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University, I agree that the Library shall make it freely available 
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Signature 
A STUDY TO DESIGN AN ART CURRICULUM FOR GRADES SIX, SEVEN AND 
EIGHT IN THE SIOUX CENTER CHRISTIAN SCHOOL 
by 
JOANNE KIMM ALBERDA 
A professional paper submitted in partial fulfillment 
of the requirements for the degree 
of 
MASTER OF EDUCATION 
with concentration in 
Elementary Art Education 
Approved: 
Head Major Department 
Graduate^Dean 
MONTANA STATE UNIVERSITY 
Bozeman, Montana 
August 1975 
iii 
ACKNOWLEDGMENT 
I would like to thank Mr. Don Holz for his friendship 
and encouragement and his willingness to share ideas, all of which 
helped to make this project a valuable educational experience. 
IV 
TABLE OF CONTENTS 
VITA < • •   ii 
ACKNOWLEDGMENT   iii 
TABLE OF CONTENTS  iv 
ABSTRACT    . . . . . . . . . . . . . . vi 
Chapter Page 
1. Introduction  1 
Statement of the Problem  2 
Purpose of the Study  2 
General Questions to be Answered, 2 
General Procedures of the Study  ....... 3 
Limitations ,    k 
Definition of Terms  k 
Summary ,  ... 5 
Chapter 
2. Introduction, 6 
The Junior High School Student  7 
The Relationship of Art and Culture to 
the Educational Process  . . 9 
Some General Guidelines for the Development 
of the Art Curriculum   , , .   10 
Summary      15 
V 
Chapter 
3. Introduction  , l6 
Developing and, Testing and Instrument 
of Measure  IT 
Preparing for the Development of a . 
Curriculum Guide  ....... 25 
Evaluating the Pilot Program ,  37 
Summary.   38 
Chapter 
U. Introduction ,  4o 
Objectives and Goals . . , .    l*o 
Formal Sequence of Events, . , ,    1+2 
Grade Six.  43 
Grade Seven.  ,58 
Grade Eight. ,  76 
References Cited. . , 91 
VI 
ABSTRACT 
Th'e problem of this study -was to design an art curriculum 
for grades six, seven, and eight in the Sioux Center Christian School. 
The author reviewed current literature on the nature of the pre¬ 
adolescent in general, and in particular, his needs in relation to an 
art curriculum* 
In order to determine the specific needs of the students at 
the Sioux Center Christian School, a test was designed to measure the 
present level of achievement in art education. After analyzing the 
results of the tests and conducting an investigation of community and 
school resources and materials, a guide was designed for each of the 
three grade levels. Experiences are planned in (l) drawing, designing, 
and composing, (2) perspective, (3) painting, (h) printmaking, 
C5) fibers (6) collage, (7) sculpture, and (8) a related activity. 
Chapter 1 
INTRODUCTION 
Art is many things. Tangible evidences of it are found all 
around us—painting, sculpture, design, and architecture—hut more 
importantly, it means an attitude toward living, a means of 
communicating emotions and ideas, a means of learning to live together 
harmoniously. This study was designed to help the junior high school 
students of the Sioux Center Christian School to discover the integrel 
part that art plays in their lives. Art should not he separated from 
their work or their play, it satisfies and enriches all experience. 
The Sioux Center Christian School is in many ways a unique 
institution. At least ninety percent of the students come from middle 
class homes on the farm or homes supported hy farm related businesses. 
For most of them life revolves around cattle-feeding and the raising 
of corn and soybeans. An even higher percentage of the school's 
supporting constituency share basically the same Dutch heritage and 
religious faith—Christian Reformed. In the past the community has 
been somewhat set apart from the mainstreams of American culture, 
however, mass communication in the last twenty years is closing that 
gap. One aspect of this study 'is designed to encourage the student to 
observe and analyze his own school and community,’ and to help him 
answer questions he may have about himself, his faith, the world, and 
what life will mean for him. 
2 
Statement of the Problem 
The problem of this study is to develop a curriculum in art 
education for the junior high school students in the Sioux Center 
Christian School. The design of the program includes the development 
of a philosophy of art education for this particular school situation, 
and specific objectives and activities for each of the three grades. 
Purpose of the Study 
At the time of the study the Sioux Center Christian School had 
no established art program although some time for art activities was 
included in the general class schedules. The responsibility for, these 
times and activities rested upon the home room teachers. Lack of 
adequate plans, space and materials as well as feelings of inadequacy 
in knowledge and training in the area of art education brought most 
art activity to a standstill. Because there was a sense of failure in 
this area of the curriculum which was shared by members of the faculty 
and the administrator, but also a desire to improve the situation, 
this study is designed to develop a program which, when incorporated, 
will enrich the total junior high school curriculum. 
General Questions to be Answered 
This study attempted to answer the following questions: 
What are the general characteristics and needs of the junior high 
school student? Upon what basis should the content of the art 
3 
curriculum be designed? How can the specific needs of the school be 
met by the program? How can the specific needs of the students be 
met by the program? 
General Procedures of the Study 
Five steps were taken in resolving the problems of this study: 
1. A review of current literature in both professional 
journals and major works was made to analyze the unique characteris¬ 
tics of the junior high school student, with respect to his needs as 
a preadolescent generally, and more particularly with respect to his 
needs for an art program that would help him to understand and respond 
to his new physical, social, and cultural environment. 
2. An' investigation into the nature of art and the relation¬ 
ship of art and culture to the educational process was made to help in 
the development of a basis for the content of the art curriculum. In 
this connection, an analysis of the unique characteristics of the 
community and supporting constituency of the Sioux Center Christian 
School was considered. 
3. The third step of the study was to design an instrument to 
measure the present level of achievement in art education of the 
students for whom the program will be designed. This information was 
essential to the task of designing a practical course of study and 
activity. 
Based upon these studies and investigations an art curric- 
ulum with specific goals and activities for each of the three grade 
levels was designed. From this complete design representative sections 
were selected to form a pilot program for testing. 
5. Finally the effectiveness of the initial pilot program 
with respect to the stated goals and objectives was evaluated. 
Limitations 
The initial pilot program design was limited by the lack of 
proper facilities and school budgeting policies. Materials and 
resources were available, however, to insure a worthwhile testing 
experience for both the school and the investigator. Once the need 
and the desirability for such a program is established, hopefully 
suitable budgeting and facilities will become a reality. 
This program was not necessarily designed to fit the needs 
of junior high schools generally. It was designed for a school with 
a unique philosophy toward education, and this had a definite effect 
upon the total design of the art curriculum. 
Definition of Terms 
Art has several definitions in a very broad sense. It is a 
particular form of behavior or activity. It is also a means of 
communication and an attitude towards life and living. The visual arts 
in this study are concerned with communication by drawing, designing 
and composing with pencil, paint, clay and other commonly used mediums. 
5 
Culture is a pattern of "behavior within a given group of 
people. 
Art program and art curriculum are synonymous terms in this 
paper. 
The pilot program was a selection of representative sections 
from the art curriculum. This was used for introducing the program 
to the school and for testing the validity of its content. 
Summary 
Chapter 1 describes some of the unique characteristics of the 
school and community, and the purposes for which this study is 
designed. The general procedures for undertaking the study are 
(l) an analysis of the junior high school student generally; (2) the 
development of a basis for the content of the curriculum; (3) the 
development of an instrument to measure levels of achievement in art 
education; (U) the development of an art curriculum and an initial 
pilot program for testing purposes; (5) and finally, an evaluation of 
the effectiveness of the pilot program. The factors contributing to 
the limitations of the pilot program and the definition of terms used 
in the study conclude the chapter. 
Chapter 2 
INTRODUCTION 
A review of both professional journals and several major works 
in the area of art education and research was made to analyze the 
unique character of the junior high school student, with respect to 
his needs as a preadolescent generally, and more particularly with 
respect to his needs for an art program that will help him to under¬ 
stand and respond to his new physical, social and cultural environment 
A discussion of the meaning and role of "art” and ’'culture" in the 
educational process is included in the review to help in the develop¬ 
ment of a basis for the content of the art curriculum for the junior 
high school level. Finally, the suggestions of several specialists in 
the area of art education were reviewed for aid in the selection of 
the general goals and activities to be considered in the development ' 
of the art curriculum. 
The first section of Chapter 2 discusses the unique character¬ 
istics and social environment of the junior high school student. The 
second part deals with the basis for the content of the curriculum to 
be designed, and finally, some general guidelines for the development 
of that curriculum are considered. 
T 
The Junior High School Student 
The junior high school student is a child who, stepping out 
of an atmosphere of close attachments at home and school, suddenly 
finds himself in a whole new physical and social environment. Feeling 
bewildered and insecure to be sure, but also naively idealistic and 
eager, he begins to search out a new role for himself and begins to 
ask some very basic questions about himself, his friends, his peers 
and the world generally. ’’Becoming an adult is not just a question 
of growing bigger. It involves a disruption of the entire functioning- 
physical, emotional, intellectual-of the child so that he can, in 
effect, create himself anew” (Minton, 1972:l4). The spontaneity of 
the young child evaporates into a "critical awareness" (Lowenfeld, 
1970:225) both of his powers and his limitations. He is now aware 
that he can think and act but is not at all in a position to change 
his environment or to accept responsibility in his present state. 
Television, a generally faithful consumer of his time, tells him what 
he ought to look like, how he ought to dress, how he ought to smell 
and smile. His peer group sets rigid standards for the length of 
dress or length of hair, the songs he ought to sing, the slang he 
ought to use. He is. under tremendous pressure to "belong". Gradually 
he finds himself a part of a culture that binds every adult to life, 
and he begins to ask, "Who am I? What am I going to do? What do I 
believe?" (Lowenfelf, 1970:230). "Parents often feel intense 
8 
disappointment because it seems that their child has become selfish, 
and in truth he is now self-absorbed. This need not be a lasting 
character trait, but simply the normal narcissism of the time. Self- 
discovery requires a certain amount of introspection and concentration 
on personal thoughts, feelings, and goals" (Minton, 1912:2h). 
This new "person" has a tremendous need to communicate, to 
ask questions and have questions answered. He needs to listen and to 
be listened to. He needs to observe, analyze, and search out every 
aspect of his environment to help him to know himself and God, to 
adjust satisfactorily, to enjoy, to respond, and to contribute to 
life. In this search for a knowledge of self, Lambert, et al 
(1972:15-18) offers the following list of goals toward which the 
adolescent can begin to move: 
1. Accepting one’s physical self...Coming to terms 
with one’s body does not demand surrender to one’s 
inperfections, nor does it demand an unrealistic attempt 
to conform to the ideal physical image of a Miss America 
or an All-American football hero. On the contrary, 
physical acceptance involves making the most of one’s 
imperfections and learning to accept the physical changes 
of growing up and aging. 
2. Attaining emotional control...Somewhere between 
the completely uninhibited expression of emotion of the 
child and the Victorian suppression of all emotions, each 
human being must come to accept his emotions as real and 
• thos emotions into constructive outlets. 
