Strategies for Teaching

During my time in art education I have found out, oftentimes the hard way, that there are teaching strategies that are more conducive to specific art related learning. Discovering and then implementing these strategies in my classroom has become my ongoing process as a teacher. For example, because artmaking requires quite a bit of risk taking I have found that establishing an environment for learning before any formal instruction is paramount. Below are a list of strategies I have found that help me match my objectives in giving students confidence and ability to take ownership and pride in their artwork. 

  1. Growth Mindset

“Growth Mindset” is a term often heard in education these days. I find this concept particularly applicable to the arts. Below is a chart taken from Tools for Teaching Conceptual Understanding. The growth mindset described here is essential for an art student who needs to take risks in order to reach greater creative heights. Making mistakes again and again is a part of the artmaking process. What I try to accomplish when implementing a growth mindset is to keep the language current throughout my lessons so it becomes a normal part of my classroom culture. I also paper my walls with posters, quotes, images and artwork that reflect this sentiment. 

(Stern, Ferraro & Mohnkern, 2018).

  1. Feed-Up

Feed-Up is a concept I learned about while reading The Formative Assessment Action Plan. The idea “ includes feed-up, feedback, and feed-forward, such that students understand a lesson’s purpose and goal, are given information about their successes and needs, and experience high-quality instruction that closes the gap between what they know and can do and what is expected of them” (Frey & Fisher, 2011). The feed-up component of this system “addresses the ‘Where am I going?’ question that students and teachers ask...the answer to the ‘Where am I going?’ question should be jointly shared by teacher and student.” (Frey & Fisher, 2011) I use this “feed-up” idea as a way to pave a path for my students towards a finished piece of artwork. What this means is each lesson unit begins with clear expectations as well as opportunities for students to make their own decisions about their work. 

  1. Establishing Purpose

It is very important to me that my students take ownership over their work. In order to move away from a model of teaching where students are motivated because they “have to” verses “want to”, I need to establish purpose. In The Formative Assessment Action Plan it states, “motivating students to become actively involved in their learning begins with establishing a purpose... A lesson’s purpose lays out the content of what will be learned, the learner’s role in what will be accomplished, and the expectations for the interactions.” (Frey & Fisher, 2011) I always begin my lessons with a focus question that could be different for each student. For example, “How can I use color to convey discomfort in my painting?”. Students will answer that question differently and therefore produce a diversity of works. Beginning a lesson with a clear purpose helps my student take ownership over their work which is one of my major goals as a teacher. 

  1. Concept Attainment 

In the book Tools for Teaching Conceptual Understanding the authors state “the goal of a concept attainment lesson is for students to develop their own ‘definition’ of a concept by investigating many examples.” (Stern, Ferraro & Mohnkern, 2018) I use this method often in my teaching because it also helps my students actively engage in creating their own unique artwork. The way I utilize this strategy is I will often show several images of artwork before a project and hold a discussion based on that artwork. I have found that “this works particularly well for discipline-specific concepts to which students won’t have had a lot of previous exposure or for which their prior understanding is likely naive or incomplete.” (Stern, Ferraro & Mohnkern, 2018)Since art is discipline-specific in many ways students need this extra exposure to get their own ideas going.

  1. Guided Instruction

I need to use guided instruction often in my teaching because many processes with art are completely unknown to the student especially when introducing new methods and materials. The instructional book The Formative Assessment Action Plan describes the mechanics of this strategy, “ the teacher must guide students toward increased understanding. This happens through the systematic use of questions, prompts, and cues... in this way, guided instruction plays a pivotal role in a formative assessment system as teachers feed-forward instruction based on real-time student responses.” (Frey & Fisher, 2011) For my classroom guided instruction occurs as a whole class when introducing a project as well as individually once students have begun working individually. I find during the time of guided instruction, in whatever form it takes, is when understanding is clarified and forward moving decisions are made.

