Illustrated reading on elementary Visual Art
The following concerns some primary source artifact replicas. Firstly, wood carved Native American masks made of clay. Second-grade classes able to see, read some information, then take guided notes about Indigenous masks also listened to me tell them about a general reason for wearing one in ritual dance, and at my discretion, proceeded to conceive their own embodiments of supernatural power. This entailed assigning children to imagine an extraordinary ability and to express it in a face covering. A conversation volunteered some initial ideas such as multiple mouths to breathe underwater, power to meet Janet Jackson, as well as carnivorous teeth.
Months after drawing, sculpting, then painting ceramic masks, a Visual Art quiz prompted each student handwrite what they knew about their Social Studies. Another topic in question included Mandan village huts, for which 2nd graders had cast readymade armatures in paper mache before painting to imitate sod. While children answered legibly, most listed brown or round to recall the organically engineered lodges, and wrote a sentence to explain that Native American masks are for summoning supernatural power.
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| 2nd grade mask |
Further pencil drawing proceeded observing ceramic tile floors independently. Using a ruler and one-sixty-fourth square inch gridded paper, I first mimicked patterns of solid-color circles and squares. Then applying basic math, I scaled measured motifs into new unsloped areas of a larger paper, by setting up tile-to-motif length ratios and solving proportions. Intersecting Greek keys in continuous perimeter patterns required the motif lengths evenly divide into perimeter lengths. Around a hexagon tiled center are birds holding rolled up certificates under their wings. Precise copies of these were digitally expedited–first scan-pixelated, computer resized and printed–then cut out and collaged onto my Cartesian plane.
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| Parakeet Diploma, 30" x 22" |
Accredited grade schools have influenced training English in my class. Including aforementioned 2nd graders who chronologically organized multiple mask schematics without any fluent narrative or dialogue. Upon reviewing captions, speech bubbles and storyboards with rulers, classes illustrated superhuman themed comic strips. Additional plot prompts plus differentiated writing objectives have been shared by homeroom teachers.
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| 2nd grade comic with onomatopoeia, 12" x 18" |
An eight-year-old's appeal to animate black holes on stationery instead of Native American pictographs also merited drawing with protractors and a class discussion about potential motion pictures in outer space. In deliberation, one student's question about monkey test pilots led them to independently read about spaceflight history online then scroll “1961” for Yuri Gagarin. Another allowable text exclaimed “Oh no, a black hole,” while an experienced sketcher tried sublimation from pressure in comet tails. Twelve-column planning sheets and pre-numbered frames helped children understand a frame rate, in addition to counting drawings of a gelatinous cube jumping up and then being weighted down as if by mass and gravity. Kinetics exponents can share resources and objectives.
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| 4th grade animation frame |
Art teachers have written developmental rationales in anticipation of cluster schedules. An article titled “The First Visual Symbols” ascribes various motor cognition levels to children in the same elementary class. It extols a “sensory logic stage” (Burton, 1980, p.61) for using language to conceptualize pre-representational art. Observing diverse progress to plan then represent imagery informed this author's decision to allow pupils to form and change their ideas as they practice.
The ceramic, convoke Janet Jackson mask inferred sensory logic. A preparatory drawing with carnivalesque features became less recognizable in a new dimension and material. Upon glazing then jotting down a title, its maker near correctly spelled “Michael Jackson Face.” Maturity would likely make attention to cosmetic details a requirement. Meanwhile this student wondered, "what happened to him?" Supposing they asked their peers, classmates could also try to help summon Janet through choreographed costume.
In short–I recommend schools plan inquiry-based, interdisciplinary dialogues followed by related, problem solving art activities. Then assess if creativity motivates learning objectives. In the interests of studying art history I suggest elementary teachers prioritize literacy.
References
Burton, J. (1980). Developing Minds: The First Visual Symbols. School Arts. (October Issue), p.60 - 65.