3. Achieving social maturity. Social maturity 
centers around the ability to establish good 
9 
interpersonal relationships...Without friends and family 
to reflect one's wishes, attitudes, and feelings an in¬ 
dividual will remain a stranger unto himself...The 
adolescent's goal is to acquire a unique identity and 
still function within the limits set hy society. 
4. Developing intellectual sophistication and 
sensitivityIntellectual sophistication demands a 
balance between gullibility, or a belief in everything 
at one extreme, and an agnostic position, or skepticism 
of everything at the other extreme. In acquiring intel.-? 
lectual sensitivity, one must develop an ability to face 
reality.. .to understand that '’freedom'’ means to fail as 
well as freedom to succeed (15-18). 
The Relationship of Art and Culture 
to the Educational Process 
Wha,t is art? June King McFee describes art as ’’that form of 
human behavior by which man purposefully interprets and enhances the 
quality or essence of experience through the things he produces” 
(1970:30), ’’Art is one of man's major language systems, a means of 
communication—of sharing his experience with others” (McFee, 1970:26). 
Art is a link between past and future generations, the artist has 
communicated to modern man many insights into the thinking and beliefs 
of past cultures upon which each new culture is built. Every work of 
art '’makes visible a particular view on life and the world, expressed 
deeply felt values and truths through the way the theme and subject 
matter were handled” (Rookmaaker, 1970:18). Rookmaaker goes on to say 
that art always ’’shows what man—the artist—and the group to which he 
belongs, the time in which he lives, sees and experiences as relevant, 
as important, as worthwhile” (1970:236), for "we cannot make art apart 
10 
from the time in which we live. We must know what is going on, and 
understand our environment if we want to achieve anything of relevance 
to our time*' (Rookmaaker, 1970:2^5). 
Although art may essentially be a form of communication 
between man and man, or culture and culture, it is also something more 
Vincent Lanier writes, "I am suggesting that we recognize in art 
education that the experience of art-—whatever—its other merits—is 
in itself a human good. If we are to have art in our schools, let it 
first undertake to expose the child to the intrinsic value of art 
experience, to an awareness that the looking at or making of art is a 
desirable mode of human behavior" (1963:18). Rookmaaker strongly 
believes that art needs no justification—it has its own validity. 
"Neither art nor beauty needs to be justified or put on a pedestal. 
They are to be enjoyed and appreciated and practised, in love and 
freedom, as a joy forever" (1970:231). 
.Some General Guide Lines for the 
Development of the Art Curriculum 
In an essay entitled "Looking Backward", Vincent Lanier notes 
the following critical problems to which we as a profession, need to 
give attention: 
1. We almost pathologically view the art class solely 
as a place in which art is created. None of the other arts 
is so taught. 2. We ignore the popular arts for the fine 
arts. 3. We ignore the many social functions of the arts. 
1*. We look at art solely as something an artist does. 
11 
5. Our research has been concerned not with the content of 
art and of art teaching but with problems of procedure. 
6. We need to focus upon the human issues through art. 
7. Art should become a means to explore the human condition 
(1970:11*5). ... 
Lanier focuses on '’society" as the curriculum source. David 
Ecker, in a paper entitled "The Structure of Affect in the Art 
Curriculum", also points to the "individual" as another source of art 
teaching content. He lists four suggestions for developing an art 
curriculum in the 1970*s. They are: 
l) The understanding of the characteristic attitudes, 
feelings, values and beliefs of the young; 2) . . . the 
discovery of each individual's beliefs, attitudes, and 
feelings—including those of the teacher—which should be a 
formal objective of art instruction; 3) The conceptualizing 
of the art curriculum. . . as a means for suggesting potential 
problems for inquiry; U) And most important, the realization 
that artistic activities and aesthetic concepts should be so 
relative that the consummatory value of experience is realized 
(1971:26-29). 
The ideal program in art education then, would want to deal 
with the student in a very direct and personal way, to help him to 
develop a healthy awareness of himself and of his environment, to react 
to it and perhaps to make some contribution to it. The program would 
also attempt to lead to independent thinking and choices, the ability 
to solve problems, and satisfactory adjustments to human relationships. 
James Smith describes a type of classroom atmosphere which is 
essential to this kind of development in his discussion of creative 
teaching: 
. . . creative teaching means allowing the child freedom 
12 
to incubate and providing experiences to be incubated, 
to help sustain a mood of searching, to tolerate a degree 
of chaos and irrelevance and freedom from social 
regimentation, and finally, to represent the evaluative 
judgment of the adult world. 
...the process of creating involves decision making, 
passing judgments, choosing, selecting, perceiving, 
analyzing, divergent thinking, uncommoness of response, 
flexibility and fluency of ideas (1967:177-179)• 
Under such conditions as described above the student has ample 
opportunity to have something to say about the content of the art 
program. "With the developing awareness of themselves as individuals 
with opinions, tastes, and voices of their own, it is important that 
students be involved in the planning in such a way that the projects 
become essentially theirs (Lowenfeld, 1970:275). 
Leonard B. Meyer, in his book Music , the Arts, and Ideas, 
attempts "to discover some pattern and rationale in the perplexing, 
fragmented world of 20th century culture". Failing to find an under¬ 
lying order which could be considered the "style of the century" he 
finally concluded that "perhaps the question itself was a wrong one. 
Perhaps our times would be characterized by the co-existence of a 
number of alternative styles in a kind of ’dynamic steady-state’". 
(1967:V), This lack of a single approach to art in general has 
already been felt in the educational process. Although many art 
teachers "still cling to the model of the artist, probably because 
their own training has been designed to reinforce the idea" (Hurwitz, 
1972:62), some far reaching changes in ideology and practice are 
r 
13 
occurring, redefining the nature of art, both for self-awareness and 
social planning. Hurwitz describes the work of teachers such as 
Don Seiden, Lowry Burgess, and Rita DeLisi whose programs "rest on 
the premise that too often the visual experiences of adolescents are 
superficial and do not truly reflect a deeper consciousness because, 
for one reason or another, that layer of awareness has not been 
tapped...for it is in studying the life of the emotions (senses) that 
art can have its deepest meaning for the adolescent" (1972:89). 
Redefining the nature of art for social planning describes the work 
of Jan Wampler, who, with the students, designed the layout for the 
Warehouse Cooperative School in Watertown, Massachusetts. "More than 
a painting or a piece of sculpture, art is a personal and relevant 
extension of ourselves into the environment around us, our personal¬ 
ities and ideas made visual. All people should be involved in the 
making of their environment and changing it as they change" (Wampler, 
1972:lU2). This example describes an environmental change that was 
made on a grand scale, however, it need not be on such a scale or in 
such a form. It could begin with such simple projects as improving 
the atmosphere of a generally drab and sterile classroom, hallway, or 
playground. We begin to see just how important these ideas are when 
McFee says, "The long tradition of the rights of property seems to 
carry with it the assumption that people do not see beyond property 
lines, so that if a person wishes to create ugliness or monotony it is 
lb 
his right as long as he stays on his own land. As populations grow 
and the ugliness of cities becomes more intolerable, changes in 
cultural values will have to take place. Education is needed to help 
people take responsibility for their contributions (1970:^2), Again, 
"learning is not a matter of action so much as it is a chance to 
absorb, to take time to look and feel and wonder. The tragedy of 
man tampering with growth and modifying function according to his 
short-sided needs might be minimized if there were more thoughtful 
looking and listening" (Eproud, 1971:1*0. 
Art ought to play a very important role in the lives of the 
students. Although there are many tangible evidences of art about us— 
painting, sculpture, design, and architecture—art more importantly 
means an attitude toward living, a means of expressing our feelings 
and emotions and developing our sensitivity towards our environment 
and towards the needs and feelings of others. Consequently, "it is 
the process of art that is important, not the products themselves. 
The student, however, needs to understand art as a reflection of the 
culture of the times and recognize its relationships with the changes 
in our society} but the establishment of values and attitudes cannot 
be imposed upon the student form without, Personal envolvement is 
essential to a feeling for art" (Lowenfeld, 1970:224-225). 
15 
Summary 
Chapter 2 presents a review of the unique world of the 
junior high school student and his tremendous need to ask questions 
and have questions answered. The second part of the chapter focuses 
upon the definition of art and the relationship of art and culture 
to the educational process. They are necessary to help us understand 
the past and present and prepare for the future. However, art needs 
no justification, it has its own validity and for that reason alone 
it is something to he enjoyed and practised. In the last part of 
the chapter some guidelines for the art curriculum are considered. 
Several approaches to the structuring of a curriculum have value in 
so far as both society and the individual are considered. Through 
personal involvement values and attitudes can be developed to aid 
in the growth of a person as a human being and to instill an 
eagerness to contribute to the good of other human beings. 
Chapter 3 
INTRODUCTION 
In the introductory chapter of this program five steps were 
given as a procedure for developing an art program for the junior 
high school students of the Sioux Center Christian School. First, a 
review of current literature of both professional' journals and major 
works was made to analyze the unique characteristics of the junior 
high school student, with respect to his needs as a preadolescent 
generally, and more particularly with respect to his needs for an art 
program that will help him to understand and respond to his new 
physical, social and cultural environment. The second step included 
a review of current literature to investigate the nature of art and 
the relationship of art and culture to the educational process to 
help in the development of a basis for the content of the art 
curriculum. The purpose of this chapter is to outline and develop 
the plans for the remaining three steps: (l) the development of an 
instrument to measure the present level of achievement in art 
education of the students for whom the program is designed, (2) the 
development of the art curriculum based upon related literature and 
information and an investigation of school and community resources, 
and (3) the development of a plan to evaluate the program. 
IT 
Developing and Testing an Instrument of Measurement . 
The following test was designed to measure the present level 
of achievement in art education of the junior high school students at 
the Sioux Center Christian School. Portions of a test developed by 
Albert W. Attwell (1952:26-29) served as a model for portions of the 
first two parts of this test. 
PART I The Language of Art 
Circle the response that best completes the sentence. 
1. The elements of art are (l) line and color (2) paint and paper 
(3) light and dark. 
2. All good art must have (l) paint (2) unity (3) color. 
3. When we speak of texture we think of the quality of the (l) line 
(2) surface (3) color. 
h. The principles of art are (l) emphasis and interest (2) balance 
and rhythm (3) old masters. 
5. The source of all color is (l) crayon (2) pigments (3) plants 
(U) water color (5) light. 
6. - The qualities or dimensions of color are (l) thick and thin 
(2) oil and water (3) hue, value, and intensity. 
7. The primary colors are (l) red, green, blue (2) yellow, blue, red 
(3) red, orange, and yellow. 
8. Colors that are opposite each other on the color wheel are (l) cool 
(2) complementary (3) adjacent {h) neutral. 
9. A one color scheme is called (l) monochromatic (2) gray (3) dark 
(U) neutral. 
10. A vertical line suggests (l) speed and swiftness (2) calmness and 
tranquility (3) strength and dignity. 