  1. Clarity

Along with guided instruction is developing clarity. I have come back to this strategy time and time again, especially with complex art projects. It has become increasingly apparent to me that “even if the task is complex, the instructions need to be crystal clear. Simple directions lead to complex thinking, while complex directions often lead to fragmented, simple thinking” (Stern, Ferraro & Mohnkern, 2018). Since art projects need instruction not only for the process of making art but also the retrieval of materials, the excursion of those materials and the clean-up, it is essential I have clarity in my expectations. I use rubrics, guides, class instruction and one-on-one instruction to cultivate that clarification.

  1. Encourage Individual Expression

When it is time for students to sit down and create their artwork I know I walk a line between creativity and discouragement. As an art educator I need to create an environment that is conducive for risk-taking, innovation, collaboration and creativity. Rudolf Arnheim’s states from his book “Visual Thinking” that “art not only exploits the variety of appearances, it also affirms the validity of individual outlook and thereby admits a further dimension of variety.” (Arnheim, 1969) To me, this means students hold within themselves stories and ideas that can be expressed uniquely simply because as individuals they are unique themselves. Arnheim goes on to say “since the shapes of art do not primarily bear witness to the objective nature of the things for which they stand, they can reflect individual interpretation and invention.” (Arnheim, 1969) I want my students' work to always look different from each other and so my lessons reflect that and students are always asked to make unique decisions about their work. To accomplish this I integrate many variables that can be manipulated within the project. For example, I might have a project on watercolor where they are expected to create a sunset. The sunset is fixed but decisions on a focal point, composition, color, line etc. are all up to the student.

  1. Modeling

Similar to concept attainment I have found that models give students a framework to start with. I like to show previously made student work on the project. I like to show several examples because “your example shouldn’t be about the conceptual relationship you are exploring; that makes it seem like there is one right answer and you just showed the students the back of the book. ” (Stern, Ferraro & Mohnkern, 2018). As an art teacher so much of my energy goes towards encouraging kids to come up with their own unique ideas. However, when learning something new there often isn’t a lot to pull from which creates obstacles for creativity. When I show several examples of student work it becomes an important jumping off point for students.

  1. Linear Versus Iterative Learning Processes

This strategy requires that those initial focus questions I start my lessons with are revisited again and again. I want my students to take their learning and put it into action. Especially in artmaking I have found that “ if we remain at the topic and factual level, students stop trying to derive larger principles about what they’re learning” (Stern, Ferraro & Mohnkern, 2018). The Linear Versus Iterative Learning Processes strategy makes a dynamic artmaking process because students are constantly revisiting the principles and ideas taught.The way these ideas are revisited is by engaging in dialogue through group discussions, hand written assignments and one-on-one discussions where the concept of theme based artwork will be explored again and again until students can carry on the ideas with more complexity.

  1. Setting Goals

There are several reasons why I like having my students set goals. One of those reasons is when I have my students set goals concerning their artwork, I find that the reward completion is that much more satisfying and therefore creates motivation for future projects. According to  The Formative Assessment Action Plan, “goals are closely linked to motivation, as they are key to putting a plan into action. However, the intent of the goals can shed insight into what motivates the student, and this can be useful knowledge for the teacher.”  (Frey & Fisher, 2011) Interestingly, goal setting gives me insight into a student’s intent or preconceived notions on artmaking which is another reason why I like goal-setting. What I find interesting is that “learners with approach-oriented goals are attempting to move toward something, expressing a hope for success, whereas those with avoidance-oriented goals are expressing a fear of failure.”  (Frey & Fisher, 2011) Since one of my major educational goals is to provide an environment for risk-taking and creativity, setting approach-oriented goals with students is an important tactic for tackling that goal.

  1. Creating an inclusive background

I want to create a classroom that reaches all students which means I have to create lesson plans and classroom systems that invite inclusivity. Hyper awareness of the art, artists, history and techniques that I’m exposing my students to is essential. However, the most important component of an inclusive classroom is giving power back to the student so they can express their own story. “Shifting to a conceptual learning environment where students are guided to discover the relationships between concepts, supported by facts and specific contexts, is an important step in creating equitable classrooms” (Stern, Ferraro & Mohnkern, 2018). The reason for this is because  “most students—especially those who traditionally do poorly in school—thrive in an environment that centers on deep understanding and the application of learning in unique ways. When we ask students to find patterns and make connections, we give them intellectual dignity” (Stern, Ferraro & Mohnkern, 2018). Empowering my students in their ability to create expressive works of art is my way of giving them that intellectual dignity.

