Collaborative Line Drawing... With a Twist!

Whatever it is, the way you tell your story online can make all the difference.

Age of participants: 6+

Mcad teaching artist: Greer Coffman

Number of Students: 7

Overview of Project:

In this project we will come together to create a collaborative blind drawings and explore how to communicate our

goals and intentions with each other, both abstractly and concretely.

Big Ideas:

● clear communication vs abstract communication

● different interpretations of ideas

● individuality

Student Outcome Objectives

Students will:

1. create a collaborative line drawing

2. find ways to communicate with each other to make their points clear

3. have a good time!

Prior Knowledge:

● usage of a mark making tool

● communication skills

lesson preparation timeline:

● planned the lesson

Materials:

● piece of paper

● mark making tool

● google meet software

learning activities and timeline:

1. i will start the lesson by explaining the concept

1. “today we will be creating a collaborative line drawing, one person will start by putting a line on the

paper, and it can be any shape or duration, but as soon as you lift your pencil off the paper, you are

done. you then must describe to the group the line you made and everyone must try and replicate

that line without seeing it. then the next person will go and add on with a line of their own, and

everyone must replicate that line without seeing it, and so on and so forth”

2. I will be the person to start the line drawing, then I will choose someone to do the next line, and then we will

continue in that manner.

3. After we are done with the first round, we will do a second round in which we will try and create something

more grounded, but using more abstract terms. For example, someone will draw a mouse, but instead of

using very specific terms for it, they will be looser with how they describe it, and people can interpret that

how they want.

4. After all of the drawings are complete, we will come together to share and compare our individual interpretations of the prompt!

Collaborative Collage

Name of Project: Collaboration Project

Grade Level or Age of Participant: Adult Artists of All Abilities

School, Teacher and Classroom: MSS MN (Fresh Eye Arts), Analeise Jarvi-Beamer

MCAD Teaching Artist: Casey Grengs

Number of Students: Planned for 9, 3 were present that day.

Visual Arts Content or Standards: Movement, Line, Shape, Color, Mark Making

Overview of Project:

Artists will create individual 2D pieces that will be adhered to a larger sheet of paper. The students can choose to follow the prompt of creating a piece that is inspired by a happy dream they recently had or go off on their own intuition. Artists have the choice if they want to cut their individual pieces into unique shapes or sticking with the original rectangle shape of mixed media paper handed to them. Once each artist is done with their individual pieces they will be able to decide where to place their piece on the larger collective final piece.

“Big Ideas”/ Essential Question(s): What is your creative impulse telling you to make?

Student Outcome Objectives:

Artists will:

1. Explore the creative, intuitive process

2. Explore collaborating.

3. Explore new media and mixed media (optional)

Prior Knowledge: Ability to create marks on paper.

Lesson Preparation Timeline:

1. Complete rough draft of PBM

2. Share with Aki and AJ

3. Revise from feedback received

4. Gather and drop off materials at site location

5. Teach lesson

Student Work

Additional Resources:
23 Collaborative Art Projects That Bring out Everyone’s Creative Side

Teaching with Community

The Art of Collaboration with KeFe | KQED Arts

Collaborative Art with Amy Franceschini | KQED Arts

Assessment:
Did the artist create marks on the provided paper for the individual 2D piece?

Did the artist create thumbnail sketches?

Did the artist decide where to place their individual piece on the collective piece?

Did the artist experiment with materials?

Is there movement in the piece?

What is the mark making like?

What colors did the artist choose?

Materials: Mixed media paper, poster board, glue (optional: pairs of scissors, paint brushes, sketch sheets, pencils, erasers, paint, markers)

Learning Activities and Timing

1. Hand out materials throughout lesson as artists need

2. Open with a presentation of examples of collaborative artworks, introduce project (10 minutes)

3. Artists sketch initial ideas (10 minutes)

4. Drawing, marking and cutting individual artwork (30 minutes)

5. Placing, glueing and formatting collective final piece (20 minutes)

6. Reflection (20 minutes)

Teaching Artist Reflection

Because of my virtual teaching circumstances, I am heavily reliant on AJ to get the physical parts of the project completed.