18 
11. An architect designs (l) clothes (2) buildings (3) textiles 
(4) furniture (5) cars. 
12. Painters usually paint on (l) oil cloth (2) glass (3) canvas 
(4) nylon. 
13. Portraits are paintings or drawings of (l) people (2) landscapes 
(3) seascapes (4) still lifes. 
14. Medium means (l) the material used (2) the tools used ' (3) the 
surface (4) the artist (5) half way. 
15. Mediums used by painters are (l) oil paint and water color 
(2) brushes and easels (3) time and effort. 
PART II The History of Art 
Circle the response that best completes the sentence. 
1. The first art known to man was found in the (l) ruins of Pompeii 
(2) caves of•southern France and Spain (3) Egyptian tombs 
(4) temples of India. 
2. The pyramids were built by the (l) Greeks (2) Goths 
(3) Norsemen (4) Egyptians. 
3. The Mona Lisa is a (l) famous painting (2) Roman temple 
(3) song (4) Indian mosque. 
4. Andy Warhol’s paintings of Marilyn Monroe and Campbell’s soup 
cans are known as (l) modern art (2) pop art (3) realistic art 
(4) primitive art. 
5. (l) Cezanne (2) Rembrandt (3) Monet (4) Michelangelo was a very 
famous Dutch painter. 
6. ’’The Last Supper" was painted by (l) Vermeer (2) Monet 
(3) Da Vinci (4) Durer. 
7- Whistler was (l) an American (2) an Englishman (3) a Russian 
(4) a French painter. 
8. In medievalartj Mary, the mother of Jesus, is usually referred to 
as a (l) virgin (2) madonna (3) saint. 
19 
9. Picasso developed a style known as (l) classicism 
(2) romanticism (3) cubism (U) impressionism. 
10. Notre Dame is a classic example of the (l) Gothic (2) Baroque 
(3) Byzantine (H) Greek style of architecture. 
PART III Exercises in Observation and Technic 
1. Illustrate in the boxes below what you see on the.cards held 
before you. You will be shown five different cards consecutively 
for ten seconds each. You will have 30 seconds between each card 
to reproduce the design observed on the card. 
2. Work out a five point value scale with pencil or crayon. 
light          dark 
3. Draw a simple cabin, bar, or landscape.illustrating what you know 
about perspective. 
20 
For the first exercise in Part III 
of the test the following cards 
were shown to the students. The 
cards were nine inches square and 
drawn with a heavy black marking 
pen. 
AAAAAA 
o
 
a 
21 
b. Draw the still life you see on the table at the front of the room. 
Criteria: 1, boldness of line 
2. perspective 
3. proportion 
U. shading—light and dark 
5. design, details 
22 
PART IV A Survey of Your Experience 
The following list contains some common materials used in art classes. 
Underline the materials you have used. 
Circle the material you like to work with best. 
wood charcoal 
chalk oil paint 
cloth India ink 
tin • tempera paint 
tin foil water colors 
wire finger paint 
raffia clay 
crayons pencil 
pastels • soap 
leather string and yarn 
scrap paper colored pencils 
plastics seeds 
List any other materials you- have used: 
List three subjects that you like to paint, draw, or construct: 
List the things you like to collect: 
23 
The instrument of Attwell vhich was used as a model for the 
first two parts of this instrument has never been tested either for 
reliability or validity. The test-retest method for measuring the 
reliability of this new instrument was used. A sample population of 
junior high school students at the Manhattan Christian School, 
Manhattan, Montana, was used for testing purposes. Personal intervievs 
were conducted with the administrator and teachers involved in the 
testing procedures to arrange for times and permission to test the 
instrument. The test was given to a selection of twenty-six pupils 
with a waiting period of four weeks between testing times. 
The test is diyided into four parts. Part 1 has a total of 
fifteen correct responses and has a total of fifteen points assigned 
to it, Part II has a total of ten correct responses and a correspond¬ 
ing total of ten points assigned to it. Part III has a total of 
twenty-five points assigned to it, five points to each of the first 
three exercises and .ten points for the fourth exercise. The responses 
in Part IV were analyzed for information only. The total number'of 
points which can be scored in the instrument is fifty. 
After the completion of the tests, each test was analyzed 
and assigned a number score of total points received. The differences 
between the two scores of each student were correlated at .83^. 
An analysis of the test given to fifty-six subjects in grades 
six and seven at the Sioux Center Christian School provided the 
2h 
following information: 
1. The subjects showed, certain strong areas, 
particularly in color awareness demonstrated by 
the amount of correct responses, 60%, to 
questions two through six in Part I. In Part II 
questions two, three, and six received correct 
responses by 75$ of those tested. The remain¬ 
ing items scored less than 30$ correct 
responses. 
2, Some weaknesses appeared in art history, know¬ 
ledge of mediums, perspective, and drawing skills. 
The responses to exercises three and four in 
in Part III were very poor. 
Some areas not tested were: 
1. The visual arts as a means of expressing ideas. 
2. An awareness of their immediate cultural 
heritage. 
3. An awareness of their ability to make or change 
their environment. 
The experience survey, Part IY, provided this information: 
1. Host of the sujbects had experience with at 
least half of the mediums listed. Favorite 
mediums were paint, clay, leather, wood, string 
and yarn. 
2. The most often mentioned subjects that students 
liked to draw, paint, or construct included: 
nature C2b)9 buildings (23), people (21), animals 
(13), farjij (7), machinery and cars (6), and 
Still life (.5), 
3. There were 28 different responses to the test 
section which asked the student to list things 
he/she liked to collect. The most popular 
things were: coins (15), stamps (ll), sport card 
and matchbooks (ll), shells and rocks (9) and 
antiques (6). 
25 
Preparing for the Development of a 
Curriculum Guide 
Two developmental areas were considered in setting up an 
art curriculum as part of this study: 
I. The development and the expansion of a student’s awareness of 
self, his community, his culture, and the world in general. To 
stimulate the development of this awareness the following series 
of five presentations were designed: 
1. A collection of children’s art at various age levels, 
concentrating on work done at the junior high level. 
2. A presentation showing the relationship of art to culture, 
the visual expressions that have been made about one’s faith 
work, play, politics, community, self, etc. 
3. A selection of slides showing the many areas of the visual 
arts other than the fine arts such as architecture, land¬ 
scaping, clothing and jewelry design, advertising, photography, 
etc, 
k. A presentation dealing with designs found in nature and 
responses that have been made to the stimuli of nature. 
5. A collection of reproductions representing styles and 
individual artists. 
The subjects for the slides in the first catagory were taken 
mainly from the investigator’s collection of children’s art, but are 
supplemented with works from other collections and illustrations from 
various books. This presentation will be frequently updated with the 
work of the students themselves. The slides in the next three 
catagories were photographed from books and magazines in the Montana 
State University Library. The fifth presentation, introducing both 
26 
styles and individual artists, was prepared using reporductions which 
were purchased from Shorewood Reproductions, Inc. The pictures and 
artists are included in the five presentations which follow: 
27 
1. The Art of Children 
(Slides #1 - 16) 


|Rh o ^ 










 
 


28 
2. Visual Responses to Cultural Environments 
(Slides #17 - 32) 








29 
3. The Applied Arts 
(Slides 33 - 40) 
















30 
4. Naturefs Designs and Man's Responses 
(Slides #41 - 48) 








31 
5t A Suryey of Styles and Artists 
32 
Head of a Girl Johannes Vermeer 
The Cowper Madonna Raphael 
Mona Lisa Leonardo DaVinci 
The Gleaners Jean Millet 
Study of an Old Man Rembrandt 
Soldier on Horseback Anthony Van Dyk 
Wedding Dance Brueghel, the Younger 
La Grande Jatte Georges Seurat 
Boats at Argenteuil Claude Monet 
Bedroom at Arles Vincent Van Gogh 
La Berceuse Vincent Van Gogh 
Dancers in Pink Edgar Degas 
Landscape Paul Cezanne 
Still Life Paul Cezanne 
Harvest Scene Paul Gauguin 
In the Meadow Pierre Auguste Renoir 
Judgment of Christ Georges Rouault 
Portrait of a Woman Pablo Picasso 
La Jour Georges Braque 
Family No. 1 Charles Alston 
I and the Village Marc Chagall 
Cheyt M Victor Vasarely 
Configuration Jean Arp 
33 
The Crucifixion Salvador Dali 
Nude Descending No. 2 Marcel Duchamp 
Marilyn Monroe Andy Warhol 
II. Skill development .in the visual arts is necessary .if the 
student is to make effective responses-to the stimuli of his 
expanding awareness. The development of a skill requires actual 
experiences such as drawing, painting, designing, or building. 
One limitation—money—required planning and research to 
provide suitable materials for the carrying out of these 
experiences. Some areas of investigation were: 
1. To check out the resources of the school for materials 
and supplies. The school regularly stocked all materials 
necessary for the pilot program. A l6MM movie projector, 
a slide projector, and an opaque projector were available 
and In good condition. 
2. To search out community resources such as local contractors 
and building supply companies, hardware stores, furniture 
and rug companies, department stores, supermarkets, and 
junk yards for free or inexpensive materials. This in¬ 
vestigation proved to be very valuable. Many items such 
as sawdust, paper boxes, fabric and rug samples, scrap 
wood, wire, and packing materials are readily available. 
3. To inquire at the local college for use of such facilities 
as the library and kiln. Permission to use the kiln was 
granted under the supervision of the art instructor at 
the college. The students were allowed the use of the 
college library only as a class project under the super¬ 
vision of the investigator or teacher. All books were 
checked out under the investigator’s name. 
4. To draw up a list of suggested books and materials to 
develop a resource library in art education as a permanent 
addition to the school's professional library. The 
3b 
following list of books and materials considered by the 
investigator to be essential to this program was drawn up 
and given to the administration for consideration: 
Films: Discovering Art Series, BFA Educational Media 
Discovering Dark and Light 
Discovering Color 
Discovering Creative Pattern 
Discovering Harmony 
Discovering Texture 
Discovering Perspective 
Discovering Ideas for Art 
Painting Trees with Elliot O'Hara 
I Went to the Woods 
Reproductions: Shorewood Reproductions, Inc. 
Women of Tahiti 
Girl on a Bridge 
Cyclist 
Scene on the Steps 
Woman with Mandolin 
La Mousme 
Seven A.M. 
