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Observing Pumice

Observation

A few years ago Sara brought me a handful of pumice from Mount St. Helens and so I began the lesson with research of the volcano. We moved from there to the chemistry of carbon. When it comes to Observation, the possibilities are limitless. At last, directed the group of Observers to create a close observation drawing in conduction with the research in their Observation Journals—including a close focus section.

This little jar of fodder has proved more valuable than any textbook. This drawing by Marlo began with value—organic shapes of darks and lights. Once she was satisfied with the large shapes, she began to look for texture, began to mimic what she saw with varied lines on the page. Smaller still, she added dark marks to represent the deep bubbled areas on the volcanic stone. Most significantly, Marlo kept going—she kept looking. Perseverance is a skill that can not be be taught from a textbook.

 

Can anyone learn to draw like Marlo?

Indeed, YES!

Yes, yes you can. You can draw like Marlo, but first you must learn to observe.

Observation is a foundational academic. Learning to "look closely" across all domains of learning will strengthen the student's Creative Critical Thinking skills. For this reason, Observation exercises should be integrated into the weekly routine to transform this crucial skill to a Habit of Being

-Kim

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Haiku for the First Day of Spring

Spring3

On this first day of spring step outside, celebrate the blossoming and craft a haiku greeting.

How to craft haiku:

 

five syllables 

s e v e n  s y l l a b l e s

five syllables

 

1. Haiku poems consist of a three-line stanza—16 to 18 syllables total—written in the following pattern:

Line 1: 5 syllables
Line 2: 7 syllables
Line 3: 5 syllables

*Slight variations in syllabication is appropriate as this helps the poet maintain "one thought in three lines"

2. Haiku poems are typically observations of nature (though the form welcomes other topics), often making reference to the seasons. 

3. Haiku poems are tiny snapshots capturing moments in time.

 

So, a  "haiku moment" describes a scene that leads the reader to a feeling. 

But, remember, your three lines should be woven to a single thought: 

 

and I croon in the

scent of Spring's dotted song, swoon

in her blossoming colors 

 
Spring4
 
Spring2
 
 -Kim

 

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Worth 5-minutes of Your Time

DrawContour
Do you want your hands to learn to see?

Not possible you say?

Read on…

Wherever you are this very moment, look around, hone in on a cluster of objects.

First, look. Trace the edges with your eyes.

Next , grab a chunky marker and a piece of paper. Beginning with your eyes focused at the bottom of one of the objects, begin to follow the outline edges (very  s l o w l y),  moving the pen at the same speed and direction as the eyes. Do not look at the paper—keep your eyes off the page! No peeking! And, do not lift the pen! Try to make the pen in your hand "see" all the curves and bumps that your eye sees. 

Don't rush. Making a connection between the eyes and the hand is a slow motion exercise. Only when your eyes are back where you began can you lift the pen from paper to see with your eyes what your hand saw.

You might giggle the first time you try blind contour because it takes a few tries to sync the sped of eyes and the hand. But when you stop giggling, you will see that the lines achieved during a blind contour are unique, beautiful in their own way.

Remember, the ultimate goal of blind contour drawing is to practice "seeing" the world with your hands. If you practice often, you will begin to notice moments when these drawings are more realistic than the drawings you made using eyes only.  

DrawContour2

-Kim

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The Bold Lines of Fernand Léger

Mozart

It was time for Section five and the creation of a project inspired by The Mozart Season. Two things struck me as funny.

One. Let's begin by saying that this little book is a sleeper, a quiet little thing. The story is set in real time and place. The protagonist is fictional but preparing for a very real violin competition. And as many times as I have explored it with various circles of readers, during the Section 1 Discussion the consensus is unanimous, ""Not capturing me." Still, it never fails that by the end of the book the readers encounter some very real extraordinary in the seeming mundane ordinary. But what I find most tremendously interesting is the fact that, hands down, the most profound Section 5 projects have sprung from this particular sleeper.    

Two.  As we continued our explorations of lines in art and the specificity of the master artisan's linework, Lizzy wasn't particulary inspired by the bold lines of Fernand Léger.

And this is where the magic of integrated learning and Discovery always takes my breath away.

"it was Diedre who started the song. She began slowly, BONG bong Bong bong on the three big columns, walking between them. Then she reached up high and down low, faster, and I hit one of the two columns, walking between them."

And so begins this story's music. And so it is that this passage (that continues to develop in the pages of the book) has inspired several of my all-time-favorite Section 5 projects. And Lizzy's is one.

As I watched her begin the process of bringing shape to her idea, I was fascinated that, after a close study of Léger's lines (lines that did not thrill Lizzy in the least), Lizzy began to sculpt those very lines without knowing! I pulled out the original study sheet when I recognized the familiarity and we were both amazed! In art we call this, after Léger.