I hope for this project to open for exploration, but because of its openness and experimental nature, I feel like it might intimidate some artists.

The artists work will be shared virtually on the MCAD TA website.

For feedback, I will ask the artists and AJ at the end of the project how they felt about the experience.

Suminagashi Lesson Plan

DIY Suminagashi

Age of participants: 12+

Organization: greer c workshop for the arts

MCAD teaching artist: greer coffman

Number of students: 2

Overview of Project

● In this project we will come together to explore the printmaking technique Suminagashi! We will be focusing

on a DIY approach, mixing traditional techniques with a slightly more home-friendly, experimental focus.

Ideas Explored

● Exploring the more accessible sides of printmaking

● Control vs chaos, and controlling the chaos

● Nature vs nurture, in terms of the development of an art piece

Student Outcome Objectives

Students will:

1. learn about the art of suminagashi

2. experiment with different ways to effect the ink on the surface of the water

3. Create their own suminagashi prints as a result of their knowledge and experimentation

Prior Knowledge

● usage of a paint brush

Lesson Preparation Timeline

● Took a class on suminagashi

● Experimented and practiced it

● Cut down 60+ sheets of paper

Examples of Artwork

● A variety of my own personal prints

● Natalie Stopka

● Wandering and Orinoco Flow by CHEUK Ka-wai, Cherie

● Tadao Fukuda

Additional Resources:

● suminagashi.com

● https://www.pinterest.com/gomeditate/suminagashi/

● https://www.youtube.com/watch?v=GdgRQf6UiDM&ab_channel=RokoleeDIY

● http://marblinginspain.blogspot.com/2009/11/suminagashi-and-harunobu.html

Assessment:

● Do the students leave the class with a basic understanding of suminagashi?

● Did everyone have a good time?

● Will the students be able to replicate this on their own time if they please?

Materials

● empty hummus containers x3

● 30 precut 3x3 sheets of mullberry paper

● 30 precut 3x3 sheets of handmade paper

● a variety of paint brushes including sumi brushes

● one container of sumi ink

● small containers to hold ink

● spray bottle x3

● 5 hand towels

● 1 gallon of water

● dishwashing liquid

Learning Activities and Timeline

● Single day workshop, 1 hour

● 25 minutes of more traditionally structured suminagashi demonstrations + troubleshooting

○ 5 minutes: Start with stretches and setting the space for suminagashi, physically and mentally

○ 2 minutes: Go over a brief description and history of suminagashi

○ 5 minutes: Start demoing

○ 10 minutes: After one demo is complete, we will work in tandem to create together

○ Once that demo is done, the participants will work independently with suminagashi as I provide

assistance and troubleshooting

● 35 minutes of open work/experiment time

○ We will conclude with creating 3 collaborative suminagashi pieces together that we can each take

home (all of the students individual work they will be able to take home too).

Circle Fold Books

Circle Fold Books

Grade Level or Age of Participant: age 5 - 95 (basically all ages)

Organization: Minnesota Center for Book Arts, “Fold-Along Friday” weekly virtual book arts lesson

MCAD Teaching Artist:  Jamie Kubat

Number of Students: open (video demo, free for everyone)

OVERVIEW OF PROJECT

This project is a pre-recorded video that demonstrates how to make a folded circle book. This is a simple but elegant structure that can be used as a book with content or as a sculptural object. The demo is for MCBA’s Fold-Along Friday lineup, a virtual lesson format provided to their Facebook and Instagram audiences in response to the COVID-19 epidemic.

“BIG IDEAS”/ ESSENTIAL QUESTION(S)

This lesson provides a way for people to engage with MCBA through this time of social isolation. It is designed to support viewers/participants by giving them a thought provoking and enjoyable process to inspire them to create something new. 

Additionally, the project supports an organization that gives so much to the larger arts community through their programming and access to studio space. This lesson fills a gap left by social distancing and our current inability to teach face-to-face. 

STUDENT OUTCOME OBJECTIVES

Students will:

1. Construct a blank book

2. Develop content for the book if they desire

3. Adapt the lesson to their own needs or creative pursuits through experimentation

(The lesson provides a concrete way to accomplish the first step but the other two will be up to the viewer to pursue. Examples and verbal encouragement are provided for taking the content further).