Hockey Players 
Blue Girl Reading 
Purple Robe 
Barefoot Prodigy 
Dancers Reposed 
Dresden Neusladt 
Tiger 
Two Cats 
Enamel Saucepan 
Portrait of Sylvette 
Self-Portrait 
Maid 
Femme Au Chapeau 
Girl Wearing an Apron 
Victorian Interior 
Street at Sannois 
St. Remain Quarter 
Shed Lantern 
Gauguin 
Munch 
Lindner 
Schlemmer 
Braque 
Van Gogh 
Hopper 
Kirchner 
Macke 
Matisse 
Moore 
Soyer 
Kokoschka 
Kyosia 
Marc 
Picasso 
Picasso 
Picasso 
Modigliani 
Lichtenstein 
J awlensky 
Pippen 
Utrillo 
Utrillo 
Wyeth 
35 
Books: 
Creative Painting With Tempera, Pauline ATbenda, 
Van Nostrand Reinhold 
The Complete Crayon Book, Chester J. Alkema, 
Sterling 
Wire Sculpture and Other Three-Dimensional 
Construction, Gerald F. Brommer, Davis 
Publications 
Famous Paintings, Alice Elizabeth Chase, 
Platt and Munk 
Paper People, Michael Grater, 
Taplinger 
Crafting With Nature’s Materials, Chester J. Alkema, 
Sterling 
Creating with Puppets, Lothar Kampmaan, 
Van Nostrand Reinhold 
Printmaking Activities for the Classroom, Arnel W 
Pattemore, Davis Publications 
Designing and Making Mosaics, Virginia C. Timmons, 
Davis Publications 
Painting in the School Program, Virginia C. Timmons 
Davis Publications 
Creative Clay Design, Ernst Rottger, 
Van Nostrand Reinhold 
Creative Drawing, Ernst Rottger, 
Van Nostrand Reinhold 
Creative Paper Design, Ernst Rottger, 
Van Nostrand Reinhold 
Designing with String, Mary Seyd, 
Watson-Guptill 
Stitchery for Children, Jacqueline Enthoven, 
Reinhold Book Corp. 
Emphasis: Art, Wachowiak and Ramsay, 
Intext Educational Publishers 
Finding One's Way with Clay, Paulus Berensohn, 
Simon and Schuster 
Ceramics, Sunset Books, 
Lane Brooks 
Needle Weaving, Esther Dendal, 
Doubleday 
The American Farmer, Richard K. Seim, 
Rand McNally and Co. 
36 
Periodicals: Arts and Activities 
Educational Press Ass. of America 
Slides: All the slide reproductions listed in the 
four programs for development of awareness. 
Materials: Drawing hoards 
Newsprint sheets 
White drawing paper, 80 lb. weight, 
12” x 18” and l8” x.2UV 
Construction paper, assorted colors and sizes 
Tagboard, 9” x 12" and 12" x l8" 
Prang tempera powder paint 
Prang OVL-8 watercolor packs 
#12 watercolor brushes (3 doz.) 
#12 square end brushes (3 doz.) 
Copper foil 
Liver of sulphur solution 
Brushes Og doz.) 
200 lbs. moist clay (earthenware), 
a few glazes 
assorted modeling tools 
Wire: one roll of electric fence wire 
String: 2 cones U ply 
Slapsticks: box of 1000 
Yarn, assorted colors, Coat and Clarks Incite 
yarn needles 
10 yards natural burlap 
2 pkgs. Metylan or Modocol wallpaper paste 
White craft glue doz. bottles) 
Pit dyes, four or five colors 
Photographic paper, and chemicals 
Safe light 
Black spray paint 
Corn starch and soda (couple boxes of each) 
Sponges (^ doz. DuPont large) 
011 pastel (Grumbacher #24) 
Charcoal 
India ink or eternal black 
Scissors 
#1 lead pencils 
37 
The reproductions were immediately purchased. Provision 
for books, slides and materials was made pending the 
implementation of the entire program, and the films were 
found to be available free of charge from the Sheldon 
Circulating Film Library (the Discovery Series) and from 
the Iowa State University Film Library for a small fee. 
The acquiring of skills is a necessary part, of being 
able to make personal responses to the stimuli of self, community, or 
nature by means of a visual medium. An important part of the program 
is to provide experiences to which the students can or desire to 
respond, and to correlate the activities with the entire school 
curriculum. This involves continuing dialogue between students and 
staff. After the results of the tests were analyzed and the investi¬ 
gations of resources had been completed a curriculum guide with 
specific activities for each of the three grade levels was designed. 
Data collected from current literature and works of major art educators 
and the personal experiences of the investigator served as the main 
sources of information for the construction of the guide. Guidelines 
were also based.upon evidence of need demonstrated by the test and by 
the availability of materials. 
Evaluating the Pilot Program 
Several methods for evaluating the pilot program were 
considered. An exhibit of work done during the year helped the students 
as well as the viewers to make some kind of judgment about the effect¬ 
iveness of the program. Interviews with selected students, parents. 
38 
teachers, and the administrator were made to seek answers to the 
general questions of the study as stated in Chapter 1. Students were 
encouraged to evaluate their own work in terms of the development of 
specific skills and the variety of responses to self, school, community, 
faith, and the world. • 
The assignment of grades was never considered as a method 
of evaluating either the program or individual student progress. The 
purpose was not to classify the student hut to seek insight into his 
problems, successes, interests, and experiences, and to understand 
and support him. Allowing the student to mount his work and to exhibit 
it initiated personal evaluation of the development in both skills and 
communication as an individual and as a class. 
Upon the completion of the pilot program, enthusiasm for 
a more complete program was evident on the part of everyone—parents, 
students, teachers, and administrator. Students were particularly 
pleased with the variety and content of the activities selected for 
the pilot program and the exhibit demonstrated the development of the 
specific skills in the areas coyered. Cooperation and involvement 
characterized eyery working session. 
Summary 
The procedures of the study outlined in this chapter 
were concerned with the development of an instrument to measure the 
39 
present level of achievement in art education of the students at 
the Sioux Center Christian School and a method of testing the 
reliability of the instrument. An analysis of the tests, information 
gathered from investigations of school and community resources and 
materials, and the collection of data from related literature 
according to the goals and objectives as stated in Chapter 2 served 
as a basis upon which to build the art curriculum. An evaluation of 
the pilot program was based upon interviews with students, parents, 
administrators and teachers, and the production of an exhibit of 
student work and activity. 
♦ 
Chapter H 
INTRODUCTION 
After analyzing the results of the achievement tests and 
the investigations of community and school resources a formal sequence 
of art activities for each of the three grades was drawn up. In this 
chapter some general and specific objectives and goals are stated. 
These are followed by the formal sequence of activities. 
Objectives and Goals 
Munro, in an essay entitled "The Interrelation of the 
Arts" (i960:10-ll), nicely describes the comprehensive goals considered 
in the review of literature in Chapter 2. The first of these is the 
"balanced growth and healthy maturing of the individual personality, 
including the ability to make successful intrapersonal adjustments" 
(Munro, 1960:10). This goal is directed toward his psychological 
growth, which again is deeply rooted in the sociological and cultural 
environment. For this reason art education draws from and implements 
the student’s understanding of his relation to and interaction with 
his cultural setting. Munro refers to this second goal as "...the 
selective transmission of world culture" (1960:10). In addition to 
these two broad goals of education Conrad suggests that we add a third- 
Mto help young people adjust to the cultural environment, to add to it, 
to aid in its continuous reconstruction or evaluation, and to be a 
contributing part of the culture" (1964:l6). 
In outlining the sequence of activities the following 
specific goals and. objectives were considered: 
1. the development of the perceptive sense of sight, 
2. the development of the necessary skills for visual 
communication, 
3. the development of an awareness of self, of personal 
strengths, beliefs, and feelings, 
k. the development of sensitivity towards his physical 
environment, home, school, and community, 
5. to develop an awareness of his cultural heritage as a 
member of a particular community, 
6. to develop an awareness of his role as a personal 
contributor to the culture of his home, community, and 
the world, 
7. to begin the development of an interest in the 
aesthetics of art, 
8. to work for variety in expression, 
9. to familiarize the students with mediums and materials 
commonly used by the visual artist, 
10. the development of a relaxed, casual classroom atmosphere, 
11. to promote interaction among students, 
12. to foster a desire to recreate their immediate physical 
environment—the classroom—into a pleasant place to work, 
13. to correlate subject matter with other areas of the school 
curriculum, and 
lk, to develop methods for student self-evaluation of their 
work. 
b2 
Formal Sequence of Events 
The curriculum is divided into eight units for each 
grade. The units are based on the following catagories: 
1. drawing, designing and composing 
2. perspective 
3. painting 
k. printmaking 
5• fiber 
6. collage 
7• sculpture 
8. related activity 
These units are not designed in a sequential order. Drawing and 
sketching periods are scattered about as needed for other activities. 
Any unit of activity may be used to function as a medium for a 
particular occasion such as a holiday or season. Thirty periods 
of one hour each are scheduled for each grade. The sequences as 
they stand add up to twenty-eight hours each leaving two periods 
free for viewing and responding to the slide presentations. 
U3 
Grade Six 
DRAWING, DESIGNING, AND COMPOSING 
Materials: newsprint, pencils, charcoal, colored chalk, a few 
crayons., magic markers, drawing hoards 
Resources: Reproductions: 
Femme au Chapeau, Lichtenstein 
Maid, Modigliani 
Portrait of Sylvette, Picasso 
. Self-Portrait, Picasso. 
Enamel Sauce Pan, Picasso 
Still Life, Cezanne 
Films: 
Discovering Dark and Light 
Discovering Perspective 
Books: ' ' 
Creative Drawing, Rottger 
Vocabulary: composition, balance, value, variety, repetition, contour 
lines, background, foreground, contrast, texture, shading, 
negative and positive space, unity, detail, shape, form, 
emphasis, radiation, symmetry, asymmetry, tension, 
converging lines, distortion, proportion, linear, mass. 
Areas of Concentration: 
1. value scale 
2. faces 
3. still life 
4. buildings, street scenes 
5. bugs, insects 
Procedures: Value Scale 
From light to dark on small pieces of paper create a 9 
point value scale with black crayon, pencil or charcoal. 
This usually works best by first making values one, five 
^5 
and nine (light, medium, and dark). Then make values to 
fit hetween one and five and five and nine. Finally, 
make values to go between one and three, three and five, 
five and seven, and seven and nine. Arrange the values 
in sequential order from white to black and glue to a 
separate piece of paper. 
Faces 
On large pieces of newsprint draw faces, using the 
reproductions, classmates, teachers, or mirrors to serve 
as models. Experiment with facial changes in emotional 
expressions such as laughing, crying, shouting, or 
expressions of fear, anger, love^ kindness, or jealousy. 
"Maid” by Modigliani is useful because it reduces the 
task to just a few but well placed lines. Notice that 
eyes are located in the center of the oval. If you have 
time, mold a head with plasticine. Numbering each attempt 
usually helps the student to evaluate his progress. 
Still Life 
Collect an assortment of bottles and jars,, large, small, 
tall, short, fat, and thin. The students will compose 
the pictures in any or all of the following methods: 
a. Set up an arrangement of five or seven bottles, 
draw from several angles. 
b. Each student'selects a bottle, draws it, and 
returns it. He selects a second bottle, draws 
it so that it touches or overlaps the first. He 
continues until all negative space is completely 
filled. Bottle shapes should touch the bottom, 
sides, and top of the paper. Discuss such terms 
as composition, balance, positive and negative 
space, and overlapping forms as they are 
discovered. 
c. Select one bottle and make a composition using 
the same shape repeatedly. 
d. Cut a variety of bottles and jars from magazines 
and arrange into an interesting composition. 