So I suppose if you were to title this Section 5 project you might call it:

Lizzy's Music Maker, after Léger and The Mozart Season (2014)

 

Leger

 

Leger2

 

-Kim

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Lovely Lines

Matisse3

Did you know that, when it comes to art, every line has a personality? That the lifework of the master artist has a particular voice?

When it comes to the lines of Matisse, spare, weightlesswhimsical, and articulate come to mind.

Line is a foundational element when it comes to the language of art.

For this reason we invited Matisse, virtually of course, into the Guild and invited the master artisan to help our apprentices explore the rich potential of line.

You can too.

Matisse

 

Matisse2

 

-Kim

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Added Value

Shell

“Drawing is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye.”     -Leonardo DaVinci

We are designed to see and understand an object based on the relationship between the play of light and dark on its surface. Value is the term used to describe the lightness or darkness of an object. As light is reflected off objects, we interpret its attributes. When we draw a three-dimensional object in two dimensions, we are creating an illusion.

Over the years I’ve encouraged many a child to “look closely” by developing a specific Habit of Being—the Observation Journal. 

It is always best to begin observational drawing exercises by encouraging the Observer to see the contours or the “lines” of an object. To capture natural organic lines on the page is a lovely skill.

  Value1

As soon as this becomes a comfortable task, its time to encourage the Observer to look beyond lines that five the object its flat shape toward a close observation of the light and darks of an object. To accomplish this task, begin with a light contour adding a light value or tone by smudging then adding patches of medium darks and dark darks according to what the seer is seeing. The transformation is simple and stunning!

  Value2

And it’s never too early or too late to start. A six-year-old executed these drawings of the wonderfully sea-tumbled mollusk. Anyone can add value to an observation. 

-Kim

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I’m Thankful for Sandra. What about You?

Eggs

This is not a typical high school project.

This is a watercolor composition, a gift from a friend.

This is the prized possession that hangs in my kitchen with Mona Lisa’s ubiquitous gaze following my paces patiently, “Kim, you can.”

Lore has it that Sandra’s high school watercolor teacher offered an automatic “A” to anyone in the class who anyone who could paint an egg—a trememdously difficult task to accomplish well.

Now I’ve never imagined this teacher’s comment as a dare, but rather something more like an Eeyore-under-the-breath-utterance that he hoped might someday come to pass. I’ve never imagined snarky, or cynical, but more someting akin to longing, the longing to motivate.

And I’ve never imagined Sandra’s tackling of this teacher’s offering as anything other than a response to the Muse, a delighted response to the spark of imagination. Sandra simply said, “I can.”

The sheer whimsy of the composition is my proof. There is not one guile puddle in sight.

Thing is, you might look at this painting and respond, “No, I can’t.”

But you probably said that about tying your shoe, reading The Cat in the Hat, or adding five apples and three plums. But you can, right?

Not all children will grow up to paint like Sandra. Not all children will grow up to hypothesize like Einstein.

But many children who might have will not because they are not inspired to try. All children have precious potential. And this is why I spend my days encouraging children to press into their important work.

Children who are encouraged to engage in the right kind of practice over time develop Habits of Being and habits of being give us the gumption to say, “Yes! Yes, I can!.”

Who would have imagined that, all these years later, a teacher’s nudge and Sandra’s creative response would continue to resonate, “You can.”

I’m so thankful for my dear friend Sandra.

-Kim

 

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The Value of Curling Paper

Curl

Like verbal languages, the language of visual art has phonics of its own. By combining the 26 letters that scaffold the English language in a variety of ways, we are able to communicate vast complexities and wonders. By manipulating five simple elements—line, texture, shape, value, and color—we are able to communicate what can’t be written.

So how to begin a study of value?

Don’t outline! When handed pencil and paper and asked to translate a 3D scene to 2D, the comfort zone element is line. But drawings that begin with hard edges end up stiff and stuck. Outlines define edges but don’t help us see dimensionally.

Focusing on shapes of light and dark, rather than the edges of objects is the best way to being to shift out of line-drawing mode.

Light and shadow defines objects. Train your eyes to see like an artist, look for the light and shadow that defines objects.

The best way to begin is to apply pencil using the tilt and not the tip to mirror shadowy shapes. Smudge the shapes to blend and use an eraser to create light shapes. Try to create a range of value from the lightest light to the darkest dark. Use the background to define foreground objects.

The potential of value in drawing is to communicate the light and shadow and surface tones we see in order to create a three-dimensional illusion. So curl some paper and let edges fade into the background.

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Da Vinci Summer V: How to Observe a Caterpillar

Cater

“Let us dig our furrow in the fields of the commonplace.” Jean-Henri Fabre

Children become science-minded by exploring their observations of the world around them. Science is much more than facts in a textbook. Facts are only a fraction of the picture. Science is a process that allows us to discover how the world works.

