

Good 3

Average 2

Needs Improvement 1 You Teacher

Composition: Does the overall look work? Craftsmanship: Care, attention to details Creativity

Following Directions: 5 Effective use of time, Good work habits

Total Points

Student Reflection:

Teacher Reflection:

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Contemporary Illuminations
Modern illuminations based on medieval book illustrations
Secondary Visual Arts
Objectives: Students will examine the history and nature of medieval art, especially illuminated manuscripts. Students will create an illuminated manuscript based on a passage of contemporary text. Students will study and review illuminated letters from the middle ages. Students will compare and contrast contemporary advertisements with medieval illuminations. Students will learn how to draw medieval knotwork and thatchwork. State Core Links Standard One: Objective 1 Explore a variety of art media, techniques, and processes. Standard Two: Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard Three: Students will create meaning in art Standard Four: Objective 1 Align works of art according to history, geography, and personal experience. Hastings Book of Hours from late 1470s.
en.wikipedia.org/wiki/Image:Hastings_book_of_the_ hours.jpg public domain

Materials Examples of medieval art, especially illuminated manuscripts. Also, Howard Fullmer, The Kings Highway Colored pencils Contemporary magazines Visuals and DVD clips of the Saint Johns Bible (www.saintjohnsbible.org) 135

 Knotwork handout Thatchwork handout Paper Gold leafing (optional) Powder paint (optional) Egg yolk (optional) Activity 1. Explain the concept of illuminated manuscripts and discuss examples of different ancient manuscripts. Invite students to analyze how factors of time period and location have influenced the content of the works. You may want to focus on the Book of Hours, and the Tres Riches Heures by the Limbourg brothers.

2. Emphasize that Illuminated manuscripts are books written by hand with quills, beautifully illustrated with calligraphic text. They are decorated with gold and silver leaf. Subject matter includes history, literature, science, religion, medicine, and a variety of other topics. 3. Inform students that Saint Johns University in Minnesota has decided to draw upon the time- tested tradition of this classic artform by creating a contemporary illumination. Show DVD clips of The Saint Johns Bible. (www.saintjohnsbible.org) 4. Show a series of illuminations from the Saint Johns Bible. Ask students to compare and contrast the contemporary illuminations with the ancient examples seen previously. What are the similarities? What are the differences? 5. Explain that students are now ready to create their own illuminated manuscript. Much like traditional illuminators, students will choose a passage of text that relates to history, literature, music, medicine, or the like, but students will choose a contemporary passage of text. This text can be an advertisement, a quote, a dictionary definition, a stanza of musical lyrics or anything that represents contemporary society. 6. Discuss possible patterns and motifs that students may investigate in order to illuminate the diverse topics they will explore in the written part of their manuscript. The teacher may wish to distribute the handouts entitled Knotwork,and Thatchwork, in order for students to add legitimacy to the illuminations. Handouts are included at the end of the lesson.

Les Trs Riches Heures du duc de Berry; Janvier (showing the day of exchanging gifts in January) Muse Cond, Chantilly en.wikipedia.org/wiki/Image:Les_Tr%C3%A8s_Riches_H ry_Janvier.jpg public domain

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10. At the close of the medieval unit, students will hand in their manuscripts with an attached self-evaluation. The teacher will also review and score their work. Assessment Students will hand in their manuscripts with an attached self-evaluation. The teacher will also review and score their work.

All Student Examples, Junior High School Students 7. Students will then write their passage of text in a calligraphic manner, or they may choose to type the passage and play with font types and sizes. They can then print the passage and affix it to their artwork. Students will then add illuminated letters and small illustrations that will help to explain the written passage they have chosen. 8. Invite students to create several brief sketches of possible themes or patterns based on the manuscripts they have observed. Students will choose their best ideas to be transferred into their final manuscripts. 9. In order to give their manuscripts a hint of authenticity, students will use a combination of rich colored pencil, gold leafing, and traditional egg tempera paint. They will mix their own paints with egg yolk and powdered paint. If it is available, then students may also use a mortar and pestle to grind pigments. 137

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Knotwork

Elicia Timpson Gray 2004 139

Thatchwork
Step One:
Create a grid pattern using a series of dots.

Step Two:

Draw two vertical lines just inside the dots of the first square. Skip a square and then repeat the process until you have completed the first line.

Step Three:

Draw two horizontal lines just inside the dots of the empty squares. Make sure that the horizontal lines meet up with the vertical lines, forming a T shape.

Step Four:

For the second row, draw two horizontal lines just inside the dots of the first square. Skip a square and then repeat the process until you have completed the second line.

Step Five:

Draw two vertical lines just inside the dots of the empty squares. Make sure that the vertical lines meet up with the horizontal lines, forming a T shape.

