Reflection, Assessment,
LESSON 3 Skill Building in New Techniques and Materials (3 blocks) Concepts: Construction Techniques, Surface Treatment,
Firing Methods, Hanging Methods GEN3–4; SD2–3, SD5
L E S S O N S E Q U E N C E A N D D E S C R I P T I O N T E A C H E R C O M M E N T A R Y
Note:This lesson uses learning centers to build students’ skills with the various materials, construction techniques, and firing methods they will use to create their artwork.
I used the pre-assessment responses to determine which students needed to work on which skills. Each stu- dent’s learning log included spaces to check off learning center work with the type of clay, technique, and firing methods (see Sample 4.3).
Safety overview.Begin this lesson by discussing safety expec- tations for the ceramic studio. Administer a safety test that all students must pass before working with the specialized equip- ment and materials. Next, distribute the standard safety con- tract required by the district (translated for ESL students or with slightly modified language for students with behavioral issues). Explain to students that both they and their parent or guardian must sign the safety contract before they can begin their studio work. Keep these documents on file as proof of shared agreement on student safety responsibilities while in class.
Both safety tests and contracts are required in my school district, and all art teachers and students must practice and enforce the safety contract measures. Agreements like this are necessary to keep things run- ning smoothly and safely in environ- ments where students are working independently.
Individual sculpture plan presentation and approval con- ferences.During these one-on-one conferences, held through- out Lesson 3, students formally present their sculpture plan.
Discuss ideas and plans, and review decisions related to mate- rials and techniques.
As noted, having a “design approval”
requirement was a way to ensure I met individually with all students to review their plans. But it was also a way to get students started on their sculptures right away. I didn’t want them to sit in class for days just think- ing about possible designs.
Review of the process/complex learning log.Remind stu- dents that they should be using their learning log to stay on top of tasks and due dates and should make progress toward each of the goals in every lesson.
Individual studio time/Learning center #1: Paper clay.Stu- dents who do not need to practice specific techniques begin work on their sculptures, using the learning log as a guide.
The others participate in the first materials-and-process dem- onstration in this lesson.
I used pre-assessment results to deter- mine which students needed to learn and practice new skills and methods.
Remind students to use their sketchbooks to take notes during each learning center, being sure to record information about both the material and the process.
For the paper clay demo:
• Demonstrate the material’s pliability, stability, and easy maneuvering.
• Explain that it is well-suited for hanging pieces because it fires to a light weight.
• Note that it stays pliable for longer amounts of time than other clays do.
• Explain and display the process of hand building with paper clay and throwing it on a wheel.
• Prompt students to think about whether they want to use paper clay as the media for their sculpture.
During the demos, what was most successful was encouraging the stu- dents to take notes in various formats to address their various learning styles by sketching parts of the demo, taking traditional lecture notes, draw- ing annotated diagrams.
Mini-model creation.As part of skill development in ceramic clay or paper clay, students create a maquette—or small model—of their anticipated sculpture. Stress to students the advantage of executing a design plan on a small scale before starting on the final sculpture.
Model creation was required—a part of students’ grades that they had to check off in the learning log. The material used (ceramic clay or paper clay or both) was the students’
choice, based on interest. I encour- aged them to take on new challenges in choices and materials.
During the planning and construction process, consult with students on the design parameters and skill level for the tech- niques they are using.
Here, I focused on encouraging stu- dents to take risks and challenge themselves. It was about pushing for excellence.
Learning center #2: Firing methods.Due to safety issues and the continued development of skills, all students participate in this demonstration, which gives a variety of firing choices.
Students with experience and high skill knowledge assisted with the demonstration.
For the firing methods demo:
• Lecture and demonstrate each firing choice the students have.
• Explain how each firing method could complement their final sculpture differently and how to go about choosing the right one for their personal piece.
• Display various examples of Sagger firing and Raku firing.
• Cover the chemistry of each type of firing, the chemical reactions, kiln temperature, and so on.
• Explain to students that they may also combine firing methods or opt for a cold finish: a color treatment tech- nique such as stain, acrylic paint, ink, and so on.
