|A flying pig embossed in foil|
Wednesday, November 14, 2018
Introducing students to relief sculpture is easy when you have a bunch of clay, a slab roller, and some carving tools. It was just a matter of having them come up with ideas, and decided how much to take away. Carving is a subtractive process and future ceramic projects will be an additive process, so there is yin and yang in my curriculum throughout the school year. Each student did some sketches. Rolled a slab, cut out the shape, and by the next day it was leather hard and ready to carve.
Once the pieces were fired and glazed, ribbons were tied through pre-made holes so that they could be hung on the wall. We had some trouble with our first glaze since the kiln didn't get hot enough.
Saturday, November 10, 2018
|Happy birthday APH! My student took the picture, in Kentucky.|
|Indian Mound field trip in Georgia|
I worked a second weekend in October by helping with a Short Course at the school. Our students went to the Ocmulgee Indian Mounds National Monument; I taught them how to make coil pots and led a drum circle.
|From the student paper|
|My hubby with his amazing Art Department colleagues|
And then there was getting my daughter to the state fair, attending artist's talks as well as Wesleyan College's presidential inauguration, volunteering at the children's home fundraising dinner, and my school's Halloween dance. (Breath.) Tell me how teachers don't have to work late nights and weekends again? But seriously, I hope to catch a break now that October is over...maybe after Christmas.
Saturday, November 3, 2018
For a fun and easy tactile project, students researched high contrast images online of the subject of their choice. Then they printed out a favorite, and cut away the darkest or the lightest areas. What remained was a spray paint stencil. If the light areas were removed, white spray paint on cardboard would replace those areas via the stencil. Some of the darkest areas, or just the back ground shapes, were outlined with an X-Acto knife and then the top layer of cardboard was peeled away, revealing the corrugation.
Some images were done by painting book board, and gluing parts of magazine pages onto the board before reusing the spray paint stencil. This wasn't as tactile, but still made for some interesting visual effects.
Monday, October 29, 2018
Color has three components: hue (is it blue? red? green?), value (is it light or dark?), and saturation (is it bright or muted?). To help students understand saturation or intensity we made a 12"X18" scale, with shapes drawn on top. Students chose a set of complimentary colors and put the brightest of each on either end. You can't make a bright color any brighter but you can dull it or make it less intense by adding a little of its opposite. So, for example, a little red would be added to the green, and a little green to the red for the stripes next to the outer, bright stripes. and then a little more of each opposite would be added until a murky brown is in the middle. The positive shapes had the same scale going the opposite direction, so if the background went from green on the left to red on the right, then the foreground would go from red on the left to green on the right.
It is harder to mix colors in gradual, even steps, then one might think. But this sort of sensitivity to variations in intensity can only be learned through practice.
Friday, October 19, 2018
Monochromatic means one color, which sounds pretty boring until you realize that you have almost an infinite number of values. For this monochromatic color scheme assignment, students picked a masterpiece from art history, and a single color. Tints were made by adding that color to white, and shades were made by adding black to the color. The goal was to match the values in the original painting. The trick is recognizing that color already has value built into it. For example, it takes much less black to make red dark than it would a yellow because red is inherently darker than yellow.
Sunday, October 7, 2018
Then we got to color schemes. One had to be complementary, one triadic, and one analogous. It's not too overwhelming if you take it one step at a time. Figuring out which composition made sense for which color scheme, and arranging them latter on a 12"X18" piece of paper in a way that distributed the strong colors logically, was an important part of the process.