Step Six:

Repeat steps one through five until you have created enough thatch. Color in the squares that frame the dots. Add color to the thatch if desired.

Elicia Timpson Gray 2004

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Illuminated Manuscript Grading Sheet

Name__________________________________________________Period____________

Please carefully evaluate each of the entries in your Illuminated Manuscript. Rate your performance by circling the number which best describes your work. L=1 point= OUCH! This needs serious help. L =2 points= Not so good. Needs improvement K=3 points= Its okay, but I could do better. J=4 points= Good! I met all of the requirements. J =5 points= Wow! Amazing! Outstanding Job!

1. My written passage represents an excerpt of interesting contemporary text. a. 1 2 3 4 5 2. I have written or typed my passage of text in a clear, concise, beautiful manner. a. 1 2 3 4 5 3. I have added proper knotwork and thatchwork in order to add authenticity.. a. 1 2 3 4 5 4. I have chosen several ideas (at least three or four) to illuminate in my manuscript. a. 1 2 3 4 5 5. My drawings are completely finished. a. 1 2 3 4 5 6. My drawings show evidence of effort, improvement, and skill. a. 1 2 3 4 5 7. I used my time wisely and worked on my Illuminated Manuscript daily. a. 1 2 3 4 5 8. What is my overall impression of my illuminated manuscript? Is it quality work? a. 1 2 3 4 5 My Score__________________/40 points possible 141

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Visualizing Stories between the Ages: Working as an Illustrator
Secondary working with Elementary
Brief Overview: This lesson is designed for secondary-aged students to collaborate with elementary-aged students. The lesson will explore both the visual and the literary in art. A secondary class will be instructed to team up with an elementary class so that each secondary student will work with an individual elementary student. The elementary-aged student will write a short story (poem, biography, history, or other literary genre that applies to the specific grade). Objectives The student will collaborate with an elementary-age student. The student will act as an illustrator with a client who will be the elementary-age participant. The student will convey the clients story or message visually. State Core Standards: Standard 1: MakingStudents will assemble and create drawings by manipulating art media and by organizing images with the elements and principles. Objective 2 Create drawings using art elements and principles.

Matthew Armstrong, Chronicles of Narnia Create expressive works of art using principles to organize the art elements, including mood, emphasis, and unity.

Standard 2: PerceivingStudents will find meaning by analyzing, criticizing, and evaluating drawings. Objective 1 Critique drawings.

Create expressive drawings using art elements, including line, shape, form, value, contour, and perspective.

Analyze drawings regarding use of art elements and principles.

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Examine the functions of drawing. Interpret drawings.

Standard 3: ExpressingStudents will create meaning in drawings Objective 1 Create content in drawings.

Objective 2 Evaluate drawings.

Analyze and compare drawings using a variety of aesthetic approaches. Evaluate drawings based on their forming techniques, effective use of art elements and principles, fulfillment of functions, impact of content, expressive qualities, and aesthetic significance.

Identify subject matter, metaphor, themes, symbols, and content in drawings. Create drawings that effectively communicate subject matter, metaphor, themes, symbols, or individually conceived content. Create divergent, novel, or individually inspired applications of art media or art elements and principles that express content.

Standard 4: ContextualizingStudents will find meaning in drawings through settings and other modes of learning. Objective 2 Synthesize drawing with other educational subjects.

Integrate drawing with dance, music, and theater.

Explore how drawing can be integrated across disciplines.

Baudelaires in Trunk by Brett Helquist from The Hostile Hospital (A Series of Unfortunate Events) by Lemony Snicket

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Instruction: 1. To introduce illustration to your secondary students, the teacher will read a short story to the entire class without showing any illustrations or pictures. 2. The teacher will invite the students to describe the setting and characters as they visualized them while the story was being read. 3. The teacher will then show the illustrations from the story. 4. The teacher will ask the students how well the story was described but also how well the illustrator provoked the reader to expand his or her own vision of the narrative. 5. Students will look at the images from the CD and also go to the school library as a group with the task of finding

Clouds, The Snow Show by Carolyn Fisher illustrations that resonate with each of them. The illustrations may be interesting, exciting, challenging, fun, or incite any number of feelings, but the selected illustrations should provoke some emotion or sense for the student. 6. Students will share their findings to the class discussing techniques and processes used, such as, the elements and principles, and the drawing or painting media. However, more importantly the techniques of creating mood, setting, environment, emotion, and the like should be emphasized in this presentation. 7. The teacher should contact an elementary school teacher who is willing to participate. The teachers should meet to discuss overlapping objectives, scheduling, and concerns. 8. The students will be presented the plan of working as an illustrator for a client who has written a short story (poem, biography, or other literary form.) The teacher will present the guidelines suggested by both teachers as to how to work together effectively. 9. Students will pair off or be paired by the teachers and will introduce themselves to their partners. 10. The elementary student will share his or her literary work with the student illustrator. The illustrator should prepare sketches during this time, discuss the intentions and visions of the writer, and how the illustrators skills might be best utilized. 145

