On the outside this lesson may appear to be a simple
art lesson about balance and symmetry. Read on to see how complex
a seemingly straightforward art lesson can be.
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I enjoy demonstrating the creative process to my 5th
grade students by designing masks in front of the class. Students
enjoy the finished masks so much that I decided to keep them for display
on the web and in the classroom. This prompted me to take the whole
project more seriously and expand the learning experience for my students.
I now use this once simple project to introduce my kids to many facets
of art making. |
After a period of teaching about asymmetrical and symmetrical
balance, (See lesson Plan)
I demonstrate how I begin to design a mask. I stand in the front
of the classroom and hold up a blank piece of light blue 9 by 12 inch construction
paper. I tell the kids that I have given no thought as to what I
am going to draw. Then I make a line on the paper. Next, I
tell kids that I must make a judgment ....either I like the line and it
stays, or I don't like the line and it goes, or I kind of like it and want
to change it a bit. I proceed by changing lines into shapes, all
the while talking out loud to myself as I consider the emerging organization.
I stress developing interesting shapes. I tell the kids that they
can recognize a great shape and model this with art that is hanging on
my walls. They catch on very fast. I tell the kids that the
work will begin to talk to them and tell them where to put the next line
or shape. It is exciting to me when a ten-year-old kid exclaims excitedly,
"Mr. Prescott, my mask is talking to me!" I stress that great shapes
will make a mask visually interesting.
| I demonstrate how personal experience can influence the
direction of elements in the mask. For example, my experience living
in asia is reflected in the mask on the right. Also,
before drawing this same mask, I had just visited an animal park that featured
huge bison. I was struck by the incredible horns on the creatures.
I modeled how the shape of the bison horns popped into my mind while searching
for ideas for the next line. My experiences with Korean masks and
my visit to the animal park combined to form an interesting combination
of east and west in the mask. |
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Sometimes a kid might mention something out loud while
I am right in the middle of a mask design. I model how this comment
can influence my thought patterns and suggest a different direction for
the design. At times, I erase the entire design, frustrated in my attempts.
I begin anew and suggest to the kids that this is not only permitted but
encouraged in my class. I tell the kids that this process is a mental
challenge that will at times be very uncomfortable. I suggest that
this is one project in school that cannot be accomplished without mental
effort on their part. (unlike some classes ...a plug for the cognitive
value of an art class) |
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Kids understand that if a mask is to be completed they
will have to "burn a few brain cells" to make it happen. I reinforce
the idea that I am constantly going into new areas in my mind and usually
have no idea what the completed mask will look like until I state a finished
time. While in this mode, I usually, say something like this,
" I have no idea what I am going to do next. I have to study my lines
and shapes and think, think, and think to get my next idea." I continue
on, "Sometimes a student will ask me what they should do next on
their mask. I tell them that I don't even know what I am going to
do next on my own mask. How am I supposed to tell them what to draw
next on theirs?" Kids love this line. They immediately understand
that I am empowering them to create but will not do their own thinking
for them. I usually restate this idea a few times during the time
kids are drawing to remind them to use their minds. |
One other thing, I tell the kids that I have made a
goal to design 200 masks and I will not let myself design two masks that
have a very close resemblance. I point out similarities between some
of my masks that I am uncomfortable with the "sameness." I
tell them that I will allow myself to use an idea from a previous mask,
as long as the final design is very different. I tell the kids that
this a personal challenge that I have set on myself to force myself into
different directions when I begin to create a new mask. I also use
this time to talk about copyright issues (A state standard). Inevitably,
I have a student ask if they can copy one of my examples. I reply
very sternly that they cannot do so without breaking the law. Usually
the class is somewhat stunned for a few seconds due to my serious response.
I pause a few seconds (It's the drama freak in me) getting the timing just
right, and say, "Now...it's okay to borrow (Or in the words of Marvin
Bartel... "steal," since they will not be returning the idea.) an idea
and make is theirs. I have a discussion about not being able to own
the idea of a mustache, or horns, or other such elements on masks.
These ideas are free for the taking. This statement brings a sigh
of relief from the class. Kids then begin the design process, many
venturing for the first time into unknown realms in their minds.
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The second period is spent refining the design.
Towards the end of the period, I model how they can transfer their design
to the other half of the paper by folding the paper together and then rubbing
the back of the paper with a hard object. This little transfer process
is "big magic" to kids. They are excited to try it and when their
first symmetrical image appears, their countenance glows as if they watching
their first image appear in the darkroom.
This process is also repeated in future drawing lessons.
For example, when a student needs to draw a symmetrical item such as vase,
this technique comes in quite handy. See Jessica's vase drawing on
the Drawing page.
| The third period of this project involves rendering demonstrations
using markers and colored pencils. During the past few years I have
used a lot of colored pencil in my
work and can pass much of my experience on to my students. Kids
are amazed at the visual range of the humble colored pencil. I also
want to build upon their colored pencil experience during each of their
years that I have them in art. For example, later this year, fifth
graders will work again with colored pencil in a watercolor
painting and a geometric radial design.
Next year in sixth grade, I will have the kids complete a non-objective
circle using colored pencil. Finally, in seventh grade kids will
complete a radial design project and or a project
that focuses only on colored pencil rendering.
Kids will get a lot of practice blending colors and values in this project. |
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The next period involves more application of color and
even some more design refinement. I usually have some areas that
I would like to change the color or design in one of my demonstration masks.
This is nearly impossible when colored pencils are heavily applied
to ordinary construction paper. To model how to make changes in design
or color at this stage, I show kids the "miracle" of transfer paper.
Again, the process of transferring a shape to clean paper and then cutting
the shape out and gluing it over the mistake is "big magic" for kids.
They can add gleaming white, use the same color, or use a completely different
color. I encourage kids to critically examine their work and then
provide this lesson to give them one option to make changes in their work
at this stage of the creative process. With this new insight, kids
are free once again to think about their work and make changes if necessary.
| The fifth period of this project is used to model
how they can create the form that will give their mask face volume.
Once the kids have their black paper cut and glued, it is ready to receive
the mask. During this period, kids finish coloring their mask.
They then cut it out and glue it on their black form. Next they trim
the form with regard to their mask. Finally, I discuss the
need for eye holes in a mask and offer to use an Exacto blade to cut out
holes, slits, or other openings in their mask. Since this process
involves the use of a scalpel, I alone wield the knife. See completed
examples of the kids' symmetrical masks. |
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I really enjoy the relationship I build with kids during
this project. It involves teaching the kids a great deal about making
art. At the end of this experience, the vast majority of the kids
are excited about what they have made. I have never seen one mask
end up in the garbage near my exit door. In fact, I hear many, "I
love art" comments as kids leave the classroom. I firmly believe
that the ideas learned during this time empowers kids to create.
For me, as a public school teacher, I am constantly balancing the need
for structure and the need for creativity in the classroom. This
lesson demonstrates to parents, administrators, and colleagues how I attempt
to reconcile this seeming paradox in art instruction in a public setting.
Finally, after this lesson, many kids envy my job. I tell them I
have the best job in the world. I really believe I do!
Larry |