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Lesson Plans

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Spring 2014

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Shibori Kimonopage 4

Creative Quill Penspage 5

"Mama" Spider Sculpturespage 3

800•447•8192 DickBlick.com2 3

Step 1: Glue the black velour to a canvas panel.

Step 2: Make a pastel drawing on the velour with oil pastels.

Step 3: Create an “over-painting” using black light paints. The painting will disappear as it dries, but will be revealed under black light!

Rayon Velour, Black, 52" (12907-2052); need 3 yardsSakura® Cray-Pas Expressionist Oil Pastels, set of 25 (20012-0259); share at least six sets across classTri-Art® UVFX Black Light Poster Paints, 250 ml (02043-); share six bottles across class. Recommend: Fluorescent Yellow (02043-4226) Fluorescent Blue (02043-5246) Fluorescent Tangerine (02043-4636)Aleene’s® Quick Dry Tacky Glue, 4 oz (23884-1004); share four bottles across class

Based on a class size of 24. Adjust as needed.

Materials

Black Velvet Mystery Painting

Make a pastel drawing on rayon velour and then create a mysterious "over-painting" with UV paints!

Grades K-12 (art + history)

Many of us remember the black velvet paintings of the 1970s that were sold in gas station parking lots and on highway off-ramps. Black velvet paintings have been criticized by many as the epitome of bad taste. These critics might also think black velvets in an art museum would be an aesthetic outrage! But plenty of 20th century artists have pushed the boundaries of what is in good taste, or aesthetically pleasing. A recent traveling exhibition entitled “The Art We Love to Hate: Black Velvets” questioned this prejudice. Velvet painting actually boasts a distinguished history. Produced in societies all over the world, velvet art may have been invented by Islamic people who also wove designs into the fabric. Velvet was introduced to Europe during the Crusades and was traded in China. One of the oldest surviving velvet paintings is a tiger from 19th century Japan displayed at the Victoria and Albert Museum in London. From Japan, velvet painting was imported to the Philippines and then exported to Mexico in the 1930s. Meanwhile, 19th century English and American ladies painted flowers on black velvet for pillows and wall hangings. In this project, an oil pastel “painting” is first created on black velour, then black light poster paints are applied, creating an over-painting that at first disappears, then is revealed under black light!

PREPARATION1. Research historical velvet paintings.2. Cut velour into 11" x 14" squares (nine pieces per yard).3. Glue each piece of fabric to a 9" x 12" canvas panel for rigidity.

PROCESS1. Glue an 11" x 14" piece of black velvet velour to a 9" x 12" canvas panel by spreading glue onto the panel, centering the fabric, and then folding any excess fabric to the back. Secure the back and corners with additional glue. Allow to dry.2. Make a pastel drawing on the fabric using oil pastels. Using a pointed tool, scratch through the oil pastels to add fine details, if desired.3. Think about what the painted scene or objects would look like in the dark. Would there be areas that are highly reflective if a light were cast on them? Would the eyes of an animal reflect back at you? Would stars or fireflies twinkle? In a city scene, would the lights shine from windows, or might the headlights of cars project a beam? Create a layer of mystery by painting over the oil pastels with UV paints. When dry, the paint will disappear, but under a black light, the night scene will be revealed!

2 Visit DickBlick.com for hundreds of lesson plans and video demonstrations.

"Mama" Spider Sculptures Grades 3-12 (art + science)

Blick® Sculpture Wire, 12-gauge, 350 ft coil (33401-1014); share one coil across classBlick® Art Tissue, 50-sheet package, 12" x 18", Black (11308-2007) or assorted colors; share two packages across classMod Podge® Wash Out for Kids, 8 oz bottle (02916-1205); share three bottles across class OR Blickrylic® Polymer Gloss Medium, Quart (00711-1027); share one across classRubber Bands, two per studentNewspapers or Paper Towels

Optional MaterialsChroma® Molten Metals Acrylics, Aged Bronze (00688-8155)Hygloss™ Animal Skin Tissue Assortment, 20-sheet package, 20" x 30" (11300-1003)


Materials

Step 2: Form the body from crumpled newspapers or paper towels. Divide it into two segments by placing a rubber band tightly near the middle. Place a rubber band securely on each side.

Step 3: Insert the legs into the rubber bands and cover the top of the legs and the body with strips of tissue paper and the medium/water mixture. Allow the sculpture to dry. Embellish as desired.

One of the largest sculptures in the world, a 30-foot-tall bronze spider entitled “Maman” (the French word for “mother”) was first installed outside London's Tate Modern Museum in 1999. French-born artist Louise Bourgeois, who was in her 80s when she created the sculpture, became famously nicknamed “Spiderwoman” as a result. One of her arachnids holds the record for the highest price paid at auction for work by a female artist. "The Spider is an ode to my mother,” Bourgeois is quoted as saying. “Like a spider, my mother was a weaver, and very clever. Spiders are friendly presences that eat mosquitoes, which spread disease. So, spiders are helpful and protective, just like my mother." Compelling and frightening at the same time, this spider sculpture is made from simple and inexpensive materials, including wire and tissue paper. The legs can be bent and positioned so the spider can assume natural (or creepy!) poses.

PREPARATION1. Cut tissue paper into 1-1/2" strips. 2. Cut wire into 24" lengths; need four per student.

PROCESS1. In a small bowl, combine one part Mod Podge Wash Out or polymer gloss medium with one part water and stir until smooth, with the consistency of cream. 2. Brush the mixture onto a strip of tissue

paper and wrap the paper onto a wire, beginning at one end and turning the wire so the paper applies in a spiral manner. The tissue paper does not need to fit tightly. Repeat until all the wires are covered, then wrap each wire a second time. Make sure the wire ends are completely covered. 4. While the wire legs are drying, build the spider's body by crumpling newspaper into the size and shape of a small submarine sandwich (see Step 2 photo). Place a rubber band as tightly as possible to one side of the middle to create a large abdomen and a smaller cephalothorax.5. Place a rubber band on either side of the first one (see Step 2 photo). These should be tight enough to stay on the body, but not tight enough to form another segment.6. Bend each of the wire legs into a tall “M.” Insert two of the legs into the middle rubber band so the top of the “M” is against the spider's body. With the body upside down, position the legs so they form an “X” in the rubber band. Using strips of tissue and the medium/water mixture, cover the rubber band, newspaper, and top of the wire. Wrap them all the way around the body.7. Repeat by placing the legs in the other two rubber bands and wrapping until the body is completely covered with tissue paper. Allow to dry.8. To make the spider look like one of Louise Bourgeois’ cast bronze sculptures, brush bronze or gold acrylic paint over just the raised areas of the tissue paper. Glue tissue paper palps (fangs) on the front, bead or sequin "eyes" on the top, and tissue paper or yarn spinnerets on the back.