Buildings and Street Scenes 
(See unit on Perspective.) 
Bugs and Insects 
Draw a "bug or insect from a classroom collection. Observe 
details such as veins, skin patterns or texture, faceted 
eyes, scales, etc. Examine the bug or insect under a 
microscope if possible for unusual markings or check 
scientific material for other details. 
Save all drawings. 
PERSPECTIVE 3 periods 
UT 
Materials: several sizes of paper boxes, scraps of colored 
construction paper, glue, newsprint and drawing 
paper, pencil, charcoal, crayons, or chalk, 
tagboard (9x12), camera and film 
Resources: Reproductions: 
Dresden Neusladt, Kokoschka 
Street at Sannois, Utrillo 
St. Remain Quarter, Utrillo 
Films: 
Discovering Perspective 
Vocabulary: perspective, one point perspective, two point 
perspective, vanishing point, horizon line, 
converging lines, distortion, proportion 
Procedures: Do three or more of the following: 
As a class project create a city intersection 
using paper boxes for the buildings. Arrange 
the boxes first to determine the height of each 
building—one, two or more stories. Include 
doors, windows, signs, and other details. Keep 
everything simple, 
Photograph these street scenes, or individual 
buildings to illustrate one and two point perspective 
Draw illustrations of the scenes as seen through 
viewers made from tagboard. 
On an outdoor sketching excursion, sketch buildings 
and downtown street scenes with the aid of a viewer. 
If you like one of your drawings, mount it. 5. 
1+8 
PAINTING—TEMPERA 2 periods 
Materials: powdered tempera, assorted containers and utensils for 
mixing paint, newsprint, white drawing paper, drinking 
straws, some pieces of string, and glycerin. (Add 
glycerin to the mixed paint to act as a preservative.) 
Resources: Films: 
Discovering Color 
Books: 
Creative Painting with Tempera, Albenda 
Vocabulary: primary colors, secondary colors, dark, light, bright, 
dull, pastel, monochromatic, complementary, analogus, 
hue, intensity, tint, shade, value, spectrum, prism, 
opaque, transparent, translucent. 
Procedures: The purpose of this experience is: 
1. to discover how secondary colors are formed from 
primary colors, 
2. to discover how various intensities may be formed, 
and 
3. to discover how paint can be manipulated without 
the use of a brush. 
Mix five colors of tempera, one container each of red, 
yellow, blue, black, and white. On pieces of newsprint 
spoon a puddle of red paint and one of blue paint. Lift 
the paper and allow the paint to roll about until the 
colors run into each other and form a new color. Repeat 
the process using red and yellow and yellow and blue. 
Finally, mix up batches of the secondary colors and add 
glycerin as a preservative. Repeat the process using 
black and white or complementary colors to create a 
variety of values or intensities. 
With the variety of colors that have now been mixed play 
around with the forms and shapes that can be created 
in the following ways: 
*+9 
1. roll the paint around on the paper, 
2. blow the paint around with a drinking straw using 
short quick puffs, 
3. fold a piece of paper in half and dab areas of paint 
on one of the halves, fold over, press or rub and 
pull apart again to make beautiful symmetrical 
* designs, and 
U. dip a piece of string into some paint, drop the 
string on to one side of a folded paper but let 
the end of the string hang out, fold the other 
half of.the paper over the string,- and while 
pressing with large book or a board pull the string 
out in one quick motion. Repeat the process using 
another color on the same paper. 
From the many exciting "happenings” that are created, 
beautiful designs can be salvaged. Try one or more of 
the following: 
1. Make a color wheel. 
2. Cut out one or more interesting shapes and arrange 
into a composition on a separate sheet of paper. 
Designs may be accented with magic markers or 
black paint. 
3. Cut out the double images' made with the pulled 
strings and combine into a single symetrical image 
and mount. 
1+. Give names to your designs. 
50 
PAINTING—WATERC0L0R 2 periods 
Materials: OVL-8 watercolor packs, #12 watercolor brushes, 
crayons, -white drawing paper 12nxl8n (80 lb. weight) 
Resources: Reproductions: 
Maid, Modigliani 
Portrait of a Woman, Picasso 
Self Portrait, Picasso 
Portrait of Sylvette, Picasso 
Judgment of Christ, Rouault 
Marilyn Monroe, Warhol 
Girl Wearing an Apron, Jawlensky 
Vocabulary: (See Painting—Tempera) 
Procedures: Redraw (hold up to the window and trace or use the 
opaque projector if necessary) one of the sketches 
of the faces that was done in a drawing exercise on 
a piece of white drawing paper. 
Some things to try: 
1. Use a crayon to define contour lines. 
2. Paint very directly and quickly. 
3. Experiment with various washes, building 
the work up slowly. 
k. Experiment with shading 
5. Experiment with some brush techniques such 
as rolling, dabbing, bleeding, and dry brushing 
6, Examine the techniques of water colorists. 
View your experiments from a distance of ten or 
more feet and select the best one for mounting. 
51 
COPPER ETCHING 3 periods 
Materials: copper foil, liver of sulfur solution, assortment 
of blunt tools, brushes, 000 steel -wool 
Resources: Reproductions: 
Still Life, Cezanne 
Enamel Sauce Pan, Picasso 
Vocabulary: composition, negative and positive space, contrast, 
texture, pattern, tension, balance, symmetry, and 
assymmetry. 
Procedure: From your collection of still life drawings (bottles 
and jars) choose one for a copper foil etching. 
Redraw the design selected in a smaller scale, some¬ 
where between 5 x 7 or 8 x 10 inches. Cover working 
surface with a soft pad of newsprint. Lay design 
over copper foil and trace with not too sharp a 
pencil to reproduce the design on the foil. Then 
with a few blunt tools such as a slap stick or 
pencil eraser push out the design. Add pattern 
and texture to the negative space. All work takes 
place on the back of the picture. Washing in a 
solution of liver of sulphur causes the copper 
foil to oxidize, turning black in color. Then, on 
the right side of the picture rub the foil with 
steel wool to expose the design and texture again. 
Mount with poster board. 
52 
FIBER—DESIGNING WITH STRING b periods 
Materials: 4n squares of white drawing paper, #1 pencils, 
various strings, twine, light rope, cord, yarn, 
thread, etc,, tagboard or wood, white craft glue 
Optional: water base ink and soft brayer, pieces 
of fabric and assorted papers. 
Resources: Books: 
Designing with String, Seyd 
Creative Drawing, Rottger 
Films: 
Discovering Creative Pattern 
Discovering Texture 
Vocabulary: texture, pattern, composition, variety, repetition, 
motif, abstract, print 
Procedures: Discuss ways in which space might be divided and 
make a class chart to illustrate the solutions. 
Some examples may be found by rubbing the. surface 
of a piece of paper while it is lying on a rough 
or textured surface. Some common solutions are: 
cross hatches, prints or repeated patterns, plaids, 
stripes, checks, empty, solid or shaded areas, and 
continuous lines. 
Collect an assortment of cord, twine, string, 
thread, yarn, etc., and make a class chart of 
textures and patterns that can be designed with 
fibers. 
Try one or more of the following on a piece of 
tagboard or a piece of wood if using heavy cords: 
1, Make a continuous line design or picture 
with a single piece of fiber. 
53 
2, Create an abstract or scribble design with 
a long piece of string. Fill in areas 
with patterns or textures made from other 
fibers, 
3. Roll the fiber design with an inked brayer 
and make prints on fabric or various kinds 
of paper. 
MOSAIC COLLAGE 3 periods 
Materials: scrap construction paper, lQx2b inch sheets of colored 
construction paper, rubber cement, scissors, onion 
skin tracing paper 
Resources: Books: 
Creative Paper Design, Rottger 
Designing and Making Mosaics, Timmons 
Emphasis: Art, Wachowiak/Ramsay 
Vocabulary: mosaic, design, pattern 
Procedure:. Select a favorite bug or insect design drawn 
previously, Trace outside lines on to a black 
or dark piece of construction paper and cut out. 
If the design is not large enough use the opaque 
projector to make a larger one. 
With small pieces of colored construction paper 
create a mosaic design on the cut out. 
If you wish to simulate nature’s markings and 
patterns onion skin paper may be used to trace 
specific areas and used as a guide for cutting. 
Group the students according to the type of bug 
or insect made and let each group design their 
own method of displaying or mounting them. For 
example, if several individuals make spiders they 
may wish to make a large web of yarn or strips 
of paper in a corner or on a wall and attach the 
spiders to it. Butterflies may wish to create a 
very formal exhibit, 
55 
SCULPTURE 
Materials: 
Resources: 
Vocabulary: 
Procedure: 
b periods 
electric fence wire, scrap wire, cutters, assorted 
nuts, bolts, and nails collected by students, scrap 
wood from lumber companies and local construction 
contractors, various sized boxes and paper rolls, 
hammer and nails, glue, tissue paper 
Review pictures of sculpture from slide collections. 
Books: 
Works of Picasso [from the local college library) 
Wire Sculpture and Other Three Dimensional 
Constructions, Brommer 
sculpture, proportion, distortion, linear, mass, balance 
Try two or more of the following: 
1* Form a figure from a single piece of wire. 
Bend the figure into an action pose and attach 
to a piece of wood for a base, 
2. Design a necklace, bracelet or a pair of earrings 
from a piece of wire. 
3. Create an animal or figure from scraps of wood 
Glue or nail together. 
4. Create a form or figure from various shaped boxes and 
paper rolls. Hold together with glue or paper mache. 
5. Create an abstract design from any or all of the 
materials, 
6. Add pieces of tissue paper to create colored planes 
or details. 
7. Paint or decorate with paper scraps. 
8. Name your sculpture. 
56 
PHOTOGRAPHY 
Materials: 
Resources: 
Procedure: 
3 periods 
small "box with tight lid for each student, "black 
spray paint, brass shim stock (from auto parts 
department) or heavy aluminum foil, #8 sewing needle, 
photographic paper (100 sheets), Kodak dektol developer 
and fix, safelight, three shallow trays 
"The Pinhole Camera”, Russel B. Nelson 
Instructor Magazine, May/June 1975 
Carl Vermuelen, a community resource person from 
Unity Christian High School 
Build your own camera. 
1. Paint the inside of a small box flat black, 
2. Cut a small hole one inch square in the center 
of the lid, 
3. Put a ring of masking tape in the bottom of the 
box to hold the negative in place. 
h% Cut a piece of shim stock just larger than the 
hole in the lid. 
5. With a #8 sewing needle drill a hole through the 
shim stock. 
6. Tape the shim stock over the hole in the lid. 
7. Cut a piece of photographic paper (8x10) into four 
pieces and tape one piece to the bottom of the box, 
shiny side toward the hole. Work with the 
photographic paper only under the safe light. 
Now you are ready to take a picture. 
1. Cover the hole with hand or black paper and 
select a suitable subject outside. 
