Lesson: A New Look for Coca Cola
Objective: The students will create a new design for Coca Cola soda cans.
Procedures:
The teacher will introduce the lesson by asking the students to name some of their favorite items they have purchased from a store, such as shoes, jackets, bicycles, and book bags. The students will be asked to explain why they selected these items when there were similar products they could have chosen instead. This should lead the students to realize that they selected objects they found to have the most interesting designs.
The class will discuss how there are hundreds of thousands of such objects they see every day at home, at school, and in stores that have been designed to catch the eye so people will buy the products. The teacher will explain that someone designed those products and that they were paid to do so. The students will be informed that there are thousands of artists who have jobs designing products to be sold to the public.
The students will be instructed that they are to pretend they work for various designing companies, and that their company is competing to win a contract from the Coca Cola company. The students will be informed that they are to design a new look for the Coke Can that will be more exciting than the traditional design, thus getting the public’s attention. The new design hopefully will be one that can increase Coca Cola sales.
The students will be instructed that they can redesign the Coke can’s image any way they wish, by changing the lettering fonts, the colors, and other design elements of the Coke can, and add to it, but the wave that is found on the original can has to be incorporated into the new designs.
The students will create their designs on drawing paper using pencils and markers. The new designs will be laminated and attached to soda cans so that the designs can be seen as they would appear on the finished product.
The completed Coca Cola designs will be judged by a panel of other students to decide which is the best new design.
Materials:
Coke Can for Example
Soda Cans
Drawing Paper
Pencils
Markers
Tuesday, November 16, 2010
Thursday, November 11, 2010
Resume
Professional Experience and Credentials
Degrees
Bachelor of Fine Arts: Bachelor of Fine Arts from Georgia State University in 1985.
Master of Education/Art Education: University of West Georgia in 2008:
Graduate Art Ed. Thesis/Research Project, University of West Georgia Summer Semester 08
Graduate Art Ed. Research Seminar, University of West Georgia Spring Semester 08
Graduate Painting, University of West Georgia Fall Semester 07
Graduate Painting, University of West Georgia Summer Semester 07
Graduate Critical Issues in Education, University of West Georgia Summer Semester 07
Graduate Art Education Prospectus, University of West Georgia Spring Semester 07
Graduate Art Education Curriculum, University of West Georgia Spring Semester 07
Graduate Art Criticism, Aesthetics, and Contemporary Issues, UWG Fall Semester 06
Graduate Ceramics (Independent Study), University of West Georgia Summer Semester 06
Graduate Educational Research, University of West Georgia Summer Semester 06
Graduate Educational Psychology, University of West Georgia Spring Semester 06
Graduate Art History, University of West Georgia Fall Semester 05
Graduate Painting, University of West Georgia Summer Semester 05
Graduate Ceramics, University of West Georgia Spring Semester 0
Recertification Classes:
Course Number Course Title Beg Date End Date SDUs HRs
Atlanta Public Schools
Planetarium 3/12/03 1 1
Intech High School 6/30/03 5 50
990236 Brushing Up On Written and Oral Skill 1/9/99 2/13/99 3 30
990438 Maintain Control, Put Stress to Rest 1/11/99 1/15/99 3 30
SD940081 Values Education for Elementary Grade 1/10/94 3/02/94 5 50
SD930060 Infusion of African-American Studies 9/25/92 11/20/92 5 50
Spruill Center for the Arts
Stain Glass-Intermediate, 9/20/04 11/22/04 2 25
Stain Glass- Beginning, 9/19/03 11/21/03 2 25
999269 Wheel- Beginning #74WHOO5, 9/20/97 11/22/97 2 25
999268 Wheel-Intermediate #84WHOO5, 9/19/98 11/21/98 2 25
High Museum
Salvador Dali 6/10/10 6/13/10 2 20
Picturing America 6/15/10 6/18/10 2 20
Employment
Summer camp art instructor at the Spruill Center for the Arts: 1985 to 2004
Art instructor for Apple Corps., SEE ARTS program: 1999 to 2004
Art Teacher, City of Atlanta: 1987 to present
Degrees
Bachelor of Fine Arts: Bachelor of Fine Arts from Georgia State University in 1985.