OPTIONS— Make whimsical spiders from animal prints or other colorful tissue paper.— These instructions make a spider that stands approximately 8" tall. For larger spiders, increase the length of the wire. For smaller spiders, use shorter lengths.

Posable mâché arachnids, in the style of Louise Bourgeois

Step 1: Brush the medium/water mixture onto a strip of tissue paper. Wrap and cover the wires, allow them to dry, then form them into "M" shapes.


Shibori is the Japanese term for dyeing fabrics that have first been shaped into three-dimensional forms. The word originates from “to wring, squeeze, or press.” Material is either folded, crumpled, stitched, twisted, sewn, or knotted, and then dyed. In the Western hemisphere, a similar process is called tye-dye. The kimono is the traditional clothing of Japan. Kimono styles have changed from one period of Japan's history to another, and today there are many different types of kimono worn by men, women, and children. The cut, color, fabric, and decorations may vary according to the sex, age, and marital status of the wearer, as well as the season of the year and the occasion. This project begins by experimenting with shibori paper-dyeing techniques on traditional rice papers, and concludes with students sharing their papers and folding simple origami kimonos. The result combines a stunning piece of art with a cultural lesson.

PREPARATION1. Study the kimono's history and look at various types of kimonos. 2. Provide diluted liquid watercolors across the classroom. Cover tables.

PROCESS — Blot-dyeing TechniqueMachine-made from short, thick fibers, kinwashi paper is smooth on one side and textured with bark inclusions on the other. Cut sheets in half to make two kimonos.1. Fold the paper from top to bottom into accordion folds approximately 4” wide. Fold the strip into triangles by folding the left tip of the strip up to meet the top edge. Fold the resulting triangle to the right. Keep folding the triangle to the right, alternating from the top and bottom of the strip until the entire strip is a triangle. 2. The triangle can now be blot-dyed by dipping each corner into various containers of slightly diluted liquid watercolors. Experiment with overlapping of colors by dipping the point of the triangle deeply into one color, and then dye just the very tip with another color.

3. Unfold the paper and lay it flat to dry.For the Arashi method, please use the full instructions at DickBlick.com/lessonplans/shibori-kimono.

PROCESS — Kimono1. After the paper has been dyed and embellished, it’s time to do some swapping! Each 18" square can be cut into three 6" x 18" strips. After the papers have been shared, each student will have three different patterned papers to work with.2. Glue three strips together to make an 18" square. When glued back together, the top section creates the collar and the sleeves, and the bottom two strips make the skirt. Save paper scraps for the sash, or “obi.”3. Follow the easy origami steps below to create a folded kimono. Add an obi and mount the kimono on black matboard.

Grades 3-12 (art + literature)

An ancient tool with a contemporary design

Step 1: Fold a half sheet of kinwashi paper into accordion folds, then fold it into triangles down the length of the paper.

Step 2: Blot-dye by dipping the tips of the folded triangle into diluted liquid watercolors.

Step 3: Further embellish the paper, if desired, using metallic paints with rollers or metallic markers.

Step 1: Use opaque acrylic paints to create designs on the feather.

Step 2: Glue a metal pen nib to the end of the feather's barrel.

Step 3: Wrap the barrel of the feather with thread, wire, or cord.

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Kinwashi Paper, 25" x 37" (10414-1005); share one sheet between two studentsBlick® Liquid Watercolors, 8 oz (00369-); share at least four non-metallic colors across classElmer’s® Tacky Glue, 8 oz (23883-1008); share three bottles across class


Materials

Wire Art QuiltA modern and expressive way to make a quilt is to incorporate wire, string, and beads. Elementary-age students can work easily with chenille stems and colorful plastic-coated wire while older students create quilts using soft steel, aluminum, and copper wire.

Make an origami kimono from beautiful dyed papers!

Grades 5-12 (art + social studies)

Step 4: Glue three papers into an 18” x 18” square and fold it into a kimono following the diagram.

Crafty's® Turkey Feathers, 6-pack of assorted colors (60907-1006); one feather per studentBlick® Matte Acrylics, 2 oz, assorted colors (00727-); share a minimum of five colors across classWaxed Thread, Black, 150 yd spool (63012-2024); share one across classSpeedball® Standard Point Dip Pen Nib, #512 (20913-1512); need one nib per penAleene’s® Quick-Dry Tacky Glue, 4 oz (23884-1004); need one bottle

Optional MaterialsSilver Plated Copper Wire set of 6 colors, 24-gauge (60687-1249)Darice® Hemp Cord, assorted colors (62986-)Rainbow Glass Beads, multicolor assortment (61521-1010)


Materials

A decorative, sculptural interpretation of the Friendship Quilt

To view the entire lesson plan, visit DickBlick.com and enter this keyword:

search#WireQuiltLP

Shibori Kimono Creative Quill Pens

The quill was the principal writing tool used for more than 1,000 years in the Western hemisphere. Medieval transcripts, Shakespeare’s sonnets, and the United States Constitution were all penned with a quill. In the age of industrialization, metal nibs began to be mass-produced and surpassed the feather quill in popularity. However, some fine-line metal nibs are still named for the bird feather quill they most closely imitate, such as the crow-quill and the hawk-quill nibs. Quill-making is still practiced by fine calligraphers and scribes who appreciate its beauty and nostalgia. This project creates a hybrid writing instrument — a combination of a quill barrel and a metal dip-pen nib — that can be designed and painted to be a work of art in itself. Imagine the stories, poems, drawings, and sketches it will make!

PREPARATION Stiff, naturally shed feathers may be gathered and cleaned. However, we recommend using prepared turkey feathers that have been cured for strength, bleached, and then dyed a variety of brilliant colors. These feathers are guaranteed to be clean, safe, and strong enough to paint on. NOTE: Because craft feathers have been processed for safety and to add brilliant color, their bases are brittle and not optimal for cutting into a traditional, natural nib shape.