This demonstration component allows student to learn about vital fir- ing processes, which involve an understanding of chemical reactions in glazes and the relationship to low- versus high-fire temperatures in kilns.
I reminded students to take notes in their sketchbooks, using whatever note-taking format suited them best.
Think–Pair–Share on appropriate methods and techniques.
Have students discuss their design choices, using their sculp- ture plans and mini-models. Divide students into pairs based on their choice of similar firing techniques and finishes.
LESSON 4 Studio Time
(14 blocks)Concepts:Ceramic Sculptural Form, Individual Design, Construction Techniques, Surface Treatment,
Firing Methods, Hanging Methods GEN3–5; SD2–3
L E S S O N S E Q U E N C E A N D D E S C R I P T I O N T E A C H E R C O M M E N T A R Y
Rubric discussion and customization differentiated by readiness and interest.Begin this lesson by distributing the Project Rubric(see Sample 4.8, page 164). Review the criteria in the rubric pertaining to class participation and unit stan- dards, and then tell students they will need to create addi- tional individual criteria pertaining to their personal goals for their sculpture. Their assignment is to make a rough draft of their rubric using the template provided. After the instructor has reviewed and approved the draft, they will create a final version.
Stress to students that they should use their rubric to guide their studio work and should be prepared to self-assess based on the criteria agreed to.
I designed the criteria-based rubric shown in Sample 4.8 to address the unit’s main objectives and standards.
Having students add their own per- sonal criteria allowed them to have a major say in the way in which their artwork would be assessed. It empowered them to challenge their own learning and skills. Finally, it reflected the way in which artists really work.
Individual studio work.Lesson 4 is largely devoted to stu- dents’ studio work time. Every student will need to devote the duration of Lesson 4 to sculpting, shaping, refining, and firing their project in clay.
Encourage students to start their final glaze firing as soon as they finish their individual sculptural forms. Students will reach this stage at varying speeds and paces, depending on the complexity and size of their sculpture.
It was in these class blocks that I implemented my essential art skills and knowledge and applied my knowledge of differentiation to address the needs of an entire class of individual learners. I had to be able to coach, critique, track progress, and make suggestions on a daily basis.
Individual learning log check-ups/assessment.As students work, monitor their progress by examining their learning logs at least once a week. Four and a half weeks into this unit, conduct a formative assessment by giving each student a let- ter-grade based on progress documented in his or her learning log, time spent on task, and conversations during one-on-one mini-conferences.
During this section of the project, the learning log serves a vital purpose:
tracking every student’s progress and aiding in creative problem solving.
Informal assessment with the instructor and peers.Studio work time is the most important aspect of an art class. It is during this time that creative and complex thinking processes come into play as students work to develop successful skills in the materials, techniques and processes. Encourage and prompt students to conduct periodic, informal, self-assess- ments and to hold informal Think–Pair–Shares to get peer assessments of their work in progress.
These informal assessments were highly effective solutions for creative problem solving. Establishing this type of conversation among the stu- dents, their artwork, and me made for an amazing studio atmosphere.
Problem-solving demonstrations in flexible groups.As part of studio time, it is important to illustrate some of the ways that artists solve problems they encounter while producing the artwork.
Recurring problem-solving demos might include the following:
I conducted these sessions as a whole class or in small groups depending on the particular problem and solution and what else was going on during studio time.
• Using a student’s piece that broke during firing to dem- onstrate epoxy glues or using a piece that broke during the wet-clay phase to demonstrate clay reattachment techniques.
• Sharing a student’s significant technique, breakthrough, glaze results, or solution.
• Pointing out common problems observed during infor- mal check-ins.
I saw all of these occurrences as excellent opportunities for learning and encouraged my students to do the same.
Artist’s statement exercises.On the last day of this lesson—
at which time all students’ sculptures will be complete—
distribute theGuidelines for Writing an Artist’s Statement (see Sample 4.9, page 168). This handout includes an exam- ple of an artist’s statement and five preparatory exercises for students to complete in their sketchbooks.
This was my way of getting students started on developing the artist’s statements for their sculptures. These exercises are not graded individually, but are part of the learning log requirements.