Master of Education/Art Education: University of West Georgia in 2008:
Graduate Art Ed. Thesis/Research Project, University of West Georgia Summer Semester 08
Graduate Art Ed. Research Seminar, University of West Georgia Spring Semester 08
Graduate Painting, University of West Georgia Fall Semester 07
Graduate Painting, University of West Georgia Summer Semester 07
Graduate Critical Issues in Education, University of West Georgia Summer Semester 07
Graduate Art Education Prospectus, University of West Georgia Spring Semester 07
Graduate Art Education Curriculum, University of West Georgia Spring Semester 07
Graduate Art Criticism, Aesthetics, and Contemporary Issues, UWG Fall Semester 06
Graduate Ceramics (Independent Study), University of West Georgia Summer Semester 06
Graduate Educational Research, University of West Georgia Summer Semester 06
Graduate Educational Psychology, University of West Georgia Spring Semester 06
Graduate Art History, University of West Georgia Fall Semester 05
Graduate Painting, University of West Georgia Summer Semester 05
Graduate Ceramics, University of West Georgia Spring Semester 0
Recertification Classes:
Course Number Course Title Beg Date End Date SDUs HRs
Atlanta Public Schools
Planetarium 3/12/03 1 1
Intech High School 6/30/03 5 50
990236 Brushing Up On Written and Oral Skill 1/9/99 2/13/99 3 30
990438 Maintain Control, Put Stress to Rest 1/11/99 1/15/99 3 30
SD940081 Values Education for Elementary Grade 1/10/94 3/02/94 5 50
SD930060 Infusion of African-American Studies 9/25/92 11/20/92 5 50
Spruill Center for the Arts
Stain Glass-Intermediate, 9/20/04 11/22/04 2 25
Stain Glass- Beginning, 9/19/03 11/21/03 2 25
999269 Wheel- Beginning #74WHOO5, 9/20/97 11/22/97 2 25
999268 Wheel-Intermediate #84WHOO5, 9/19/98 11/21/98 2 25
High Museum
Salvador Dali 6/10/10 6/13/10 2 20
Picturing America 6/15/10 6/18/10 2 20
Employment
Summer camp art instructor at the Spruill Center for the Arts: 1985 to 2004
Art instructor for Apple Corps., SEE ARTS program: 1999 to 2004
Art Teacher, City of Atlanta: 1987 to present
Wednesday, November 10, 2010
Memorable Artistic Experience
One of my more memorable artistic experiences took place about thirty years ago when my wife, Jeanie, and I were in New York City. Jeanie was there on a business trip touching base with Woman’s Day and Cosmopolitan magazines, so while she was at work I was able to explore the city to my liking.
One of my adventures took me to the Guggenheim Museum. Now I need to mention that when I view some art works, I try not to read who created the pieces, so as not to be influenced by artist’s reputation. I like to make decisions about the works on their merits.
As I was viewing the paintings in the Guggenheim I kept having moments of déjà vu. Finally I just had to learn what artist had created all these exceptional abstract paintings, so I looked at the title on the wall.
Going back about ten more years, around 1973, I was an undergraduate student at Georgia Southern College (now Georgia Southern University). There I wrote a research paper about Yves Klein, discussing all his expressive techniques: How he had created abstract works that are organic in nature; how he used the human body as a paintbrush; and how he developed his own shade of blue, for example.
I guess this knowledge about Yves Klein had been tucked away in some corner of my brain until I experienced these images at the Guggenheim. When I discovered the art works on display were created by Yves Klein, all my knowledge came pouring back into the forefront of my brain, which made viewing his work an exceptional experience. The time I spent exploring Klein’s work in real life is something I will always treasure. I was able to see art works I never thought I would ever get to see in my lifetime.
One of my adventures took me to the Guggenheim Museum. Now I need to mention that when I view some art works, I try not to read who created the pieces, so as not to be influenced by artist’s reputation. I like to make decisions about the works on their merits.
As I was viewing the paintings in the Guggenheim I kept having moments of déjà vu. Finally I just had to learn what artist had created all these exceptional abstract paintings, so I looked at the title on the wall.