PROCESS1. Using small brushes and opaque acrylic paints, create designs on the plume of the feather. Both sides of the feather may be painted, but the bottom side (the side that curls under as the pen is being held) is naturally more textured and repellent, so it will not accept the paint as readily as the top side. Allow the paint to dry. 2. Glue a metal nib to the lower part of the feather's barrel.3. Wrap thread, hemp cord, or colorful wire tightly around the nib and barrel of the feather to secure the point and to provide a place for gripping the pen. Suggestions:— Waxed thread sticks to itself, so it is very easy and effective to use.— Bright and light-colored threads will show ink stains and dirt from fingers, so use them with caution. You may want to use these

threads further up the barrel where fingers won't be touching them as much.4. Dip just the point of the pen into the ink and enjoy writing or drawing. Use a wet paper towel to clean the nib after each use, then wipe it dry with a towel.

OPTIONS— Tie small glass beads onto the top of the wrapped area for decoration. — To make a quill with a ballpoint nib, remove the plastic barrel and nib combo from an inexpensive stick pen. On the underside of the feather, secure the barrel to the feather by wrapping with waxed thread, leaving the ballpoint exposed.

Visit DickBlick.com for hundreds of lesson plans and video demonstrations.

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1. Fold 18" square in half to make a crease and unfold.

2. Fold both sides to center.

3. Turn over.

4. Fold both sides to center crease, allowing outer edges on back to release.

5. Turn edge down 1". (Will form collar in step 7.)

6. Fold top down at 1/3 point, or where two papers meet, then fold back up, leaving 1/2" fold.

7. Open collar by pressing sides in toward center, forming triangles. Crease.

8. Fold both sides to center. At 1/3 point, cut from center out to release sleeves. Fold sleeves open.

9. Fold bottom 2/3 of kimono sides out at an angle, forming triangles.

10. Cut a strip of paper to make the sash, or obi. Fold pleats or accordian folds if desired. Position under sleeves and glue to back.

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Step 1: Using a brayer, roll a thin layer of acrylic paint over an E-Z-Cut printing block. Create textures using tools such as rollers, combs, or fingers. Lay down leaves.

Grades 3-12 (art + history;art + science)

Many artists have used trees as inspiration for their artwork. Visual artists such as Gustav Klimt (Tree of Life), Vincent van Gogh (The Mulberry Tree), Georgia O’Keeffe (Lawrence Tree), and Piet Mondrian (Gray Tree) all chose the noble tree as subject matter. Poets such as Robert Frost also revered trees in their works, as seen in Frost’s poem, “Tree at my Window.” Using pressed leaves to make monoprints on translucent paper, and a simple printing block as a plate, the many seasons of the leaf can be quickly captured. After creating a frame made of sticks, the prints are hung chain-like from a branch. Both sides of the paper can be printed, resulting in a subtle layered effect. Beautiful when hung in a window and a great classroom project, these are also perfect for a Mother’s Day or Father’s Day gift.

PREPARATION1. Cover tables to protect them.2. Gather pressed leaves.3. Cut pieces of translucent marker paper in half.

PROCESS1. Apply thin lines of paint to the top of the E-Z-Cut plate. Use one color or several colors. Roll a brayer multiple times across the plate to cover it evenly with paint. At this point, add texture to the painted surface using rubber combs, texture plates, or rollers. Lay a pressed leaf on the plate. NOTE: A second print can be made by placing the leaf paint-side-up.2. Cover the plate with the translucent marker paper and use your hands to press down on all areas of the paper. Peel the paper away from the plate.3. Allow the print to dry. Print the other side of the paper in the same manner. Experiment with textures, layering, and colors.4. When both sides of the monoprint are dry, glue four Woodsies Sticks onto the paper to make a frame. Use a craft knife to trim away any excess paper. Younger students should cut the paper into a 4-1/2” square and glue it onto the Woodsies Sticks to make a frame.5. Using a blunt needle, punch a center hole into the top and bottom of each framed print, just below the wooden stick. Thread waxed linen thread or yarn through the hole. Make a “chain” by tying one print to the next. Finally, hang the chains of leaves from a branch to make a “curtain.”

OPTIONS— Make a single print as a gift.— Use the monoprint technique to make greeting cards.— Experiment with open weave papers or fabrics and use other flat objects to make textures. Try a feather, pieces of grass, or pine needles. Use cut-up fruit or vegetables to make stamps.

Make a "curtain" of leaf prints to hang from a branch

This low-relief sculpture spins the principles of design around in circles!

Grades 5-12

Step 1: Create a variety of rings with flat reed. Glue the ends and hold them together with clips or clothespins until the glue has dried. Paint or leave natural.

Step 2: Glue the rings to a variety of papers. Allow the glue to dry, then trim the paper along the edges of the rings.

Step 3: Assemble the sculpture by gluing the rings to paper. Small “snips” can be created to join the rings reed-to-reed.

Step 2: Lay a sheet of translucent marker paper over the printing plate and rub evenly with fingers to pick up the print. Allow to dry and print the other side of the paper, if desired. This will create a layered affect.

Step 3: Frame with sticks. Hang and enjoy!


Curtain of Leaves Monoprint Circle Wall Sculpture

Natural Reed for Basketmaking, 3/8" flat, 175 ft coil (60961-1038); share one across classElmer’s® Carpenter’s Wood Glue, 4 oz (23893-1004); share three bottles across classElmer's® School Glue Naturals, 4 oz (24233-1004); share four bottles across classCreativity Street® Large Wooden Spring Clothespins, package of 50 (62144-1338); share four packages across classShizen Decorative Paper Screen Print Assortment Packs, 8-1/2" x 11", package of 18 sheets (12293-)Blick® Construction Paper, 9" x 12", assorted package of 50 sheets (11409-1003)Hygloss™ Metallic Foil Paper, 8-1/2" x 10", package of 24 sheets (11205-1002)Blick® Matte Acrylics, 2 oz assorted colors (00727-); share at least three bottles across class


Materials

Bienfang® Graphics 360 Marker Paper, 50-sheet pad, 9” x 12” (10604-1003); share one pad across classBlick® E-Z-Cut Printing Blocks, Box of 2, 4”x 4-5/8” (40402-1001); share at least four boxes across classBlickrylic™ Student Acrylics, Pint (00711-); share five colors across classLoew-Cornell® Woodsies™ Sticks, package of 75 (60466-1075); share two boxes across classInvoart® Soft Rubber Brayer, 4” (40121-1004); share at least eight across classWaxed Thread, 4 oz roll (63012-); share one roll across class