I remember one summer my brother being fascinated with caterpillars. One, in particular stands out in my mind. His name was Ralph. Yes, Ralph the caterpillar. My brother kept the fuzzy creature in a Stride Rite shoebox nested with a handful of twigs and torn leaves. What I remember most about the brief time that Ralph spent in my brother’s observation box before being set free, was my brother’s focused attention, magnifying glass in hand. While he did not keep a record of his observations, I know that my brother was honing his curiosity. But, I must admit, I’ve often wondered what his Observation Journals would have contained. How fun it would be to look back on an archive of his curiosity.

All four of my children have numerous journals of this sort and it is wonderful to look back and recognize the diversity and specificity of their unique observations.

Here is how to begin an Observation Journal:

Materials:

  • A binder to collect completed observations
  • Cardstock for drawing
  • Lined paper for writing
  • Pencil
  • Colored Pencils
  • Chalk Pastel
  • Thick and thin waterproof markers
  • Watercolor Pencils
  • Watercolor
  • Magnifying Glass

1. Look at the subject for a while.
  Look at what you are observing. Pick the object up, turn it around, use a magnifying glass to see texture and detail. Take your time and try to throw out any preconceived notions about the subject.

2. Talk about what is seen.
 Join the fun by engaging children in conversation about the details of the object being observed.

3. Draw the object with realistic detail.
 Encourage children to look at the lines, textures, and shapes. Have them think about proportions as they translate the three dimensional object to a 2-dimensional object on paper. When the drawing is complete, have them think about the color of the object and try to match the colors as close to the real thing as possible.

4. Read about the object.
 Find a book or internet article to find facts about the object being observed. Suggest that notes on a topic wheel might help to organize ideas.

5. Explore the object’s potential.
 What did you learn? What importance does the object hold in our world?

6. Write about the object. 
Combine and convey information gained through direct observation and research.

When children observe they utilize diverse reasoning modes that will, in turn, cultivate their ability to engage in the art of learning.

Why not begin the Observation Journaling with a caterpillar? Taking Fabre’s advice to heart, no need to travel to observe nature! Step out into your own backyard in search of a caterpillar or two. And, if need be,  transplant a caterpillar from the World Wide Web via your printer!

Provide your child with some colored pencils, a pitcher of ice water, and a cozy backyard perch. Curiosity will do the rest.

Here’s to Da Vinci Summer V, eyes open!

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The Metaphorical Beast

Beast 1

Beast 2
E. Nesbit, storyteller extraordinaire, weaves quite a yarn. The Book of Beasts is a favorite of my
three sons. Why? Not because the protagonist is a small boy, but because that
small boy becomes king! What boy doesn’t dream of being king at one point or
another during childhood? But the adventure for Lionel does not begin at the
coronation. No, the adventure begins in the library when Lionel dares to open a
book.

And so the lesson begins.

And while the lesson can easily be accomplished without E.
Nesbit’s book, it’s the spark for the lesson in the first place and highly
recommended.

To begin, I asked my writing apprentices to consider the
things that we struggle with as humans. While they were contemplating on paper,
I wrote Latin on the whiteboard without explanation:

HC SVNT DRACONES

We generated our list below the Latin——greed, laziness,
gossip, gluttony. After we were sufficiently steeped in considering the flaws
of our flesh, we began a discussion of what shape these “fleshly foes”
might take. We started with thumbnail metaphors. Each child began sketching his
or her mythical beast, animating its beastly qualities.

From here we began to write the Beast Tale. They were to
describe the character of their beast in detail, to create a situation in which
the beast might feed, and, of course, they were instructed to concoct a way to
slay the beast. All this in 500 words or less!

The writers eagerly worked to draft idea to paper. I was
amazed by the depth of engagement I witnessed as they crafted minute details
about beasts that they encounter in the real world.

As drafts were completed I saw pencils released and
re-reading begin. I saw little hands making red marks—scritch, scratch—then
more re-reading until the stage of polish began.

Sufficiently satisfied with the stories, each writer then
moved back to the visual realm and began animating their thumbnail beasts to a
form that was ready for canvas—light pencil traced with Sharpee was then hand
painted with fabric ink. Beasts were hand-stitched to felt and felt was machine
stitched to calico.

But there was one more piece of fabric to deal with once the
visual project was accomplished a few weeks later. And so I asked the
apprentices to read, once more, their polished Beast Tales. To their surprise,
they stumbled on little errors, or bumps in the story. Everyone found a little
something to refine, which proved to them without me lecturing, that writing
needs to incubate, that writing is a process.

And so, after this final polish, the tales were written by
hand on the remaining scrap of canvas. And the stories were machine stitched to
felt and the back was stitched to the front and the pillows were stuffed. And
that’s how the Beast Tales came to be.

When it comes to writing… show don’t tell.

So the next time any child grumbles or complains about
engaging in the art of writing simply remind them that writing is an adventure,
lift an imaginary sword and cry, “Beyond Here be Dragons,” and let the
adventure begin.