Going back about ten more years, around 1973, I was an undergraduate student at Georgia Southern College (now Georgia Southern University). There I wrote a research paper about Yves Klein, discussing all his expressive techniques: How he had created abstract works that are organic in nature; how he used the human body as a paintbrush; and how he developed his own shade of blue, for example.
I guess this knowledge about Yves Klein had been tucked away in some corner of my brain until I experienced these images at the Guggenheim. When I discovered the art works on display were created by Yves Klein, all my knowledge came pouring back into the forefront of my brain, which made viewing his work an exceptional experience. The time I spent exploring Klein’s work in real life is something I will always treasure. I was able to see art works I never thought I would ever get to see in my lifetime.
Thursday, May 6, 2010
Creative Research
I could not get the images posted within my paper so if anyone would like a complete research project please let me know and I will be glad to send it to you by e-mail.
Title of Action Research Project
Improving Instruction through Technology
Briefly State Your Hypothesis
This research project tests whether or not students better achieve the instructional objectives in visual arts when the lesson is presented through teacher-made instruction videos, rather than through live teacher presentation.
Briefly State the Type of Data You are Collecting and How You are Analyzing It
Two fifth grade groups were assigned the same objective of creating self-portrait drawings. Group A, the no technology group, was to view the procedure for creating a self-portrait by live teacher instruction. Group B, the technology group, was to view the procedure for creating a self-portrait by viewing a teacher-made video of the instructions.
The instructions included how to create the basic oval shape of the head, intersected with four straight lines that determine where to draw the eyes, nose, ears, and lips. Further instructions were given to show how to draw the facial features themselves - the eyes, ears, nose, lips, eyebrows, scalp, hair, neck, and shoulders - at their proper points. Students used mirrors as a further aid to draw these features.
The works of both groups were compared and analyzed as to how proficient they were at drawing a head, and in placing the features within it. The drawings were analyzed as to whether or not the head was an oval, and whether or not the lines were properly placed: a vertical line dividing the oval into equal halves; a horizontal line through the center of the oval (which designates the placement of the eyes and the tops of the ears); a horizontal line half-way between the bottom of the oval and the eyeline (which indicates where to draw the bottom of the nose and ears); and the horizontal line one-third of the way between the bottom of the oval and the nose-ears line (which tells where to draw the line showing the two lips touching).
The abilities of the two groups were also compared as to how well they drew, with the use of mirrors, their individual eyes, noses, lips and ears on the lines that designate their placement.
Both groups were also compared as to the proper placement of the hair, eyebrows, scalp, neck, and shoulders. I was looking for students who understood the lesson, and therefore drew all the basic lines and drew and placed the facial features correctly. Was there a predominance of work with the proper elements of how to draw self-portraits from Group A, the no technology group, or from Group B, the technology group?
The Problems
Through viewing hall displays of students’ self-portraits from other classrooms, I determined they were in need of instruction on the basic methods that go into creating self- portraits. As some of the hallway images below indicate, the students seemed to have very little knowledge of the basic head shape, how to place the facial features within it, or how to create these features.
Furthermore, in the traditional classroom setting, students’ ability to view the lesson could be hampered because of the seating arrangement. With the aid of a teacher-made video, this problem could be overcome by projecting the lesson on a large screen so that all students could easily see it no matter where they sit.
Collect and Organize the Data/Gather the Data
Two fifth grade classes were given different instructional presentations: Group A, the no technology group, was give a presentation without technology aids; and Group B, the technology group, was given a presentation with technology aids. The artwork from both groups was collected. The artwork within each group was then separated into two groups according to how well the basic oval and lines were created, and how well the facial features were drawn and placed.
Interpret the Data
Self-portraits that were properly created in each group were counted and numbered, as were the self-portraits that were not properly created.
Once the numbers were counted, the percentage of successful and unsuccessful self-portraits in each group was tallied. Group B, the technology group, had nine students who correctly met the objectives and twelve students who did not correctly meet the objectives. Group A, the no technology group, had six students who met the objectives and thirteen students who did not meet the objectives.