2. Set the box down facing subject and remove paper 
from the hole. 
3. On a sunny day (with a hole made with #8 sewing 
needle and a box 4 to 6 inches deep) expose for 
about one and half minutes. Double this time on 
a cloudy day. 
57 
U. Cover hole and go to dark room set up for 
developing. 
5. Under safelight remove paper from the box and slide 
it into the developer. The picture should be 
exposed in about two minutes. Rinse in water and 
put into fix for about five to ten minutes. Finally 
move to large pan of water to rinse for fifteen to 
twenty minutes. 
6. More prints can be made by wetting another piece 
of photographic paper, putting the negative face 
down on the glossy side of it and exposing this to 
white light for approximately ten seconds. Develop 
bottom sheet just as you did the negative. 
7. To dry negative and prints, put them between sheets 
of blotting paper and press in a thick book till dry. 
Suggested Subjects: 
1. portraits of each other to use for drawing. 
2. shots of buildings and streets illustrating 
one and two point perspective. 
3. unusual angles of ordinary objects. 
k, suggestions from Mr. Vermuelen. 
Optional Activities: 
l. Prepare a class exhibit for the "end of the year" 
art exhibit. 
2. Mount your pictures. Check the article for unusual 
suggestions. 
3. Begin a scrapbook of "Pictures I Wish I Had Taken" 
from magazines. Notice internal framing and unusual 
angles of shots. 
U. Begin a camera fan club. 
58 
Grade Seven 
59 
DRAWING, DESIGNING, AND COMPOSING 7 periods 
Materials: white drawing paper l8Mx24M, construction paper cut into 
several rectangular shapes of 1:U ratio, e.g., l"xVf or 
3nxl2", assorted colors of construction paper 12T,xl8M, 
rubber cement, scissors, and crayons 
Resources: Films: 
Discovering Perspective 
Discovering Harmony in Art 
Reproductions: 
Wedding Dance, Brueghel 
La Grande Jatte, Seural 
Dancers in Pink, Degas 
Hockey Players, Kirchner 
Scene on the Steps, Schlemmer 
Vocabulary: composition, balance, overlapping, shading, background, 
foreground, negative and positive space, arrangement, 
perspective, proportion, horizon line, foreshortening 
Figure study♦ 
This exercise is designed to follow a discussion of 
the proportions of the human figure. Fold a piece of 
paper cut in a 1:4 ratio such as 3”xl2,f or 4Mxl6" on 
the dotted lines as illustrated at the left. Line B 
is halfway between A and C and represents the top of 
the legs. D is halfway between B and C.and represents 
the knee. E is about one third of the distance below 
A to B and is the approximate height of the head and 
neck. The trunk of the body (E to B) is divided again 
to determine the waistline. This is more than half 
the distance between E and B because the upper portion 
is proportionately longer than the lower portion of 
the trunk. Once these lines are established sketch in 
the parts of the body as illustrated. The length of 
the upper and lower arms can easily be demonstrated 
by observing that the upper arm begins at the top of 
Procedures: 1. 
6o 
the shoulder and ends at the waistline, the lower arm 
is just slightly shorter than the upper arm, and that 
the hand extended is about one half of the lower arm. 
The feet are also about one half the length of the 
lower leg. 
Cut out each section individually and arrange into a 
form on a piece of colored construction paper. Take 
some time now to play around with these forms putting 
them into various positions to illustrate action or 
emotion. Students may take turns posing to help solve 
particular problems. Students will also become aware 
of the need to foreshorten certain parts of the body 
to realistically represent certain poses. 
After the period of experimentation, select a favorite 
pose, arrange the pieces, sketch around the pieces 
lightly with pencil and glue in place. Additional 
forms can be made by only sketching around the forms. 
When the pieces are glued in place, cut the forms out 
leaving a narrow edge of the colored construction 
paper about each form for the color contrast. Before 
these forms are arranged into a class mural, try 
another exercise, 
2,. Composing a picture. 
Study the reproductions of Brueghel, Kirchner, and 
Seurat. Notice how the effect of distance is achieved 
by placing the larger figures in the foreground and 
the smaller figures in the background, also the 
overlapping of the figures and the placement of the 
horizon lines. 
Select five or more figures made by the class and 
arrange these on a piece of l8nx24” white drawing 
paper into an interesting composition showing depth 
of field by overlapping forms or placement of the 
larger figures in the foreground and the smaller 
figures in the background. Consider the relationships 
of the negative and positive spaces. Some forms may 
be repeated effectively. 
When the composition is planned sketch lightly around 
the figures and remove them from the paper. Using 
crayons or oil pastels, "dress" the figures around a 
6i 
particular theme such as a school party, a sports 
activity, a favorite hook or story, or a classroom 
experience. Dressing each form to represent a class¬ 
mate forces the student to observe carefully. 
Now the negative spaces become the setting for the 
figures and these may be filled in to complement the 
theme or setting of the figures. On the next page 
are some simple suggestions for creating a sense of 
space. Can you think of others? 
Notice how Schlemmer, in the painting ’’Scene on the 
Steps” deals with a directional light source in the 
shading of his figures. Experiment with an imaginary 
light source in your composition if possible. Check 
out the possibilities of shading with analogus or 
complementary colors. 
Mount and frame your composition, it is a work of art I 
3. Making a mural. 
When the compositions are completed arrange the 
original forms of the whole class into a mural, again 
arranging them to affect depth of field and perspec-' 
tive. If there is time work in background details 
in the same media, (colored construction paper) 
62 
Creating a sense of space: 
63 
PERSPECTIVE 3 periods 
Materials: drawing boards, 9f?xl2” white drawing paper, a crayon 
12Mxl8M white drawing paper, crayons or charcoal, 
tagboard 
Resources: Films: 
Discovering Perspective 
Reproductions: 
Street at Sannois, Utrillo 
St, Remain Quarter, Utrillo 
Vocabulary: vanishing point, horizon line, foreground, background 
converging lines, composition balance 
Subject: Landscapes 
Procedures: Before going out to sketch try these exercises: 
1. On a piece of 9,fxl2n white drawing paper 
sketch one of the Utrillo reproductions with 
a crayon. Begin by dividing both the picture 
and your paper into quarters as illustrated 
at the left. Plot the points where roads and 
the buildings begin and end. Notice how 
handling the vertical lines differs from the 
horizontal lines in the representation of 
depth or perspective. 
2. Collect pictures of rivers and roads from 
magazines and display them in the classroom. 
Cover them with a grid of lines to analyze 
the converging lines. 
6b 
3. Make a frame by cutting a hole 3MxU" in the 
center of a large piece of tagboard. Use this 
to ’’frame out" a gcene for sketching. A frame 
helps to visualize the composition of the scene 
by blocking out everything around it. Hold the 
frame at arm’s length or at a consistent distance 
from the eye and register a corner of the cut 
out area on a specific object so that each time 
you look through it you get the same picture. 
Spend at least two class periods out of doors at 
Children’s Park sketching scenes which include a 
horizon line, hills, trees, and buildings. Work 
out the sketches on larger sheets of newsprint 
with charcoal or crayon. Consider how close objects 
may frame a distant scene. Encourage students to 
sketch at home or around the community during the 
week. Use student photographic work as a source of 
compositional ideas. 
Mount your best drawing. 
65 
SKETCHING (preliminary exercises for painting and water color resist) 
Materials: l8??x2^n newsprint, pencil, charcoal, marker or crayon 
Resources: Film: 
Discovering Light and Dark 
Painting Trees with Elliot 0MHara 
Reproductions: 
Seven A.M., Hopper 
Slides: 
Hopper houses 
Victorian house 
Vocabulary: texture, pattern, contrast, light and dark 
Procedures: Do one or more of the following: 
1. Draw an interesting home in Sioux Center 
2. Draw one of the churches in Sioux Center 
3. Draw your home or a large building on your farm. 
b. Make a drawing of a particular style of home. 
Emphasize texture and pattern in the drawing. 
Light and dark will be emphasized in the paintings. 
Choose one activity. 
1. Select one object from a collection of small 
items and draw on a piece of newsprint, enlarging 
the object until it fills the page. Add as many 
details as possible. 
2, Sketch part of a plant or a single blossom, 
enlarging it many times to fill the page. 
Resources: Film: I Walked Through the Wood 
Book: Creative Drawing, Rottger 
Slides: Oldenburg and Lichtenstein 
66 
PAINTING—TEMPERA. 2 periods 
Materials: tempera paint, containers and tools for mixing paint, 
jars, plastic margarine tubs, and styrofoam egg cartons 
for individual mixing, #12 brushes, glycerin 
Vocabulary: complementary, analogus, hue, intensity, tint, shade, 
value, opaque, transparent 
Fihm: Review ’’Discovering Color” if necessary. 
Procedures: Review color mixing and brush techniques. 
Make a class chart of student ideas on textures. 
Reproduce a drawing of a house on l8”x2V white drawing 
paper and paint in flat areas of color. Over paint for 
light and dark areas. Markers or ink may be used to 
add textures, 
Mount your work. 
PAINTING—WATERCOLOR RESIST 2 periods 
Materials: 
Vocabulary: 
Resources: 
Procedure: 
pads of newspapers, iron, crayons or oil pastels, 
watercolor packs, wide brushes 
resist, transparent 
Books: 
The Complete Crayon Book, Alkema 
Emphasis: Art, Wachowiak/Ramsay 
Redraw or trace the sketches of small items or plants 
on a piece of white drawing paper. (Or work directly on 
the original drawing.) Color the drawing boldly, leaving 
white paths between the areas of color. When using a 
dark resist, greater contrast can be achieved by using 
light or bright colors. To facilitate coloring with 
wax crayons heat small areas of the paper at a time with 
an iron. To prevent the iron from getting dirty cover 
the area with a piece of newsprint, Work on a pad of 
newspapers. 
When the entire picture is colored, dip a large brush 
into transparent ink or water color and paint quickly 
oyer the entire picture. The paths now become an 
important part of the design and the small beads of ink 
or watercolor which the wax resisted add texture. 
Let dry thoroughly and then press to remove wrinkles. 
68 
FIBER—WEAVING periods 
Materials: yarn in assorted colors, slap sticks (13 per student) 
white craft glue, hand drill, small pieces of cardboard 
for shuttles, U ply string, one sturdy stick 12 or l4 
inches long for each student, a piece of clothes line 
rope about four or five feet long for each student (or an 
old tie or piece of fabric) 
Books : Needle Weaving, Dendel 
Vocabulary: loom warp, weft, shuttle, heddle 
Procedures: Several types of looms for needle weaving can be used 
in the classroom such as a cardboard loom or tapestry 
- \ loom. This experience introduces the backstrap loom. 
^  v 
Let a few volunteers drill holes 
slap sticks for each student. 
in the centers of 9 
The looms are made by gluing the nine slap sticks with 
holes in them to another slapstick at the top and a 
second at the bottom. Leave a space about 1/8" between 
each stick. Glue a second slap stick across the top of 
the nine sticks and repeat on the other end to hold 
them firmly. See Diagram. Let dry thoroughly. 