Materials

The circle has had a distinguished role in the art and written language of every culture since the beginning of mankind — symbolizing infinity, perfection, unity, and completeness. Stonehenge is arranged in a circle, and the circle appears in ancient Greece as a labyrinth, in Christian art as a halo and a rose window, in China as the yin-yang symbol, in Mayan culture as the Zodiac, in Buddhism as the Mandala, and in Native American culture as the four elements, the sun, or the moon. A modern example is the Olympic logo — the five circles represent five continents harmoniously joined and perfectly balanced. Just as a circle describes a state of unity and completeness, there are principles that can be relied upon to produce integrality in the varied elements of visual art. A simple grouping of rings and circles demonstrates how these principles work together to make a harmonious low-relief sculpture: • The balance of an asymmetrical composition, organized so the circles overlap and join with each other • The colors, textures, and designs that place emphasis on a part or parts of the sculpture • The repetition of patterns in the paper, and circles that produce an organized visual rhythm • The variety of shapes and sizes, all circular, that guide the viewer through and around the sculpture, creating movement and unity that make the art complete and compelling

Using flat natural reeds and assorted papers, students first create rings in a variety of sizes, then assemble their sculptures by gluing and creating small “slots” to fit the rings together.

PREPARATION1. Cut dry reeds into assorted lengths.

PROCESS1. Create circles with various lengths of reed. Overlap the ends and join them with a strong glue. Hold the ends in place with clips or clothespins until the glue is completely set, then remove them.2. The reed circles may be painted with acrylic colors, or left natural.3. Select papers, choosing harmonious colors and patterns. Place white glue on the top side of a ring, then turn the ring over and place it glue-side-down on a piece of paper. Repeat with more rings, but leave some of the rings uncovered. When the glue is dry, trim the paper along the edge of the ring.4. Assemble the sculpture. For best results, plan the arrangement of the rings prior to gluing. Some rings may be layered over paper-covered rings and glued directly to them. Others can be joined reed-to-reed by creating small “snips” with scissors. Make small cuts with pointed scissors, no more than half the width of the reed. Create matching cuts where the next ring will align. Place a drop of glue into the cuts and fit the rings together.

OPTIONS— Cover the rings with fabric, burlap, photos, wire mesh, or recycled cards. Or, paint and assemble the rings with no coverings.


Harness the power of the sun to make cut-out Heliograph prints

on fabric or paper

A twist on the tunnel book, this in-depth poetry presentation

stars repurposed transparent CD cases

Grades K-12 (art + science) Grades 8-12 (art + literature)

All-Purpose Chipboard, 30-ply, 22" x 28" (13115-2232); share one sheet among six studentsPainting surface, choose one: Utrecht® Unprimed Cotton Canvas, 9 oz, 52" wide (07377-0172); share one yard among 12 students Quality Unbleached Muslin, 38" wide (63104-1338); share one yard among nine students Canson® XL® Watercolor Paper, 140 lb, 9" x 12" 30-sheet pad (10173-1023); need one sheet per studentBlick® Construction Paper, Black, 9" x 12", 50-sheet pack (11409-2003); need one sheet per studentBlick® Liquid Watercolors, 8 oz assorted regular colors (not Metallic or Glitter) (00369-); share at least three colors across class


Materials

To create the illusion of depth in a 2-D piece, artists use tools such as scale, color, perspective, focus, and light. Creating as much contrast as possible between shades in the background and foreground visually distances them from each other. The panel book created in this lesson illustrates depth in a number of ways — physically, with hue and contrast, and with focus. Students select or write a poem or song lyrics containing eight lines, then design four plastic CD case panels with cut-out paper forms. The accordion-style “tunnel” book uses depth to lead the viewer through the verse. The panels are hinged together with wire, and can be viewed from the front, back, or in a zig-zag fashion!

PREPARATION1. Unhinge the CD cases, remove any inserts, and keep only the clear panels.

PROCESS1. Loosely hinge four panels together with wire through the open areas on the sides. Make sure each panel is oriented in the same direction so the label or spine area is aligned, see (A).

2. Choose or write a poem or portion of a poem with an eight-line stanza or two four-line stanzas. Or use eight lines of song lyrics. Plan imagery to illustrate the poem. Ideas: — Use black paper on the first panel, dark gray on the next, light gray on the next, and white on the last panel. — Cut images to allow transparent space for viewing the panels behind. — Leave the label area of the panel blank and add text later. — Use a fine-tip pen or drawing pencil to define details in the images.

— Add small areas of color to add focus and draw the viewer through the book. — Once the image has been cut out, repeat the drawing on the reverse side. 3. Brush Super Gloss Mod Podge on the side of the image that attaches to the panel. Press it into place and burnish it to eliminate air bubbles and wrinkles. Brush on more Mod Podge. Smooth the areas of negative space with a finger dipped in water. 4. Repeat until all the paper images are in place. Allow to dry.5. Measure the label area. Text can be set using a computer program, or hand-lettered. Each panel should display one line of the poem, beginning with the front panel. Affix the lines of text using Mod Podge. 6. Measure, cut, and apply copper foil tape to every edge of the front and back panels, and just the top and bottom of the center panels. Peel the backing away from just the start of each piece, center it at a corner, press it into place, then peel away the rest of the backing. Press the sides of the tape around the edges and burnish until smooth. Repeat on the remaining edges.

OPTIONS— Include the title of the poem and credit the author. A tag may be created and attached to the book with a piece of wire.

Step 1: Cut shapes from a sheet of black construction paper.

Step 1: Hinge four panels together by wrapping wire through the openings on the sides.

Step 2: Wrap fabric around chipboard or, if painting on paper, tape the edges. Brush with clear water, then saturate with liquid watercolor.

Step 2: Choose an existing (or write an original) eight-line octave of poetry and design cut-out images for each panel that illustrate the verse. Secure the images to the panel with Super Gloss Mod Podge.

Step 3: Frame the panel book by wrapping the edges with copper foil tape.

Step 3: Place cut-paper shapes on paint and brush water on top of them. Set outside or inside under a light source.

Step 4: Remove the paper shapes when the surface is completely dry.