11. Upon returning to the studio classroom, the illustrators will begin working on their illustrations using the processes and techniques learned in previous classes but also experimenting with styles and techniques gained from their library research and classroom presentation and discussion. 12. Preliminary sketches and processes will be shared with the elementary writers and feedback should be given. The secondary teacher should prepare his or her students with appropriate ways to receive feedback. 13. The illustrators will correct and refine their work and then present their work along with the writers stories in a joint exhibition/opening event. The writers will be able to assess their collaboration at this time using the assessment strategy provided.

Dickery Dickery Dare, James C. Christensen from Rhymes & Reasons by Mother Goose, The Greenwich Workshop Press, 1997

14. The illustrators will reflect upon their experience as directed in the assessment using their sketchbooks. Additionally, a group discussion about the process can be directed by the participating teachers. 15. The teacher can use the exhibit as a time to evaluate through a group critique or on a more individual basis as suggested by the assessment strategy.

Assessments: 1. A rubric will be handed out to the client (elementary aged student who wrote the story) that addresses the following criteria: 2. How well did your illustrator listen to you? Not Very Well

Great Job!

OK

How well did the illustrator express the ideas that you shared in your story? Not Very Well

Great Job!

OK

3. The secondary student will self-assess his or her collaboration experience. (The student should write a paragraph describing and analyzing this experience in his or her sketchbook. Students should touch on what they learned about the process of working with a young person with a story to tell and how well they accomplished this task.) The secondary student will also reflect on his or her experience working as an illustrator. (The secondary student will also write a reflection on their experience as an illustrator who brings skills and processes to a client with a story or vision and how those skills are used to create something new.) 4. The secondary teacher will assess the students appropriate application of the previously taught techniques and processes, such as methods of drawing, painting and/or printing, and specific uses of the elements and principles of art and design. (This evaluation will be specific to the teachers goals and objectives for that particular class. It will also be dependent on previously learned techniques and processes.) 146

THE VISUAL RESEARCH JOURNAL

Using a Sketchbook as a Research Journal

The following lessons are from Dan Barneys MA Thesis

INTRODUCTION and RATIONALE

The sketchbook is used as an organizational and reflective tool for many artists. Diaries, journals, photo albums, and scrapbooks are used by popular culture to archive and process information.

THEME MOTIVATION

LESSON OVERVIEW

This lesson contains examples of both the fine art sketchbook and the popular scrapbook. This is an introductory lesson to creating a research sketchbook and should take from five to ten hours of combined instruction and studio time to complete, but students might desire to continue to work on this visual research journal throughout the course. The sketchbook will play an important role in this curriculum with respect to research and reflection.

Ask students if they or any of their family members keep diaries, journals, sketchbooks, scrapbooks, or family albums. Ask the students, What are these items used for? Why do we spend so much time and effort creating these artifacts? Show examples of published diaries, such as The Diary of Frida Kahlo, (1995), Diary of an Amateur Photographer, (1998) by Graham Rawle, and Peter Beards Beyond the End of the World, (1998). PowerPoint presentations have been designed to show many examples of sketchbooks in both visual culture and in visual art. Past student examples are also included.

GUIDING QUESTIONS

For what reasons does one document using journals and diaries? What is the SPIN of such documents? How might one find meaning by using such a document? How does documentation relate to history and hegemonic instruction?

POSTMODERN ATTRIBUTES

Pastiche, collage, and juxtaposition Appropriation Hybridization Self-directed learning versus hegemonic instruction

FIG 2.1 - Student Sketchbook, 2003

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ART HISTORY
FOCI/CONCEPTS
Review the research sketchbooks of Frida Kahlo, Peter Beard, and Sabrina Ward Harrison Found objects and collage as art

OBJECTIVES

Affective: The student will feel empowered, as there are no right or wrong answers to each presented question. The students answer is his or her own. Cognition: The student will describe the style and processes used by each of the artists presented in the PowerPoint presentations. Skill: The student will combine several processes used by each of the four artists in his or her own book.