Select 3 or 4 colors of yarn and wrap each color around 
a shuttle made of card board. Best Results are usually 
obtained when one limits the number of colors used. 
Cut 17 strings about four or five feet in length, (one 
for each of the nine holes and 8 spaces) Attach each 
string to the waist stick about \ of an inch apart. 
Knot it, leaving a tail about 3 or 4 inches long. Slip 
the long string on the end of the waist stick through 
the first hole on one side of the loom. The string 
next to this slips in the space between the first and 
second sticks. The third string goes through the hole 
in the second stick, and the fourth string in the space 
between the second and third stick, etc. until all 
69 
seventeen are strung through the loom. 
Gather the ends together and tie in an overhand knot 
close to the end, Be sure that all strings are taut 
when stretched out. Attach the knotted strings to a 
stationary object and with a rope or strap attach the 
waist stick to the waist by tying one end of the rope 
to one end of the stick, wrapping the rope around the 
back, and then attaching it to the other end of the 
stick. Sit on a straight chair and push back until 
all strings are taut. 
To begin the weaving process, push down on the loom to 
separate every other string so that the shuttle with the 
yarn can be pushed through. Then lift the loom and push 
the shuttle back again between the separated strings. 
The loom itself can be used as a heddle to push the yarn 
up firmly each time after the shuttle passes through. 
Pass the shuttle back and forth as the loom is lifted or 
depressed and.,.you are weaving! 
By changing colors for long or short sections many 
interesting stripped patterns can be developed. Add 
extra textural effects with creative stitchery on the 
finished weaving. 
When finished weaving untie all knots and slip the loom 
off the end. Knot every two adjacent strings together 
along each end to hold the ends of the weaving in place. 
Macrame or tie several rows of knots into the end strings 
and trim, leaving a fringe. 
The weaving can be folded in half and the edges sewn 
together to make a small bag or purse. Make a wall 
hanging by attaching to a small dowel stick or a piece 
of drift wood, or leave as is and use as a small mat. 
By varying the size of the loom (2M or 12") different 
finished widths can be made. A narrow width may make a 
fine belt or trim. A wide one may be used for place 
mats, 
TO 
COLLAGE-NATURE 1 period 
Materials: craft glue, assorted dried leaves, seeds, grasses, 
twigs, etc., 12uxl8,? tagboard and colored construction 
paper, rubber cement 
Resources: Crafting with Nature’s Materials, Alkema 
Procedures: Bond a piece of construction paper to a piece of 
tagboard by smearing glue over the entire surface on 
one side of each piece. Let dry a few minutes and then 
press the glued surfaces together. 
On the colored surface create a design or picture from 
your collection of dried materials. Avoid repeating 
nature directly, for example, do not use leaves to 
make a tree or flowers to make a bouquet. It is 
exciting to take a giyen form and create a new use for 
it. 
When you are satisfied with the composition glue it in 
place with white craft glue. Avoid heavy pieces such 
as rock or cones, Sometimes cones or pods can be cut 
apart and used that way, 
Some suggested topics: birds, animals, people, machines, 
or abstract designs. 
71 
SCULPTURE—'PAPER MACHE MASKS 3 periods 
Materials: newspapers, paper towels, wallpaper paste, 
paper plates, tempera paint and "brushes, 
shellac, scissors, masking tape, tin foil 
Resources: Paper People, Grater 
Creating With Puppets, Kampmaan 
Vocabulary; distortion, proportion 
Procedures: A paper mache experience is usually connected with 
either the fall or spring production of the Drama 
Club at the Sioux Center Christian School and may be 
involved in the production of many types of props 
other than masks. As the class project, however, 
masks and puppets probably generate the most 
enthusiasm. 
Begin the construction of a mask by cutting a wedge 
out of a paper plate. Pull one cut edge just over 
the other and staple them together. This produces a 
slightly cone shaped form which should fit comfortably 
oyer the nose. Hold the plate to the face and mark 
the position of the eyes and mouth, then cut holes 
for the eyes and mouth. Using bits of paper or tin 
foil and tape build a nose, chin, lips and eye brows. 
Experiment with the expressive characteristics of the 
face, Attach a strip of paper to fit under the chin 
across the bottom inside the cone to hold the mask in 
place, The front area of the form can be increased 
by folding a large sheet of newspaper into a sturdy 
form and attach it to the mask with tape. 
Mix the paste according to the directions of the box. 
Tear the newspaper into inch wide strips about a foot 
long, Dispense the glue in small bowls or margarine 
containers. Draw the strips through the glue holding 
the paper under the glue with one hand. Squeeze away 
the excess glue between the index and middle finger 
Cover the entire face one strip at a time moving across 
72 
the area in one direction. Fold the ends of the strips 
around the edges to make them smooth. Use smaller strips 
or Just hits of paper to finish detailed areas. The 
entire face should he covered with at least a double 
thickness of newspaper. 
Now allow the mask to dry thoroughly for one or two days. 
It is important that the mask he allowed to dry in the 
correct shape or position, because once dry it is hard 
and stiff. If too much glue is used the cone may get 
wet and sag or flatten, It is a good idea to let it dry 
over an overturned howl or wad of paper. 
When completely dry cover the entire face with another 
layer of paper toweling and glue. This is most easily 
done by quickly brushing one area of the face at a 
time with glue and covering the wet area with torn hits 
of toweling, not strips. This can he smoothed out more 
easily. Additional details can also he added with the 
toweling or hits of yarn, string, etc, such as warts, 
hair, scars, etc. Let the mask dry completely again. 
Now the mask is ready to he painted. These painted 
shapes need to "consider” the structural form hut try 
to he imaginative, daring, clever, free, and happyI When 
the paint is dry cover with a coat of shellac. 
To hold the mask in place, attach an elastic hand Just 
above the ears around the hack of the head. 
Puppet heads can be' created using basically the same 
techniques. 
73 
PRINTMAKING—COLLOGRAPHS 3 periods 
Materials: cardboard (tablet backs, etc.), glue, 12"xl8n tagboard, 
black, red, blue, and yellow tempera paint, a brush for 
each color paint. 12"xl8n white drawing paper and 
construction paper. 
Resources: Printmaking Activities for the Classroom, Pattemore 
Art: Emphasis, Wachowiak/Ramsay 
Classroom books and encyclopedias 
VocalDulary: print, collograph, monoprint 
Procedure: Select a class theme'or choose one of the following 
subjects and make a drawing. 
1. cars, modern or vintage 
2. boats or ships 
3. clowns, sad or happy 
h, geometrical design made with a compass 
Transfer the drawing to a piece of cardboard and 
cut it out with a scissors, razor blade, or matt 
knife. Glue the design to a second piece of 
cardboard or tagboard, Dry thoroughly. Test 
prints can be made by covering the raised surface 
of the design with a piece of paper and rubbing 
it with the flat side of a crayon. 
Set up a center for each color of paint. A print 
is made by brushing the surface of the design 
with paint and quickly laying a sheet of white 
drawing paper face down over it. Rub lightly and 
pull, The first print will be quite heavily covered 
with paint, Immediately try a second and a third 
print before repainting. With each consecutive 
print, more rubbing is required. The effects are 
unpredictable but fun. Try a second color, it will 
lift some of the first color along with it making 
interesting combinations. 
Mount your best works and exhibit each of them 
as a group, 
75 
RELATED ACTIVITY—COLLECTION EXHIBIT 3 periods 
Materials: large paper cartons (refrigerator size), tables, 
36” width roll paper, paint, brushes, pins, staplers, 
poster paper and markers, colored construction paper 
Resources: Field trip to the library for information on exhibiting 
and mounting. 
Procedures: As a special activity the seventh grade class will sponsor 
a ’’Collector’s Exhibit”. Any person in the school may 
exhibit—student, teacher, or administrator. 
The class will be responsible for the following: 
1. 
2. 
3. k. 
5. 
6. 
aid and advise individual exhibitors in 
preparing their individual collections for 
showing, 
set up tables and panels (card board boxes) 
label all exhibits 
decorate and advertise 
prepare a library exhibit of books and pamphlets 
on collecting and exhibiting, and 
clean up. 
In preparation for these activities some time will be 
given to discussing principles of poster making, lettering 
and composition. 
Grade Eight 
77 
DRAWING, DESIGNING, AND COMPOSING h periods 
Materials: newsprint, white drawing paper, charcoal, oil 
pastels, crayons, pencils, drawing boards 
Resources: Films: 
Discovering Ideas for Art 
Reproductions: 
Blue Girl Reading, Macke 
Purple Robe, Matisse 
Barefoot Prodigy, Moore 
Dancers Reposed, Soyer 
Dancers in Pink, Degas 
Women of Tahiti, Gauguin 
Girl on a Bridge, Munch 
Cyclist, Lindner 
Scene on the Steps, Schlemmer 
Woman with a Mandolin, Braque 
La Mousme, Van Gogh 
Still Life, Paul Cezanne 
La Jour, Braque 
Enamel Sauce Pan, Picasso 
Marilyn Monroe, Warhol 
Wedding Dance, Brueghel 
Bedroom at Arles, Van Gogh 
Harvest Scene, Gauguin 
Victorian Interior, Pippin 
Books: 
The Complete Crayon Book, Alkema 
Creative Drawing, Rottger 
Emphasis; Art, Wachowiak/Ramsay 
Famous Paintings, Chase 
The American Farmer, Seim 
Vocabulary: contour lines, contrast, positive and negative space, 
shading, tension, balance, composition, proportion, 
linear, and mass 
78 
Procedures: In this unit of work a large amount of time will he 
spent in studying the reproductions to search for ways 
of communicating through the yisual art of drawing and 
painting what life and culture means to those who attend 
the Sioux Center Christian School and who live in the 
community of Sioux Center, Iowa, in 1975. After deciding 
upon the types of things and ideas we would like to 
communicate the following .areas will be developed. 
1. figure sketches of each other or family members 
2. the still life 
3. personal choices 
Figure Sketches. 
The students will begin by posing for each other. In 
the drawings, emphasize clothing and hair styles that 
are typical of the area and times, such as blue jeans, 
bare feet, long hair, etc, Look for expressions of 
feelings or beliefs, of likes and dislikes, hobbies 
interests, or activities, to incorporate into the picture 
Many students are engaged in musical activities and play 
instruments. Others actively engage in sports such as 
basketball, baseball, or football. Everyone has a bike, 
a friend, a favorite teacher or subject, a job, a 
favorite place for food or entertainment. 
Sketch the figure and the Midea,?, 
Still Life, 
Students select objects that relate to a particular 
time or place to sketch. Some examples: a 10 speed 
bike~-1970, the banana seat, small wheeled, baloon . 
tired model—I960, There are cars, lights, farm 
machinery, washing machines, foods, shoes, and furniture 
that can be dated by the style. Study examples of 
Oldenburg and Lichtenstein in Slide Set #2. 
Personal Choices. Optional. 