Blick® Construction Paper, 50-sheet packages, 9" x 12", in Black (11409-2003), Scotch Gray (11309-2563), Pearl Gray (11409-2403), and White (11409-1023); share one package of each across classSharpie® Ultra FIne Point Marker, Black (21315-2003); need one per studentPlaid® Mod Podge® Super Gloss Finish, 8 oz jar (02916-1103); share two across classBeadalon® 7 Bead Stringing Wire, Silver, 30 ft roll (60636-2400); share one across classCopper Foil, 7/32" wide x 36 yd (60514-1732); share one roll across classClear plastic CD cases, need the equivalent of two cases per student


Materials


Wheelchair-bound after surviving cancer, French artist Henri Matisse poured a renewed energy and expressionism into his work, during what he called “a second life.” As a leader of the Fauvist style, Matisse was already renowned for his use of color, with 50 years of painting and sculpting behind him when he entered this new phase. He began creating cut-paper collages, a technique he called “painting with scissors.” He said, "You see as I am obliged to remain often in bed … I have made a little garden all around me ... there are leaves, fruits, a bird." Taking inspiration from Matisse's cut-out forms and love of nature, students can use sunlight or light from an artificial source to print onto a color-saturated swatch of canvas. The process of making a Heliographic print blocks areas from exposure to light so that paint dries more quickly in the areas that are fully exposed. Color migrates from beneath the masked places in the same way water flows onto a dry paper towel or sponge — moving from an area of high concentration to low — a process scientifically known as “diffusion.” This process works on natural-fiber fabrics (such as unprimed canvas, muslin, or silk) and on watercolor paper, although results will vary based on the surface used.

PREPARATION1. Do not pre-wash fabric.2. With a heavy-duty paper trimmer, cut chipboard or corrugated cardboard into 9" x 11" pieces. If printing on fabric, cut the fabric into pieces large enough to stretch over the cardboard, approximately 11" x 13".

PROCESS1. If using canvas or muslin fabric, wrap it around the chipboard and tape it to the back side. If using paper, use masking tape to create a thin border that will hold the paper to the chipboard. 2. Cut shapes from black construction paper. Use Matisse as an inspiration or create shapes from your imagination. Black paper will block the most light and provide the best contrast.3. Using a foam brush, apply clean water over the surface of the fabric or paper. 4. Spread liquid watercolor on the fabric or paper. Keep the colors intense and saturated; don't spread them too thinly. The darker the color, the greater the contrast will be in the finished print. 5. Place the cut-out shapes on the painted surface and smooth them down, making sure there is good contact. Use a brush dipped in water or fingers to wet the cut-out shapes to make them lie flat and to keep the area as wet as possible.6. Place the painting and shapes in direct sunlight in a location that is protected from the wind. If placing them outside is not an option, leave them inside under an artificial light source. The closer the light is to the artwork, the better. Drying time will vary according to heat, light intensity, wetness of paint, humidity, and other factors, but it should take approximately one hour. The cardboard may warp a bit, and the edges of the paper shapes may curl, but this won't affect the print.7. Black or dark color construction paper not only makes the strongest mask againstthe light, it also makes it easier to see whenthe shapes are completely dry. All dark

areas will be gone and the shapes will be an even, matte color. Touch the fabric or paper to determine if it is dry.8. Pick up the paper shapes and remove the tape to release the print.

OPTIONS— Enhance the design with stitching, fabric pens and markers, more paint, colored pencils — or just leave the design as it is. The fabric may be stitched to a piece of felt for a background, or designed into a pillow, scarf, bag, or other decorative piece.

Matisse Prints du Soleil "Glass" Panel Book

(A)

800•447•8192 DickBlick.com10 11

Step 1: Create the spokes from flat reeds. Secure them in the center with a grip pin.

Step 2: Begin by “twining” or weaving through the spokes with hemp cord or yarn.

Step 3: Alternate round reeds and recycled materials to create the body of the basket. Add embellishments and attach the rim.


Materials

Grades 3-12 (art + history)

Step 1: Make a repeating pattern on a slab of clay by pressing pasta shapes into it.

Step 2: After the slab has slightly stiffened, roll it into a cone shape. Use the score and slip method to seal the seam.

Create a whimsical patterned bobblehead out of clay

Make an open-weave basket using reeds and recycled materials

Blick® Talc-Free White Clay, 50 lb (30544-1050); share two boxes across class, about 3 lbs per studentRolling Pin, Wooden, 10" (30345-1010); share six across classBoxwood Clay Tool Sets, set of 10 tools, 6" long (30304-1069); share three sets across classBlick® Studio Acrylic Sets, set of 12 tubes, 21 ml (01637-0129); share one set across classBlick® Scholastic Short Handle Golden Taklon Flat Wash, set of 4 (05859-0049); share six sets across class


Materials

Toys with moving, bobbing heads are believed to date back at least 150 years. The earliest known reference to a toy with a moveable head is from the 1842 short story, “The Overcoat” by Nikolai Gogol, which described a character as having a neck that was "like the neck of plaster cats which wag their heads." Later, larger ceramic figures of animals, ranging in size from 6 to 8 inches tall, were produced in Germany. These toys had spring-connected heads and were called "nodders" or "bobbers" because of the way their heads would bob on their bodies. By using both the slab and pinch pot method of forming, a bobble head can be made while also teaching a lesson in balance! The pinch pot head may need to have clay added or subtracted to create a perfect balance on the point of the body. Interesting pasta shapes create a decorative pattern on the slab body that is then either glazed or painted.

PREPARATION1. Cover tables with canvas.

2. Distribute a variety of pasta shapes across the class.3. Share a brief lesson about pattern, repetition, and rhythm.

PROCESS1. Using a rolling pin and clay thickness strips or a yardstick on each side of the rolling pin, roll out a slab measuring approximately 12" x 12" x 1/2" thick. 2. Using various pasta shapes as stamps, make impressions onto the slab. Create a repeating pattern across the slab. 3. Allow the slab to stiffen. In the meantime, create a head for the bobblehead using the pinch pot method. Beginning with a ball of clay about the size of a small orange, press a thumb into the middle and start rotating in a circle while pinching the clay and thinning it out to make a bowl shape. 4. Add a piece of clay to make a protruding nose, ears, or horns. Add facial details with clay tools. On the inside of the head, make a smooth hollow at the very top with a finger or tool. Allow the head to stiffen to a leather-hard stage. NOTE: Make sure the head will balance on a central point by placing it on the handle of a tool. It shouldn't lean too far one way or the other. If more weight is needed on one side, add or remove clay until the head is balanced. 5. Trim the edges of the patterned slab into a square. Stand the slab on the table and form it into a cone. Trim off any clay that overlaps, and join the seams with the “score and slip” method. The top of the cone should have a smooth, rounded point. 6. When completely dry, the clay parts should be fired at a bisque temperature. Use

acrylic paints to finish decorating the bobblehead. Alternately, bisque fire the piece, apply glaze, then glaze fire it.7. Place the head onto the body, and watch it bobble!