The percentage computation of these numbers means that 42.8% of the technology group correctly followed the instructions to create self-portraits, while 31.5% of the no technology group correctly followed the instructions to create self-portraits. Therefore, the use of technology enabled an increase in mastering the objectives of 11.3% of the technology group over the no technology group.
Action Based On the Data/Act on Evidence
The evidence shows that technology can contribute to the improvement of the quality of artwork created in the classroom. When the students observe a teacher-made video presentation of a lesson, they better grasp the lesson and better execute the objectives. In the future I will transform more of my lessons to videos with the expectation of having similar results. This will save instructional time, and the students will learn better from the presentation. Any student who misses the class, or part of the class, can simply watch the videotape at another time.
Reflection/Evaluate the Results
Unlike when I grew up, students today spend a great deal of time exposed to television, video games, computers, and the internet. These students are more attuned to technology, and therefore apt to give greater attention to lessons presented with the aid of technology. Also, not all students are able to observe a live lesson equally in a classroom setting, but with the aid of a instructional video projected on a large screen, every student can easily see the lesson. I think these factors are the reasons for the increase in student achievement of the technology group. The following images are examples of those students from both groups who successfully understood the objectives for creating self-portraits:
Group A: No Technology Group
Group B: Technology Group
Title of Action Research Project
Improving Instruction through Technology
Briefly State Your Hypothesis
This research project tests whether or not students better achieve the instructional objectives in visual arts when the lesson is presented through teacher-made instruction videos, rather than through live teacher presentation.
Briefly State the Type of Data You are Collecting and How You are Analyzing It
Two fifth grade groups were assigned the same objective of creating self-portrait drawings. Group A, the no technology group, was to view the procedure for creating a self-portrait by live teacher instruction. Group B, the technology group, was to view the procedure for creating a self-portrait by viewing a teacher-made video of the instructions.
The instructions included how to create the basic oval shape of the head, intersected with four straight lines that determine where to draw the eyes, nose, ears, and lips. Further instructions were given to show how to draw the facial features themselves - the eyes, ears, nose, lips, eyebrows, scalp, hair, neck, and shoulders - at their proper points. Students used mirrors as a further aid to draw these features.
The works of both groups were compared and analyzed as to how proficient they were at drawing a head, and in placing the features within it. The drawings were analyzed as to whether or not the head was an oval, and whether or not the lines were properly placed: a vertical line dividing the oval into equal halves; a horizontal line through the center of the oval (which designates the placement of the eyes and the tops of the ears); a horizontal line half-way between the bottom of the oval and the eyeline (which indicates where to draw the bottom of the nose and ears); and the horizontal line one-third of the way between the bottom of the oval and the nose-ears line (which tells where to draw the line showing the two lips touching).
The abilities of the two groups were also compared as to how well they drew, with the use of mirrors, their individual eyes, noses, lips and ears on the lines that designate their placement.
Both groups were also compared as to the proper placement of the hair, eyebrows, scalp, neck, and shoulders. I was looking for students who understood the lesson, and therefore drew all the basic lines and drew and placed the facial features correctly. Was there a predominance of work with the proper elements of how to draw self-portraits from Group A, the no technology group, or from Group B, the technology group?
The Problems
Through viewing hall displays of students’ self-portraits from other classrooms, I determined they were in need of instruction on the basic methods that go into creating self- portraits. As some of the hallway images below indicate, the students seemed to have very little knowledge of the basic head shape, how to place the facial features within it, or how to create these features.
Furthermore, in the traditional classroom setting, students’ ability to view the lesson could be hampered because of the seating arrangement. With the aid of a teacher-made video, this problem could be overcome by projecting the lesson on a large screen so that all students could easily see it no matter where they sit.
Collect and Organize the Data/Gather the Data
Two fifth grade classes were given different instructional presentations: Group A, the no technology group, was give a presentation without technology aids; and Group B, the technology group, was given a presentation with technology aids. The artwork from both groups was collected. The artwork within each group was then separated into two groups according to how well the basic oval and lines were created, and how well the facial features were drawn and placed.
Interpret the Data
Self-portraits that were properly created in each group were counted and numbered, as were the self-portraits that were not properly created.