Student may draw any other ideas in which he might 
wish to communicate something about his home or 
community, religious or political beliefs, life styles 
or feelings. If possible, correlate with ideas from 
social studies or language art activities. 
79 
PERSPECTIVE 
Materials: 
Resources: 
Vocabulary: 
Procedures: 
3 periods 
construction paper, rubber cement, oil pastels 
Film: 
Discovering Perspective 
Reproductions: 
Bedroom at Arles, Van Gogh 
Shed Lantern, Wyeth 
Slides: 
Selection of pictures by Hopper 
conyerging lines, vanishing point, shading, radiation, 
emphasis 
On pieces of newsprint sketch hallway scenes, including 
a doorway or window arrangement, Trace or redraw the 
the scene on a piece of colored construction paper. 
Fill in the areas with various other colors of 
construction paper cut to fit each area. Add the effects 
of shading with oil pastels. Consider how the arrangement 
of the lines divides the surface of the paper into areas 
as you plan the composition. These lines may also be 
reinforced with a marker or pen. 
Work out a color scheme in one of the following ways: 
1, monochromatic 
2, warm colors, many shades 
3, cool colors, many shades 
4, the full spectrum 
If you would like your composition, have it laminated 
and mount it. 
80 
PAINTING—WATERC0L0H 3 periods 
Materials: Prang 0VL-8watercolor packs, #12 vatercolor brushes, 
l8”x24lf white drawing paper (80 lb, weight) 
Resources: All reproductions of figures listed in the unit on 
drawing, designing and composing. 
Vocabulary: complementary, analogus, tints, shades, value, 
intensity, wash, dry brush, opaque, transparent 
Subject: Figure Studies-'-People:1970 
Procedure: After experimenting with the brush, make a chart to 
illustrate the various techniques such as: 
1. 
2, 
3, 
bt 
5. 
6, 
7. 
8, 
wash 
rolled brush 
brush print 
dry brush 
bleeding 
wax resist 
fat and thin lines 
swirls 
Along the bottom of the chart include at least a 
5 point value scale or blend from light to dark. 
Begin the painting by lightly drawing or tracing the 
sketches made in the drawing class on a piece of white 
drawing paper. With pale washes block in the main 
areas and background. Slowly build each area up to 
the desired intensity, considering light sources. 
Add details. Make several examples. 
Mount and name your picture, 
8l 
PRINTMAKING- 
Materials: 
Resources: 
Vocabulary: 
Subject: 
Procedures: 
o 
p 
D o □ o □ 
oo o ao 
0 O U O D 
o □ o D o 
□ o n oa 
-STENCILS 
tempera paint, sponges [broken or cut up into small 
pieces), white drawing paper 9Mxl2,r, scissors, 
36” white roll paper 
Film: 
Discovering Creative Pattern 
Books: 
Creative Painting with Tempera, Albenda 
Painting in the School Program, Timmons 
symbol, motif, repeated patterns 
wrapping paper designs 
Design one or several motifs or symbols to characterize 
the theme chose. A single motif or symbol drawn 
several ways is also suitable. 
Draw each design in the center of a 9"^^" piece of 
white drawing paper. If the design is very detailed, 
draw in mosaic style. Cut the designs out with a 
scissors or razor blade. 
Cut sponges into pieces and dampen with water. 
Dip sponge into the paint and dab on newspaper 
first to spread the paint evenly on the sponge. 
Then place the stencil on paper and paint the 
exposed area in a dabbing motion. When the paint 
is not too thick interesting textural effects can 
be obtained by dabbing or stroking. Experiment 
with shading and mixing by painting one color 
over another. 
When.you have completely explored the possibilities 
of your designs, cut a 36” square of white roll of 
paper and plan an over all design of repeated patterns. 
Then stencil the. designs on it as planned. 
82 
FIBER—CREATIVE STITCHER! 5 periods 
Materials: 9"xl2n white drawing paper, crayons, iron, "burlap, 
yarn, needles, scissors 
Resources: Stitchery for Children, Enthoven 
The Complete Crayon Book, Alkema 
Vocabulary: symmetry, form, pattern, repetition, variety, balance, 
emphasis, radiation 
Procedure: To prepare a design for stitching, fold a piece 
of white drawing paper in half lengthwise. On one 
side, using the fold line as a base, write your name 
with a dark crayon very heavily. Fold again and press 
with an iron, The name will now be written in mirror 
fashion on both sides of the fold, creating a design 
in which the actual letters become a new shape. Study 
the design vertically to determine which end serves 
as a base to the now symmetrical form. Begin building 
up the form with rows of patterned decorations moving 
all the way around the form. Some typical examples 
are:
 ^JUUUUULs JHAJLZAJL 
P D o O O C] D Il3 □ p o A/lM/iAvvvvvn 
The inside area of the design may be decorated with 
patterned rows or made into solid areas of color. 
By varying the widths of each row as well as within 
each row, the design will develop volume and character, 
Mount the designs on a wall and study them in terms of 
translating them to burlap and yarn. 
Make a class chart of stitches and ways in which stitches 
can be combined to make repeated patterns. Students 
should first learn to make the following stitches: 
straight, running, outline, chain, blanket, cross, 
feather, satin, couching, and the french knot. 
83 
Work out the design in burlap and yarn. For most 
students this project -will require quite a bit of 
time outside the number of periods allowed for this 
activity, 
Qk 
COLLAGE 1 period 
Materials: Cut or torn paper, or assorted colors and 
types of fabrics, rubber cement 
Resources: Reproductions: 
I and the Village, Chagall 
Configuration, Art 
LaJour, Braque 
Slides of Nolde 
Books: 
Creative Paper Design, Rottger 
Emphasis: Art, Wachowiak/Ramsay 
Vocabulary: abstract, tension, composition, rhythm 
Procedures: Choose either torn paper or cut fabric as a medium. 
Study the slides and reproductions for ideas. 
Compositions can have a psychological impact on the 
viewer. You can create a mood by the way you arrange 
the most important lines or rhythms in your painting. 
Study the examples on the next page and use one of 
these suggestions if you can. 
Work out an abstract design or composition, which 
through the textures, lines, shapes, or colors 
expresses a feeling, a belief, or an emotion about 
someone or something. Give your composition a title. 
85 
The Psychological Impact of Lines 
— — *  Horizontal: This composition 
imports a feeling of quiet, calm 
• and, peace. Can you visualize a 
silent 9 early morning sea or a 
long, far-off view of a peaceful 
valley? Most seascapes and. 
   
 
landscapes are horizontal. 
Explosive: This composition symbolizes 
war, hatred and chaos. It is frenetic 
and could be used 
blare of trumpets 
blue singer. 
to depict jazz—the 
or the wail of a 
Vertical: Vertical 
lines symbolize 
classic dignity, 
soaring skyscrapers, 
inspirational or 
spiritual qualities. 
Angular: Angular 
lines suggest 
restlessness, 
excitement- and 
activity. Many of 
our contemporary 
painters use angular 
lines, (see Cubist 
paintings by Picasso, 
Gris, and Duchamp, 
and the violent 
paintings of such 
Abstract Expression¬ 
ists as Franz Kline) 
86 
Rhythmic lines symbolize ease, 
softness, and graceful movement. 
They are pleasant to live with 
and keep the eye constantly 
moving from place to place. 
...from ’’Brush and Palette” 
by Sorgman 
87 
SCULPTURE—CLAY ^ periods 
Materials: moist clay, paper towels, assorted modeling tools, 
glazes, brushes, wax resist, bricks, sawdust 
Resources: Finding One’s Way with Clay, Berensohn 
Creative Clay Design, Rottger 
Vocabulary: wedging, kneading, slab, slip, coil, pinch, 
greenware, earthernware, stoneware, porcelain 
leather hard, glaze, bisque firing, kiln, wax resist 
Procedures: From a lump of clay pull out parts that will become 
the limbs and head of a human form and mold into an 
expressive pose, By manipulating these parts search 
out ways in which the body can express or show feelings 
anger, loye, joy, reverence, worship, peace, weariness, 
strength, dignity, pomposity, weakness, or peacefulness 
After watching a demonstration of hand construction 
methods make a pot using one of the following 
techniques: 
a, pinch 
b, coil 
c, slab 
d, combination of two or three 
Experiment with tools or textured surfaces to create 
patterned slabs for construction. Design beads or 
buttons with left over pieces of clay. 
Any pieces that are to be fired in the electric kiln 
at the college may be glazed, Wax the areas that rest 
on the kiln shelf. The figures or pots that are not 
glazed will be fired in a sawdust kiln built and 
operated by class volunteers. Complete instructions 
can be found in Berensohn’s book. The only materials 
required for this are some used bricks and sawdust, 
88 
CLOTHING AND JEWELRY DESIGN ^ periods 
(Optional choice for Related Activity) 
Materials: A simple pattern for a loose fitting dress or garment 
and three or four yards of muslin, (to be purchased 
by student) dye, string, buckets or basins, soda 
and cornstarch, pans and spoons, tempera paint, 
shellac or spray fixative 
Procedure: Discuss methods of tie and dye for over-all designs 
or planned patterns, then dye the muslin as desired. 
Garments will be cut and sewn at home. The garment 
may be decorated with stitchery designed by the 
student. Stitches can be effectively used to 
complement or enhance the tie dyeing process. 
Design jewelry from ’’creative clay” to complement the 
dress. The recipe is on the cornstarch box. Paint 
and shellac, 
Plan a style show. 
89 
ENVIRONMENTAL IMPROVEMENT PROJECTS b periods 
(Optional choice for Related Activity) 
Materials: This will le decided if a plan is accepted and funds 
are made available. 
Procedure: The purpose of this activity is to allow the student 
to search out and discover areas that can demonstrat- 
ably be improved. Time will be spent in short field 
trips around the school or town. The project idea 
may be only visionary, but the plans and ideas are to 
be drawn up and made visual through pictures or models. 
Examples of such activities are: 
1, Landscape the interior court area of the school. 
(.This is one activity that could possibly become 
a reality,) The school is built according to 
 the design at the left and the interior court 
has just a few trees and shrubs in it. 
 2, Improvement of the appearance of the areas 
  around the railroad tracks south of town. 
3, Improvement of the appearance of specific 
downtown areas. 
—”■ kt Improvement in the appearance of the family • 
farm yard. 
5i Improvement in the appearance of the classroom. 
6. Improvement in the appearance of a room at 
home. 
90 
RESEARCH PROJECT 2 periods 
Resources: slide sets and reproductions used for the activities 
Vocabulary: aesthetic, abstract art, non-objective art, pop art, 
op art, surrealism, impressionism, expressionism,, 
romanticism, classicism 
Procedures: The activities will concern themselves with the 
following considerations: 
1, A discussion and examination of art styles and 
artists, based upon slides and reproductions. 
2, A look at two Dutch artists: Rembrandt and 
Van Gogh. 
3. Preparation of a paper or oral presentation on an 
American artist, 
4. Preparation of an exhibit of American 20th century 
artists, demonstrating various styles. 
















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