naturalist, environmentalist, scholar, actor, fashion photographer, filmmaker, jet setter, vigilante, hunter, and model. He attempts to transform his life into a work of art by creating a journal consisting of thousands of pages that document his perceptions and experiences. He does not consider himself to be a professional photographer although he has been situated in the art market for decades, appearing on the cover of Interview Magazine in 1978, modeling for the prominent painter, Francis Bacon, and obtaining a one-man show at the International Center of Photography in New York in 1977. Present the following questions: How do you think money and his interaction with fame have affected the work of Peter Beard? How is his journal art and not art, compared to other works that you have experienced? 4. Frida Kahlos journal of the last ten years of her life has been published and contains her thoughts, sketches, poems, and other visual documentations. If the students are unfamiliar with this artist, then briefly discuss the life of Frida Kahlo, including her upbringing, her accident, her marriage, her political agenda, her acquaintances, her hopes, her connections to Surrealism, and her artworks. Present the following questions: What is significant about the journal of Frida Kahlo to you? How might studying the work of a Mexican woman be significant to others? Does it matter that Frida Kahlo did not consider herself to be a Surrealist? Comparing the work of Diego Rivera and Frida Kahlo, in what ways are each significant historically, politically, expressively, and contemporarily? 5. Michael Whittingham is a character fabricated by the author Graham Rawle. The character belongs to a camera club and is asked to keep a diary to document photographic information. Michael Whittingham creates a collection of images and documents his thoughts while uncovering a mystery. Present the following questions: What is the significance to you that Michael Whittingham is a fictional character? What can you learn from viewing his fabricated diary? In what ways is it insignificant that his diary is fictitious?

UTAH STATE STANDARDS

Standard 4 CONTEXTUALIZING

Students will find meaning in works of art through settings and other modes of learning.

MOTIVATIONS

Students will see examples of artists sketchbooks before creating their own. PowerPoint presentations have been developed that include professional examples of the processes that the students will be using.

INSTRUCTION

1. Pass out the publications mentioned in the theme motivations to the students if the publications can be obtained. If not, then begin by showing the PowerPoint presentations about these three artists/writers and others who used a sketchbook as art. 2. Discuss the artists mentioned in the PowerPoint presentations in terms of their backgrounds, the historical and political context of their work, and the application to the theme of this lesson. 3. Peter Beard is as multifaceted as his journals are in their juxtaposition of images and found objects from visual culture. He has been a

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6. Sabrina Ward Harrison is a contemporary artist who uses a journal as art, but also uses photography, clothing, and window dressing as a source for artistic expression. She has listed several artists as her inspiration. Present the following questions: What artists or images from visual culture inspire you? How has the Internet become a source of power to aspiring artists? 7. Students will need to be presented with the Art Production section of the lesson in order to obtain a sketchbook to fulfill the skill objective of this lesson. 8. Ask the students to describe the style and processes used by these four artists. Students may look at the publications if they are available to help them remember certain details used by each artist. This may be accomplished quickly as an entire class. 9. Students will combine several aspects, style and processes, from the artists seen in the PowerPoint presentations. For example, students may use colored ink to do automatic drawings as seen in the journal of Frida Kahlo, while also creating a photomontage of their own photos with found photos and prints. Students might develop narratives as seen in Graham Rawles book, all the while combining non-traditional drawing media, such as blood and dirt, as seen in Peter Beards book, and use writing, photos, and collage as seen in Sabrina Ward Harrisons books, altogether to form a new type of process or imagery. Combining different processes in different ways changes the meaning and perception of the journal. Students will list the processes used by each artist and then try those processes in their own journal in a new way.

Have each student quickly identify to the class, the processes that he or she used to create his or her own journal page. Students should also identify from which artist they emulated such process. Use document 2.3, Combining and Experimenting with Processes, to check student understanding and fulfillment of the task.

MATERIALS and RESOURCES

PowerPoint presentations on CD Computer with PowerPoint, computer projector, and projection screen The Diary of Frida Kahlo, (1995), Diary of an Amateur Photographer, (1998) by Graham Rawle, and Peter Beards Beyond the End of the World, (1998) Ink, watercolor, wire, thread, photographs, magazines, quill pens, glue, various found objects, such as feathers, leaves, cloth, and the like. Student sketchbooks from the Art Production portion of the lesson Documents 2.1, 2.2, and 2.3

ASSESSMENT STRATEGIES

Review the students responses and ask them how they felt as they attempted to answer these questions using document 2.1, Art History Affective Learning Assessment. Using document 2.2, Artistic Styles and Processes, students will list the processes and styles used by the appropriately listed artist.