Once the numbers were counted, the percentage of successful and unsuccessful self-portraits in each group was tallied. Group B, the technology group, had nine students who correctly met the objectives and twelve students who did not correctly meet the objectives. Group A, the no technology group, had six students who met the objectives and thirteen students who did not meet the objectives.
The percentage computation of these numbers means that 42.8% of the technology group correctly followed the instructions to create self-portraits, while 31.5% of the no technology group correctly followed the instructions to create self-portraits. Therefore, the use of technology enabled an increase in mastering the objectives of 11.3% of the technology group over the no technology group.
Action Based On the Data/Act on Evidence
The evidence shows that technology can contribute to the improvement of the quality of artwork created in the classroom. When the students observe a teacher-made video presentation of a lesson, they better grasp the lesson and better execute the objectives. In the future I will transform more of my lessons to videos with the expectation of having similar results. This will save instructional time, and the students will learn better from the presentation. Any student who misses the class, or part of the class, can simply watch the videotape at another time.
Reflection/Evaluate the Results
Unlike when I grew up, students today spend a great deal of time exposed to television, video games, computers, and the internet. These students are more attuned to technology, and therefore apt to give greater attention to lessons presented with the aid of technology. Also, not all students are able to observe a live lesson equally in a classroom setting, but with the aid of a instructional video projected on a large screen, every student can easily see the lesson. I think these factors are the reasons for the increase in student achievement of the technology group. The following images are examples of those students from both groups who successfully understood the objectives for creating self-portraits:
Group A: No Technology Group
Group B: Technology Group
Monday, April 26, 2010
A Whole New Mind- Chapter Seven-Empathy
Pink tells about Paul Ekman’s research that people of different backgrounds from different countries read facial expressions in much the same way. This worldwide uniformity for reading faces could also relate to reading works of art in the same way, no matter what the person’s background is. For example, I think Edward Munch’s The Scream (1893) would be interpreted the same way no matter where someone comes from.
Pink points out that women are more hard-wired for empathy than men are, and that men are predominantly hard-wired for understanding and building systems. If this is true, then is it possible that women might make the best teachers on the lower grade levels, whereas men would make the best instructors on the upper grade levels, because younger students might need teachers with more empathy.
Testing empathy is discussed in this chapter, which motivated me to take an empathy test I found by searching for one online. Since women and men are not hard-wired the same for empathy, I thought it would be interesting to take the test both as a woman and a man. I answered the questions exactly the same on both tests, yet scored higher for empathy as a “female.” (I thought it might have been the other way, since women could be expected to score higher.) That test had a built-in bias for more empathy in women.
Pink points out that women are more hard-wired for empathy than men are, and that men are predominantly hard-wired for understanding and building systems. If this is true, then is it possible that women might make the best teachers on the lower grade levels, whereas men would make the best instructors on the upper grade levels, because younger students might need teachers with more empathy.
Testing empathy is discussed in this chapter, which motivated me to take an empathy test I found by searching for one online. Since women and men are not hard-wired the same for empathy, I thought it would be interesting to take the test both as a woman and a man. I answered the questions exactly the same on both tests, yet scored higher for empathy as a “female.” (I thought it might have been the other way, since women could be expected to score higher.) That test had a built-in bias for more empathy in women.
Saturday, April 24, 2010
Pink's A Whole New Mind Chapter Eight
Pink’s A Whole New Mind, Chapter Eight, Play
In talking about how play is important, Pink points out that that physicians “who spend at least three hours a week playing video games make about 37 percent fewer mistakes in laparoscopic surgery and perform the task 27 percent faster than their counterparts who did not play.” I was introduced to video games by my daughters. My own experience is that the games may or may not have benefited any of my abilities, but I can say the puzzle games, which are more intellectual, held my interest more than battle or racing games.
Pink also talks about how the workplace can be more productive if it is more light-hearted. I think this is especially pertinent to art subject matter, because along with the serious aspects of the objectives comes the built-in aspect of having fun.
This chapter makes me think of the phrase used when one is stressed: “If I don’t laugh I could cry.” It seems to me this type of humor or play helps to keep one healthy.