Grades 5-12 (art + social studies)

This project combines “steampunk” with entomology to create futuristic, robotic insects that appear to be powered by gears and mechanicals, but are really powered by imagination! Air-dry clay serves as a base for the sculpture and makes assembly of the metal pieces easy.

Create a futuristic insect specimen using clay, discarded metal pieces, and wire


search#SteampunkLP

Basket weaving is as old as the history of man. Remnants of baskets have been found in the Egyptian pyramids, and traces of basket liners have been found inside the fragments of ancient pottery. Over time, baskets were used as containers for everything imaginable, long before the invention of Tupperware®! A variety of new “fibers” are being used today by basket-makers. Using traditional basket weaving methods, contemporary basket artists are always experimenting with modern fibers. Newspapers, plastics, steel, paper — you name it — if it's flexible, someone has probably woven it into a basket.

PREPARATION1. Watch a video about basket weaving techniques.2. Soak flat and round reeds in large buckets.3. Gather recycled items to weave, such as strips of old jeans or t-shirts, grocery bags, wrapping paper or maps.4. Supply a 24" long piece of hemp cord for beginning the basket, also called "twining."5. Gather old towels to place on laps and under buckets.

PROCESS1. Cut five 12" long spokes out of the soaked, flat reed. Mark the center of each reed with a pencil, stack the reeds, and push a grip pin through the center mark. Split one spoke in half with scissors from one end to the middle point to result in an odd number of spokes. Spread the reeds apart so they look like the spokes of a bicycle wheel. NOTE: Soak the basket for one minute between steps or whenever the reed starts to look lighter in color, a clue that it is drying out. 2. Start weaving by “twining," or using a piece of hemp twine to fill the small openings at the center of the basket base. Tie the twine onto one spoke, then alternate over and under each spoke, going around the basket base until there are three or four rows. Keep the weaving tight. Remove the grip pin.3. Now switch to the soaked round reed for the weaving. To start a reed, secure it below by first pushing a thick needle under a row of twining on the underside of the basket to make a space for the reed. Then slide the reed in alongside the needle and withdraw the needle. Begin by weaving the opposite of the previous row. To finish a reed, push the end down under two rows of reed at a spoke, using the needle to make a space, and then trim the reed. Soak the basket in water.4. At this point, a recycled material can take the place of the round reed, using the same technique. Recycled materials and reeds can be alternated to create the body of the basket.

5. Finish the basket by creating a rim. Use a piece of flat reed that is long enough to just overlap the circumference of the basket. Soak it in water. While it is soaking, trim all the basket spokes to about 1/2" above the last row at the top of the basket. Position the flat reed in place, slightly overlapped, and secure it with clothespins or binder clips. The rim will be sewn using a blunt tapestry needle threaded with hemp twine, yarn, or waxed linen thread.

Natural Reed for Basketmaking, 3/8” flat reed, 175 ft (60961-1038) and 3/32" round reed, 750 ft coil (60961-1332); share one each across classMidwest Products Grip Pins, box of 50 (34956-1001); need one per studentNeedles, blunt tapestry, #13, 12-pack (65104-1009); share two packages across classDarice® Hemp Twine, 20 lb, 400 ft roll (62985-1020); share one across classLineco® Books By Hand Waxed Linen Thread, package of three 20 yd spools (64209-1020); share across classAcco® Binder Clips, medium size 1-1/4" box of 12, (57330-4114); share six boxes across classVarious recycled/upcycled materials for weaving, such as: Strips of denim or cotton fabric Grocery bags Discarded food packaging materials Wire

Beastly Bobblehead Upcycled Saucer Basket

Steampunk Entomology

Step 3: Make a pinch pot head and check the balance by placing it on the body. Add or remove clay if necessary to create balance and bobble.


800•447•8192 DickBlick.com12 13

Torn Metal CollageGrades 3-12 (art + social studies) Grades 3-12

The word shrine comes from the Latin scrinium, which is a case or chest for holding books or papers. Further defined as "a container or receptacle for sacred relics," a shrine can also be a place people visit because it is connected with someone or something that is important to them. In most cases, a shrine honors a religious person or relic, but personal shrines can be devoted to anyone or anything that is important in an individual's life. In most cases, a shrine is highly decorated. This lesson plan repurposes a shoe to create the structure for a shrine. Aligned vertically, it quickly loses its identity as a shoe and becomes a sculptural container instead. An outgrown or secondhand shoe

is primed with modeling paste, covered with ornate embellishments, and turned into a background for a relic. The object can be a symbol of a student’s favorite thing, idea, place, or event. A hand-formed air-dry clay object or even a found object can be placed inside the shrine.

PREPARATION1. Gather outgrown or secondhand shoes — one shoe per student.2. Distribute brushes and modeling paste across the class.3. Gather various embellishments, paints, and glue.

PROCESS1. Consider what honorary item the shrine is being built for. This may influence the choice of shoe and/or type of embellishment. Either build the relic from air-dry clay, or use a found object to be placed inside the shoe. 2. Begin by altering the shoe with scissors, if desired, to create a hollow for the object that will be enshrined. (This step may not be necessary if the shoe has a large enough opening.) Remove any shoestrings, straps, and the tongue, if desired. 3. Using a brush, apply a medium-thick coat of modeling paste to the entire interior and exterior of the shoe. While the paste is still wet, apply textures with the brush or modeling tools. At this point, beads and other small embellishments can be pushed into the modeling paste, or they can be glued on in the next step. Allow the shoe to dry overnight.4. Now the fun begins! Add paint, beads, chenille stems, lengths of chain, acrylic gems ... the possibilities are endless! Beads and other elements can be secured by either pushing them into the modeling paste in the first step, gluing them on, or by using Lumiere 3D Paint and Adhesive. 5. When the shrine has been completely decorated, glue a wooden spool into the shoe where the relic will be placed. Paint the spool if any part of it will show. Glue the relic onto the other end of the spool. Glue a small piece of twine or yarn to the back of the shoe and hang the shrine in a vertical position.