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VISUAL CULTURE
FOCI/CONCEPTS
Personal research Documentation as spin Deconstruction of a visual cultural site No separation between high and low art

INSTRUCTION

1. Ask students to bring in their own selected family scrapbooks or photo albums. 2. Pass out a questionnaire to each student and have the students discuss the following questions as they observe these works: Why do people keep such records? What photos or information is given to create meaning? Do the photos create a narrative or story? What perceived value do these works have for your family, for you, and for others? Is the information presented in a neutral manner, in your opinion? How or how is it not? What is the spin of these works? How are these works honest or dishonest? Who created this documentation? 3. Instruct the students that when they keep their own visual sketchbook, they will be keeping a record of how they perceive the world and the thoughts and questions that they are dealing with at any given moment. The visual research journal will not need to be formulated chronologically and some thoughts may be revisited and changed as desired. Ask, How is this sketchbook similar to or different from a family photo album or scrapbook? Note that this question may be more easily answered if the Art Production of this lesson has already been completed. 4. Students may wish to share their family scrapbooks or photo albums with the class. Students may point out their findings and ask their peers for their opinions.

OBJECTIVES

Affective: The student will weigh the value of keeping a family photo album or scrapbook to the keeping of a research sketchbook journal. Cognition: The student will select photos from a family photo album that he or she determines as honest and dishonest. Skill: The student will explain the differences and similarities between his or her family photo album or scrapbook and his or her visual research journal.

ASSESSMENT STRATEGIES
FIG 2.3 - Michelle Ward

UTAH STATE STANDARDS

The instructor will use document 2.4, Visual Culture Family Photo Album or Scrapbook Questionnaire, to see that the lesson objectives for visual culture are met.

Standard 4 CONTEXTUALIZING

Students will find meaning in works of art through settings and other modes of learning.

MATERIALS and RESOURCES

MOTIVATIONS

Share your own scrapbook or photo album with your students. Select pages that show you at the same age as your students.

Students will need to bring in their own family scrapbooks or photo albums for deconstruction. Students should bring in their sketchbooks from the Art Production section. Document 2.4, Visual Culture Family Photo Album or Scrapbook Questionnaire

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ASSESSMENT STRATEGIES

Use document 2.6, Aesthetic Re/search Questionnaire, to review the answers submitted by the student, checking for fulfillment of the aesthetic objectives in this lesson.

MOTIVATIONS

Examples of the processes shown in the PowerPoint presentation will act as a motivation for students to use these processes in their own visual research journals.

MATERIALS and RESOURCES

Dry-erase board and dry-erase marker 1. Pass out the Sketchbook Production Activity Several dictionaries and Assessment handout. Document 2.6, Aesthetic Re/search Questionnaire 2. After viewing the examples of artistic Students should have already seen the research sketchbooks, students should commence PowerPoint presentations on the sketchbooks construction of their own research sketchbook. of Kahlo, Beard, and Harrison and have completed the Visual Culture section of this 3. Students should decide upon either lesson, which discusses the family photo album altering an existing book, buying a blank book, and sketchbook. or creating a new blank book. Creating a new blank book is labor intensive, but resources are available to help students learn how to bind a new book. Existing books are readily available as discarded books from libraries or salvage from thrift stores. Students will need to locate their FOCI/CONCEPTS books as homework or the entire class may Create a research journal by altering an existing decide to create new books as a class assignment. book or by fabricating a new one as described by Some older books are not appropriate to use as the artists in the Art History section and by sketchbooks without changing the entire text various authors, such as Harrison in Altered Books, block because of the deterioration of the pages Collaborative Journals, and Other caused by acidity or humidity. Adventures in Bookmaking (2003), Diehn in The Decorated Page (2002), and Brazelton in 4. After the books are fabricated or simply Altered Books Workshop (2004). located, preparation of the pages, alterations of the text block or covers, and adding found objects may begin. OBJECTIVES Affective: The student will develop a sense of commitment to the task keeping a research sketchbook. Cognition: The student will select an appropriate book to use as a research sketchbook. Skill: The student will combine various techniques and processes as he or she begins his or her research sketchbook.

INSTRUCTION

ART PRODUCTION

UTAH STATE STANDARDS

Standard 2 MAKING Students will assemble and create works of art, manipulating art media, and by organizing images with the elements and principles of art.

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ART HISTORY AFFECTIVE LEARNING ASSESSMENT

Name: Period: Date:

document 2.1

Peter Beard is as multifaceted as his journals are in their juxtaposition of images and found objects from visual culture. He has been a naturalist, environmentalist, scholar, actor, fashion photographer, filmmaker, jet setter, vigilante, hunter, and model. He attempts to transform his life into a work of art by creating a journal consisting of thousands of pages that document his perceptions and experiences. He does not consider himself to be a professional photographer although he has been situated in the art market for decades, appearing on the cover of Interview Magazine in 1978, modeling for the prominent painter, Francis Bacon, and obtaining a one-man show at the International Center of Photography in New York in 1977. Answer the following questions in your journal: How do you think money and his interaction with fame have affected the work of Peter Beard? How is his journal art and not art, compared to other works that you have experienced? Frida Kahlos journal of the last ten years of her life has been published and contains her thoughts, sketches, poems, and other visual documentations. If the students are unfamiliar with this artist, then briefly discuss the life of Frida Kahlo, including her upbringing, her accident, her marriage, her political agenda, her acquaintances, her hopes, her connections to Surrealism, and her artworks. Answer the following questions in your journal: What is significant about the journal of Frida Kahlo to you? How might studying the work of a Mexican woman be significant to others? Does it matter that Frida Kahlo did not consider herself to be a Surrealist? Comparing the work of Diego Rivera and Frida Kahlo, in what ways are each significant historically, politically, expressively, and contemporarily? Michael Whittingham is a character fabricated by the author Graham Rawle. The character belongs to a camera club and is asked to keep a diary to document photographic information. Michael Whittingham creates a collection of images and documents his thoughts while uncovering a mystery. Answer the following questions in your journal: What is the significance to you that Michael Whittingham is a fictional character? What can you learn from viewing his fabricated diary? In what ways is it insignificant that his diary is fictitious? Sabrina Ward Harrison is a contemporary artist who uses a journal as art, but also uses photography, clothing, and window dressing as a source for artistic expression. She has listed several artists as her inspiration. Answer the following questions in your journal: What artists or images from visual culture inspire you? How has the Internet become a source of power to aspiring artists? You have come up with your own answers to these questions. How do you feel about your responses to these questions? Using a 3 x 5 card, discuss how you felt about answering these questions in your journal without the answers being graded by the class or the teacher. Would you like to have shared your responses with the other students in the class? Were some of the questions challenging? Did you desire more information about the subject before you answered any of the questions?

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ARTISTIC STYLES and PROCESSES

Name: Period: Date:

document 2.2

Your task is to describe the style and processes used by each of the artists as they are discussed and shown in class. Use complete sentences in your descriptions, please. Each description is worth one point. Peter Beard Describe the style in which Peter Beard works

Describe several processes that Peter Beard uses in his journal

Frida Kahlo Describe the style in which Frida Kahlo works

Describe the processes that Frida Kahlo uses in her journal

Michael Whittingham Describe the style in which the character, Michael Whittingham, works

Describe the processes that Michael Whittingham uses in his journal

Sabrina Ward Harrison Describe the style in which Sabrina Ward Harrison works

Describe several processes that Sabrina Ward Harrison uses in her journal

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COMBINING and EXPERIMENTING WITH PROCESS

Name: Period: Date:

document 2.3

You have just seen four artists who used a sketchbook for different reasons. Your sketchbook will primarily be used as a visual research journal to keep your thoughts, ideas, found objects, observations, and the like. The research journal will be used in class and should be kept with you at all times outside of class when feasible. 1. To get started using your journal immediately, select several of the processes used by each of the four artists and begin a two-page spread using a combination of these processes. 2. Show your finished pages to the class and share the information that you learned as you combined processes from each of the artists viewed in class. You will need to show the following during your presentation for grading: Processes used from Peter Beard

Processes used from Frida Kahlo

Processes used from Michael Whittingham

Processes used from Sabrina Ward Harrison

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VISUAL CULTURE

FAMILY PHOTO ALBUM OR SCRAPBOOK QUESTIONNAIRE

document 2.4

Name: Period: Date:

You have been asked to bring in a family photo album or scrapbook. Individuals and groups of individuals with familial bonds often treasure these artifacts. Share your album with others, being respectful of your classmates sensitivities. After viewing several albums, you may begin answering the following questions, which are directed toward your own photo album or scrapbook, but may refer to family photo albums in general: 1. 2. 3. 4. 5. 6. 7. 8. Why do people keep such records? What photos or information is given to create meaning? What information is missing to create meaning? What is the spin of these works? Do the photos create a narrative or story? What perceived value do these works have for your family, for you, and for others? Is the information presented in neutral manner, in your opinion? How or how is it not? How are these works honest or dishonest? Who created this documentation?

After discussing the research sketchbook as a class (Art Production or Art History), address the following question: 9. How is this sketchbook similar to or different from a family photo album or scrapbook?

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ART CRITICISM THEORIES GROUP ASSESSMENT

Names of the members of the group: Period: Date:

document 2.5

The theory that your group has been asked to discuss is the _______________ theory. As you read the information presented by Terry Barrett about your designated theory, list the main assertions in the following space: 1.

2.

3.

4. Others: Discuss this theory amongst the members of your learning group. As a group, you will predict the limitations of your theory of art criticism in the following space: 1. 2. 3. Other limitations:

Your group will give an example to the class of how a follower of this theory would critique an artwork. Describe the critique of an artwork using this theory. Use the space on the back of this handout to write a brief example of said critique.
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AESTHETIC RE/SEARCH QUESTIONNAIRE

Name: Period: Date: 1. Using a dictionary, define the word research:

Document 2.6

2.