Pink points out on page 203 that “we rarely laugh alone.” This reminds me of the time when I went to see The Exorcist, expecting to experience some frightening moments. Instead, I laughed during the scary scenes because I was caught up in the laughter all around me.
I find laughter does not come to me as easily as it did when I was younger, and that I am careful who I joke around. Maybe I need to locate a laughter club such as the one Dr. Kataria created.
In talking about how play is important, Pink points out that that physicians “who spend at least three hours a week playing video games make about 37 percent fewer mistakes in laparoscopic surgery and perform the task 27 percent faster than their counterparts who did not play.” I was introduced to video games by my daughters. My own experience is that the games may or may not have benefited any of my abilities, but I can say the puzzle games, which are more intellectual, held my interest more than battle or racing games.
Pink also talks about how the workplace can be more productive if it is more light-hearted. I think this is especially pertinent to art subject matter, because along with the serious aspects of the objectives comes the built-in aspect of having fun.
This chapter makes me think of the phrase used when one is stressed: “If I don’t laugh I could cry.” It seems to me this type of humor or play helps to keep one healthy.
Pink points out on page 203 that “we rarely laugh alone.” This reminds me of the time when I went to see The Exorcist, expecting to experience some frightening moments. Instead, I laughed during the scary scenes because I was caught up in the laughter all around me.
I find laughter does not come to me as easily as it did when I was younger, and that I am careful who I joke around. Maybe I need to locate a laughter club such as the one Dr. Kataria created.
Friday, April 23, 2010
Gardner's Chapter 2
Some thoughts on Gardner’s Chapter Two, The Disciplined Mind
Gardner’s ideas in this chapter can be applied to art teaching in the following manner: In art, the disciplined mind studies, examines, and experiments to discover and/or advance a concept. The artist may endeavor to take a idea to its fullest potential, hoping not to overlook any possibilities for the concept, or want to explore the many different directions the concept may take.
I think teachers can have some influence on students’ ability to develop a disciplined mind. Teachers can help them to find the subject area, such as history, science, literature, music, or art, in which to use the disciplined mind.
Could it be that the person who has not developed a disciplined mind is the person who is without meaning or direction in his/her life?
On page 34, Gardner points out the importance of placing students in situations to determine if they have grasped or retained a concept, thereby helping them to develop disciplined minds. In my graduate psychology class, this would have been referred to as transference of knowledge. In my classes, I try I try to develop units that encourage the transference of knowledge.
At the end of this chapter, Gardner tells how Artur Rubinstein needed to practice at the piano daily to stay on top of his game, and when he didn’t his abilities suffered. Through this constant practice, he was also able to renew his craft, thus revitalizing himself. This could be said for anyone no matter the profession.
On leaving this chapter, I would like to say how my “disciplined” mind does not memorize all the information I would like it to, but at least I know where to put my fingers on the research.
Gardner’s ideas in this chapter can be applied to art teaching in the following manner: In art, the disciplined mind studies, examines, and experiments to discover and/or advance a concept. The artist may endeavor to take a idea to its fullest potential, hoping not to overlook any possibilities for the concept, or want to explore the many different directions the concept may take.
I think teachers can have some influence on students’ ability to develop a disciplined mind. Teachers can help them to find the subject area, such as history, science, literature, music, or art, in which to use the disciplined mind.
Could it be that the person who has not developed a disciplined mind is the person who is without meaning or direction in his/her life?
On page 34, Gardner points out the importance of placing students in situations to determine if they have grasped or retained a concept, thereby helping them to develop disciplined minds. In my graduate psychology class, this would have been referred to as transference of knowledge. In my classes, I try I try to develop units that encourage the transference of knowledge.
At the end of this chapter, Gardner tells how Artur Rubinstein needed to practice at the piano daily to stay on top of his game, and when he didn’t his abilities suffered. Through this constant practice, he was also able to renew his craft, thus revitalizing himself. This could be said for anyone no matter the profession.
On leaving this chapter, I would like to say how my “disciplined” mind does not memorize all the information I would like it to, but at least I know where to put my fingers on the research.
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