The “Golden Phase” of Austrian artist Gustav Klimt (1862-1918) refers to a number of elegant paintings he created between 1898 and 1909 that employed extensive applications of gold leaf. Klimt received both critical acclaim and financial success for these highly decorative paintings that were precursors to the Art Nouveau movement. Many of Klimt's paintings were realistic portraits of society women surrounded by a composition of mosaic-like patterns representing clothing, costumes, or jewelry. This project gives students the opportunity to create their own ornate art, not limited to gold but using a rainbow of reflective, metallic colors. Paper-backed foil can be gently embossed with designs, crumpled to create texture, and easily torn for collage. A coat of tempera paint is used to fill the texture, define the torn edges, and give the artwork a rich, “antiqued” look.

PREPARATION1. For easy distribution and application of glue, make individual glue sponges. Cut a sponge to fit into a sandwich-sized plastic container with lid, cover the inside bottom with glue, then dampen the sponge, squeeze out any excess water, and place it in the container. When turned over (glue-side-up), students can lightly tap paper onto the sponges to apply a thin layer of glue. Close the containers tightly when not in use.

PROCESS1. Beginning with the background and the largest pieces of foil, tear the edges so they are uneven, apply glue to the back side, and press them onto tag board or heavy paper. Take care to apply glue to the very edges of the torn shapes. Smooth with fingers to make the foil and edges adhere. 2. Emboss lines, details, and designs into the foil shapes using a wooden scratch stick. Dull the point of the stick against a piece of sandpaper first to avoid tearing the paper. 3. With a flat, wide brush, cover the entire surface (including any exposed tag board) with a coat of black tempera paint. Allow the paint to dry until it is completely matte. 4. Dip part of a crumpled paper towel into water, then stroke it gently over the tempera paint. The paint will remain in the embossed lines, along the torn paper edges, and on the tag board surface, leaving the metallic colors to glow through. Suggestions: — Don't scrub too vigorously as the foil may tear or too much color may be lifted. If too much paint is removed, repaint that area, allow it to dry, and wipe again. — Leave some of the paint sitting on the foil to add more texture. — Other opaque colors of tempera may be used for different effects. Try white or contrasting metallic colors.

A repurposed shoe becomes a sculptural shrine

Blick® Artists' Acrylic Modeling Paste, Pint (00623-1066); share two across classJacquard® Lumiere 3D Metallic Paint and Adhesive™, 1 oz (00752-); share five across classAmaco® Stonex White Clay, 5 lb (33247-1005); share one box across classBlick Studio® Acrylics, 8 oz, (01637-); share at least six colors across class Wood Spools, package of 60 (60444-1060); share one bag across classBlick® Scholastic Short Handle Golden Taklon Flat Wash, set of 4 (05859-0049); share six sets across class


Materials

Step 1: Cover a shoe with a coat of acrylic modeling paste. Add texture with tools, and add inclusions such as beads. Allow to dry. Step 1: Create a collage by gluing pieces

of torn foil paper to tag board, then embossing the design with a wooden scratch stick.

Step 2: Continue embellishing! Add paint, beads, acrylic gems, pieces of chain or old jewelry, sticks, or chenille stems using glue or 3D paint — the possibilities are endless!

Step 2: Cover the design with black tempera paint and allow it to dry.

Step 3: Create an item to enshrine out of air-dry clay, or use a found object. Glue a wooden spool inside the shoe, and attach the relic to the other end.

Step 3: Gently lift the paint away from the foil with a damp paper towel. The paint will remain in the embossing and on the torn paper edges.

Hygloss™ Metallic Foil Paper, assorted colors, 20" x 26", package of 24 sheets (11205-1001); share one across classPacon® Storybook 2-Ply Tag Board, White, package of 100 9" x 12" sheets (13111-1003); need one sheet per studentBlick® White Glue, 4 oz (23882-1004); share one among three studentsBlick® Essentials Tempera, Pint, Black (00057-2006); share across classScratch-Art® Sticks, package of 100 (14907-1045); need one per studentPaper towels


Materials


Distressed Cold Wax Drawing

For decades, ceramicists have used wax emulsion as a glaze resist for creating detailed, crisp lines. Now there's another application for liquid wax in the artroom — a reduction technique that involves etching an image, filling it in, and selectively removing color. Note: This wax product is now tinted green.

Brush-on wax and reduction drawing techniques create a “grungy” look and feel


search#ColdWaxLP

Shoe ShrineEmboss and “antique” colorful

paper foil pictures inspired by the ornate paintings of Gustav Klimt

800•447•8192 DickBlick.com14 15

Grades K-8 (art + literature)

The 2013 word of the year, according to the Oxford Dictionary, was “selfie.” This word was officially added to the dictionary and describes a photo someone takes of herself or himself to share with others through social media networks. Often, a selfie is taken to share an experience in a specific location, and the background is just as important as the person in the photo. In this lesson plan, selfies take a step back and become self-portraits, providing a way for students to see the proportions of their faces and the placement of their features. By tracing lines onto clear film a close likeness can be achieved. This likeness is then layered over a background of the student's choosing — a location he or she would find most intriguing for taking a selfie. These self-portraits may go to the moon, the bottom of the ocean, or anywhere else the imagination goes!

PREPARATION1. Students will need head-and-shoulders images of themselves. School photos are fine, or take actual "selfies" in front of a white wall. Make an 8-1/2" x 11" photocopy.2. Cut chipboard into 12" x 16" pieces.3. Make a temporary “sander” by attaching high-tack, double-sided tape to the flat lid of an 8 oz jar, then attaching a piece of sandpaper that is slightly larger than the lid.