  1. Self-Assessment

In order for students to see their successes and build off of them I emphasize self-assessment in my classroom. After a project is completed students are expected to present their work and reflect on its success. This moment of reflection is provided as an opportunity for students to reinforce decisions that worked as well as reflect on what didn’t. This is also another opportunity for students to take ownership and responsibility of their work. From The Formative Assessment Action Plan we learn “an exclusive focus on feedback is ineffective because it transfers the responsibility back to students exactly when they are struggling... instructional framework, based on the gradual release of responsibility, provides an intentional way for teachers to increase student responsibility at appropriate times and reassume responsibility as needed.”  (Frey & Fisher, 2011) If I were to provide feed-back after a project is complete and with no opportunity to rework and turn in then learning is lost. When the process of giving feedback occurs during the artmaking process then actual progress is made. The final stage of assessment occurs during the student’s presentation. I want students to ultimately have the last say on their work when it is all said and done. 

References

Arnheim, R. (1969). Visual Thinking. London, England. University of California Press, LTD.

Frey, N. & Fisher, D. (2011) The Formative Assessment Plan: Practical Steps to More Successful Teaching. Alexandria, VA. ASCD. Retrieved from https://online.vitalsource.com/#/books/9781416613381/cfi/6/2[;vnd.vst.idref=cover_page]!

Stern, J., Ferraro, K. & Mohnkern, J. (2018). Teaching for Conceptual Understanding. Thousand Oaks, CA. Corwin. Retrieved from https://online.vitalsource.com/#/books/9781506355719/cfi/6/2!/4/2@0:0



Perspective Drawing

In these videos you will learn how to use perspective principles to create the illusion of depth. Start with the video on one point perspective and then you can move to two point. All you need for this lesson is a pencil and paper. Enjoy!

Learn to Draw the Proportions of the Human Face

All you need for this project is a pencil and paper. We are going to learn how to draw the proportions of the human face and then there is a portrait project that follows. There’s a lot of creativity in this project. I hope to see what you post!

Secret Messages

Learn how to write secrets to your friends that no one can read except when you paint it with watercolors. Gizmo wrote some pretty silly messages! What you will need is a white oil pastel or crayon, watercolor paints, a brush, a cup of water, rag and watercolor paper.

Baking Soda and Vinegar

Lets have fun making art with baking soda and vinegar! Beware, Gizmo always wants to take over the world because he feels like a mad scientist! See if he does! What you will need for this projects is baking soda, vinegar, watercolor or heavy duty paper, markers and food coloring.

Sidewalk Chalk Paint

This is a great activity if you want something to do creative outdoors. What you will need is cornstarch, water, food coloring, muffin tin and brushes. Enjoy!

Story Time: I am Human

I love this book “I am Human” and I hope as you listen you will too. We will be creating a collage afterwards that describes our unique selves. For this project you will need heavier paper like watercolor paper, cardstock or even cardboard, white glue, markers and any embellishments you can find around the house like scrap paper, beads, buttons, glitter etc. Gizmo tries to be my helper in this video but as always gets a little silly.

Story Time: The Big Orange Splot

Come enjoy a story with me called The Big Orange Splot. Afterwards you will be creating your own dream house! All you need for this project is paper and anything you want to draw with; colored pencils, markers, pens, crayon etc. Enjoy! Gizmo is especially silly in this one.

Story Time: Sky Color

Enjoy listening to this sweet story Sky Color. Discover how this little girl found how to be creative by painting the sky. You will create your own sky as well. You will need drawing paper, chalk pastels and a permanent marker. Gizmo is too silly in this video. Remember to show me your artwork on my FaceBook post!

Watercolor and Salt

Have fun with watercolor and salt. Gizmo is definitely a rascal in this one! For this project you will need watercolors, brushes, a cup of water, a rag, watercolor paper and salt. Don’t forget to post in the comments on my FaceBook post!