Does this definition change or solidify your beliefs as to when research might be art? How or how not?

3.

Using a dictionary, define the word search:

4.

What does the word search have to do with art?

You will be asked to distinguish the similarities and differences between art works, artist sketchbooks, and popular culture items, scrapbooks, and photo albums. List your thoughts in the following space:

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SKETCHBOOK PRODUCTION ACTIVITY and ASSESSMENT

Name: Period: Date:

document 2.7

Selecting a book 1. You should decide upon either altering an existing book, buying a blank book, or creating a new blank book. Creating a new blank book is labor intensive, but resources are available to help you learn how to bind a new book. Existing books are readily available as discarded books from libraries or salvage from thrift stores. You will need to locate your book as homework. As a word of warning, some older books are not appropriate to use as sketchbooks without changing the entire text block because of the deterioration of the pages caused by acidity or humidity. Ponder each of following questions when purchasing or making your book: Is the book the right size? Will it be convenient to carry and have sufficient space for what I intend to accomplish? Is the book durable and is the paper appropriate for the media I will be using?

Personalizing the book artistically 2. After the books are fabricated or simply located, preparation of the pages, alterations of the text block or covers, and adding found objects may begin. Several techniques, such as adding pages, subtracting pages, sewing in pages, adding objects, adding texture, collage, and the like will be demonstrated in class and you will need to practice them. You should share techniques and processes with your fellow classmates as you discover them. Check off the following list of tasks as they are completed: List the techniques and processes that you have learned. List the techniques and processes that you have included in your book during this lesson. Combine several of the techniques and processes that you have learned, to create a unique style of your own. Show this new style to the class and the teacher.

Using the book to search and research 3. You should carry this book as often as possible so that you can add to it constantly. This is an on-going project, used throughout the year both in class and outside of the classroom. The book should include questions, answers, interesting images, found objects, and responses that are juxtaposed by you as you find and question meaning related to art, visual culture, and to your Concentration project specifically. It should be used in every lesson. You may use it as a visual and written journal during class.
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Unbound: Book Art & Illustration

Alice Merrill Horne
The following lessons are based on the book Alice Merrill Horne, written by Lola Beatlebrox, illustrated by Anita Crane. The lessons are used used by permissio of the Utah Arts Council. Lesson 1: Alice Merrill Horne OVERVIEW In this lesson, students study the life of Alice Merrill Horne, the founder of the Utah Arts Council who instigated the purchase of the Utah State Fine Arts Collection. STATE CORE OBJECTIVES See Page 2. LEARNING OBJECTIVES Younger children: The teacher reads the Childrens Story of Alice Merrill Horne. Older elementary school children: Students read the Childrens Story of Alice Merrill Horne and research and write their own one-page biographies of Alice Merrill Horne. Grades 7-12: Students research the Chicago Worlds Fair and the effect of the swift growth of the West on Alice Merrill Horne and her campaign to promote Utah art and artists. BACKGROUND Teachers are invited to review the biography of Alice Merrill Horne in the front of the Gallery Catalog. Additional references include: Artists of Utah by Robert S. Olpin, William Seifrit, and Vern G. Swanson, Gibbs Smith Publisher, Salt Lake City, 1999. Avard Tennyson Fairbanks, Portrait Bust of Alice Merrill Horne (1941) bronze, 19" x 7" x 8-1/2" Springville Museum of Art

Utah Art by Vern Swanson, Robert Olpin and William Seifrit, published through the sponsorship of the Springville Museum of Art, Peregrine Smith Books, 1991. Mulvay, Jill C. Three Mormon Women in the Cultural Arts, Sunstone, Spring 1976, Vol. 1 No. 2 159

 http://www.media.utah.edu/UHE/h/HORNE,ALICE. html http://culturalcenter.utah.org/exhhorne.html Larson, Erik. Devil in the White City, Vintage Books, 2003. Devil in the White City VHS video. Available on interlibrary loan. MATERIALS NEEDED Gallery Catalog (included in the packet) Childrens Story of Alice Merrill HorneLocated in the back pocket of the Catalog. LESSON 1 PROCEDURES: Younger Children 1. Set the stage so that students understand the relationship between the historical figure they will learn about and the Early Utah Masterpieces exhibit: Alice Merrill Horne was a remarkable person who was born more than 100 years ago. She was an artist herself and became good friends with many Utah artists.
Henry L. Culmer, Brush Creek Gorge, Ashley, Utah (1886) oil on canvas, 30" x 18" Springville Museum of Art

She wanted everyone to be able to enjoy beautiful art so she worked very hard to make sure the state of Utah purchased beautiful paintings by master artists. You will see some of these paintings when we visit the Early Utah Masterpieces exhibit. 2. Read the story of Alice Merrill Horne to students or have them read pages out loud. Note: Each illustration in the story has a sketch of one of the Early Utah Masterpieces hidden in the picture. Children will enjoy playing hide and seek by finding the picture and using the catalog to identify the picture. Note that all the lesson plans start by finding the hidden painting in the illustration. Hint: The complete painting may not be shown but only part of the painting. [See if you can recognize any of the artists work included here. These works are from the SMA collection but by artists whose work is also in the Utah State Fine Arts Collection.]