PROCESS1. Tape a sheet of acetate to the photocopy, offsetting the face to one side.2. With a permanent marker, trace the contours and features of the face. Don't try to draw every hair and eyelash — try to keep it simple, using as few lines as possible. As an option, the acetate may be taped to a mirror and the lines of the face traced while looking through the film into the reflection. 3. Turn the image over and use the "sander" to roughen the film just behind the portrait. Leave the rest of the film smooth. Rub the sander in all directions using a circular motion to scratch the area as much as possible.4. Color the portrait on the sanded area using opaque mediums such as oil pastels, tempera paints, opaque watercolors, or acrylics. All areas of the portrait must be filled with opaque color, including white areas such as teeth and eyes. Lighter colors should be applied first.5. Ask students to think of a place they would like to go to take a “selfie” to share with people, and draw or paint that image on the paper. Use the portrait as reference to determine how much of the image the face will cover. Glue the image to a 12" x 16" piece of cardboard, posterboard, or other rigid surface.6. Glue four or more macramé beads of the same size around the edges of the background image. 7. Tape the acetate on the back side of a pre-cut mat. Place glue on the top of the beads, position the back side of the mat over the beads, and gently press into place.

OPTION— Add text explaining where the selfie was "taken" and why the location was chosen.

Creating self-portraits is a snap with this easy technique

Clear Acetate Sheets, .005", 9" x 12", 25-sheet pad (55501-1305); need one sheet per studentSharpie® Fine-Point Marker, Black (21316-2001); need one per studentOpaque Color Medium; recommend: Lyra™ Opaque Watercolor Pans, set of 24 (01751-1024) Sargent Art® Oil Pastels, set of 25 (21989-1025)Strathmore® 200 Series Student Watercolor Paper, 90 lb, 9" x 12", 15-sheet pad (10135-1003); share two pads across classValue Pre-Cut Mats, 12" x 16", package of 50 (17205-1006); share one across classUnfinished Country Beads, assortment of approximately 250 (60711-0000); share one across classAll-Purpose Chipboard, 14-ply, 28" x 44" (13115-2226); share one sheet among five students


Materials

Step 1: Trace a face onto acetate with a permanent marker, then turn it over and sand the back side.

Step 2: Using opaque drawing or painting media, color the portrait on the back side. Create a background image of an imaginary location.

Step 3: Place the portrait in a mat and use macramé beads to suspend it over the background.

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Beyond a high level of commitment to the National Art Education Association, Blick provides $4,000 annually in school

grants so teachers can attend the National Convention at no cost to them.

Blick also supports more than 50 education conferences and 19,000 participating

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Founded in 1923, this is the oldest, longest-running, most prestigious recognition program for student

achievement in the visual arts and creative writing in the United States,

recognizing more than 30,000 teenage artists annually.

Blick provides awards for: • 78 Regional Art Affiliates • 1,000 Art Gold & Silver Medal teachers • Scholastic Art Portfolio Gold Medal Scholarship Blick also sponsors a traveling exhibition of the Scholastic Art & Writing Awards.

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Make a Fake Cake! Grades K-8

Before the Pop Art movement brought us Andy Warhol’s soup cans and Claes Oldenburg’s giant soft hamburgers and ice cream bars, California artist Wayne Theibaud became known for his lush paintings of baked goods, hot dogs, and candy. Painting mostly from his memory of products on display in bakeries and cafeterias, Theibaud described the way the food was arranged in rows and on pedestals in cases, using thoughtful color and thick applications of paint to attract the viewer just as the baker intended to attract customers. Students can prepare their own visual delights in this lesson plan that introduces a voluminous finger paint that spreads like frosting yet dries to a strong, durable finish. These cupcakes are lasting treats that can be decorated, displayed, and enjoyed much longer than the real thing!

PREPARATION1. Cut corrugated paper border into 12" long pieces. 2. Punch circles from lightweight posterboard to use as a cupcake base.

PROCESS1. Make a cake cup out of scalloped corrugated border by making a small fold every 2" on the flat side and securing it with

a staple. Close the cup with a staple at the top and bottom.2. Crumple newspaper into a 3" ball, then cover it with a paper towel. Apply glue to the inside of the cake cup and insert the newspaper to fill the “cake” area.3. Apply glue to a posterboard circle and place it beneath the cake cup. Allow the glue to dry.4. Using a disposable knife, spread Tactilcolor paint over the top of the cupcake so the paper towel is completely covered. 5. While the paint is still wet, decorate the cupcake with glitter, sequins, small beads, and brightly colored yarn. Or, allow the paint to dry and glue decorations to the surface. 6. Tie a ribbon around the base to hide the staples.

Deliciously decorated sculptural cupcakes — a tribute to the

paintings of Wayne Theibaud

Bordette® Scalloped Borders, 2-1/4" x 50 ft roll, assorted colors (11211-); share one roll across classMcGill® Circle Punch, 2-1/8"Dia (61825-1008); need oneBlick® Economy White Posterboard, 5-ply, 22" x 28" (13109-1102); share one across classPebeo® Tactilcolor 3D Bubble Finger Paint, 500 ml, assorted colors (67109-); share two across classDecorating Materials, including: Spectra® Sparkling Glitter, 4 oz, assorted colors (61416-) Creativity Street® Confetti Writers, 6-color set (61759-1006) Sequin Mix, 9 oz (60718-1002) Creativity Street® Rocaille Seed Beads, 8 oz multi-color (60770-1010) Lily® Sugar ‘n Cream Yarn, 2-1/2 oz, assorted colors (65236-) Ribbon Assortment, 40 yards (62100-1040)Stapler


Materials

"Selfies" (Exactly where I want to be!)

2

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National Standards for Visual Arts Education.All lesson plans in this brochure copyright 2014 Dick Blick Art Materials. All rights reserved.

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Contest rules:1. Create a print using Richeson® Clear Carve™ Linoleum.2. Email your entry to [email protected]. Please include the following: a. Your name, address, phone number, and email address. b. One image of your finished artwork, saved as a .jpg file. Please label the image (i.e., johnsmith.jpg). If you are entering on behalf of a school, also include the name of the school (i.e., johnsmith.hometownschool.jpg). c. One image of your Richeson® Clear Carve™ linoleum block with the barcode clearly visible. Please label this image (i.e., johnsmith2.jpg).3. Artists, students, and schools are eligible to enter. Please tell us if you are entering on behalf of a school.4. All entries must be submitted by August 1, 2014. 5. The winner will be announced on the Blick website (DickBlick.com) and the Jack Richeson & Co., Inc. website (richesonart.com) on October 1, 2014.6. No entry fee is required. 7. Multiple entries are encouraged. 8. Employees of Blick Art Materials and Jack Richeson & Co., Inc. are not eligible to participate. 9. Selection of the winner is at the sole discretion of Jack Richeson & Co., Inc.

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