John Hafen, Hollyhocks (1909)

oil on canvas, 36" x 42" Springville Museum of Art

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LESSON 1 PROCEDURES: Older Elementary School Children Follow the procedures for younger elementary school children and add this activity. Have students research the life of Alice Merrill Horne online at www.art.utah.gov and in the references listed in the Background section of this lesson. LESSON 1 PROCEDURES: Grades 712 Follow the procedures for older elementary school children and then assign these essay question(s): Give the students this background: Alice Merrill Horne was a member of the state legislature at a time when the state of Utah was changing. The pioneer days were over. The agrarian theocracy had been replaced by a democratic state government. Like the rest of the country, Utah had entered the industrial age and Americans were proud of their accomplishments.

The Columbian Exposition, also known as the Chicago Worlds Fair of 1893, was a showcase for new inventions, industrial progress, art, architecture, and artisanship. The White City with its giant Ferris Wheel eclipsed the Paris Worlds Fair of 1889 and its exciting Eiffel Tower. The Womens Building was the first of its kind to showcase the accomplishments of American women who contributed to the exhibits from each state. Utah displayed a fully illustrated book of the state flower with songs and poems, submitted by the Utah Literary Committee of which Alice Merrill Horne was chair. * The Chicago Worlds Fair proved that the mighty country of the New World (America) was as great as any in the Old World (Europe). The Columbian Exposition, also known as the Chicago Worlds Fair of 1893, had a profound effect on Alice Merrill Horne and her contemporaries. They could glimpse the future and see what was possible. *Note: The Utah womens book is symbolized by the Sego Lily in the frame on page 4 of the childrens storybook. Essay 1 Research the Chicago Worlds Fair and answer the questions: What were the main exhibitions at the Chicago Worlds Fair? Why was the Chicagos Worlds Fair so important to America? Why do you think the event had such an impact on Alice Merrill Horne? 161

http://commons.wikimedia.org/wiki/Image:Chicago_World%27s_ Columbian_Exposition_1893.jpg public domain

Essay 2 Main Street was a popular novel written in 1920 by Sinclair Lewis, who eventually won both the Pulitzer Prize and the Nobel Prize for his work. In the 1920s many towns in the American West were not graced with nice parks, attractive streets or fine architecture. As rough towns grew, their streets were functional rather than beautiful. In fact, compared with Europe the American West was ugly. Main Street is the story of a woman who tries to make improvements in her Midwestern town.

Read the following passage from Main Street. Then discuss this passage in light of Alice Merrill Hornes quote: If art reigns in the home, there will grow out of it beautiful parks, streets, thoroughfares and cities. In your discussion, think about the following questions: Do you think Alice Merrill Horne is right? Do you agree with Carol Kennicotts analysis in the passage from Main StreetIs the town you live in merely functional or is does it have beauty? What is the effect of strip malls and chain stores on your towns layout today? What has been the effect of civic improvements or historic preservation? Does the appreciation of art learned in school seem to have any effect on your town? Give examples and reasons for your opinions. [Carol Kennicott] had sought to be definite in analyzing the surface ugliness of the Gopher Prairies [Midwestern towns]. She asserted that it is a matter of universal similarity; of flimsiness of construction, so that the towns resemble frontier camps; of neglect of natural advantages, so that the hills are covered with brush, the lakes shut off by railroads, and the creeks lined with dumping-grounds; of depressing sobriety of color; rectangularity of buildings; and excessive breadth and straightness of the gashed streets, so that there is no escape from gales and from the sight of the grim sweep of land, nor any windings to coax the loiterer along, while the breadth which would be majestic in an avenue of palaces makes the low shabby shops creeping down the typical Main Street the more mean by comparison. The universal similarity that is the physical expression of the philosophy of dull safety. Nine-tenths of the American towns are so alike that it is the completest [sic] boredom to wander from one to another. Reprinted with permission from Harcourt Brace Jovanovich, Inc.

James Taylor Harwood, Footsteps in Spring, Liberty Park (1930) oil on canvas, 26" x 40" Springville Museum of Art

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