PRIOR KNOWLEDGE

Basic knowledge of how to use a scissors to cut with and pencil to draw with is helpful. The rest of the steps are explained, such as folding paper, gluing, etc.

LESSON PREPARATION TIMELINE

By 4/16: submit lesson plan draft

By 4/19: create exemplars and set up space in my apartment for video. Experiment with video shots and photograph exemplars. Share demo ideas/footage with TA Development group.

By 4/25: Write script. Video draft edit and rework lesson plan. 

By 5/1: Submit video lesson to Shelby and Madeline for upload on Friday 5/15.

EXAMPLES OF ARTWORK

I made several exemplars, which are included in a gallery below.

ADDITIONAL RESOURCES

Link to MCBA’s free Fold-Along workshops here.

The Art of The Fold, by Hedi Kyle and Ulla Warchol. 

Making Handmade Books: 100+ Bindings, Structures & Forms, by Alisa J. Golden. 

ASSESSMENT

I asked people to tag their work on social media so I could see what they make, and I received some feedback through both social media and email responses. 

MATERIALS

Paper, enough for 8 circles in any size (suggested diameter of each circle is 4.5”)

Pencil

Compass or a bowl/other circular object to trace around

Bone folder, popsicle stick, ruler (or thumbnail) for folding

Glue stick, PVA glue, or other type of glue 

Other paper and drawing materials for collage/content/etc. (magazines, handmade paper, old prints, dried flowers, watercolors, etc.).

Optional heavier paper for covers (will provide size recommended for cover based on size of pages, or a way to find that size)

VIDEO DEMO  

LEARNING ACTIVITIES AND TIMING

1. Intro and talk about MCBA a bit and my role at MCBA/in this series of lessons. (2 min)

2. Cutting paper into circles (3 min; cut and fold most circles ahead of time and just demonstrate with one or two during lesson).

3. Folding the paper (4 min)

4. Gluing the pages together and gluing on a cover (8 min)

5. Wrapping up, asking people to support MCBA (Shelby requested, it’ll probably be specific to the version of the video I send them along with any other MCBA related info) 2 min

TEACHING ARTIST REFLECTION

What problems are anticipated with this lesson?

Timing and dealing with the video creation. Performing for a recorded video while home alone proved challenging but ultimately very worth the time and effort. 

How does this project fit into overall curriculum planning for the subject areas?

It goes well with other books that MCBA shares in their youth curricula: simple, easy to adapt for a variety of content purposes, unique, and fun to make

How will your students’ work be shared with the community?

They can share it on social media or with friends/family if they want to! 

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The video I recorded for this lesson can also be found here, on MCBA’s Facebook page!

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Dual Abstract Self Portraits

Dual Abstract Self Reflections

Grade Level or Age of Participant: Adults

School, Teacher, and Classroom: Avivo Artworks with Jes Reyes

MCAD Teaching Artist:  Emily Bigus

Number of Students: N/A

Overview of Project

Take a drawing or painting surface of your choosing and divide it in half using tape. On one half of the surface, paint or draw your outer self or what others see. On the other half of the surface, portray your inner self or what you feel like inside. Focus on portraying yourself with the colors you choose rather than your portrait looking like you physically.

“Big Ideas”/ Essential Question(s)

How can color be used to represent yourself?

How do you represent your inner self differently from your outer self?

Student Outcome Objectives 

Students will:

1. Visually portray their inner and outer selves using color to represent aspects of how they identify themselves

2. Compare how they present themselves to others to how they see themselves

3. Reflect on why they are choosing the colors they do 

Assessment

• How do the two sections compare? How are they different?

• What colors make you feel certain ways? 

• What colors do you feel fit with certain personality traits?

Materials

Drawing/Painting Surface: i.e. Stretched Canvas, Canvas Board, Paper

Acrylic Paint

Water Cup

Palette

Brushes

Artist Tape

Paper Towel

TEACHING ARTIST DEMO

LEARNING ACTIVITES

1. Introduction to Dual Abstract Self-Reflections

   1. Explain that this involves painting your outer and inner selves

   2. Go over materials

2. Paint or draw on one half of the surface depicting how you allow others to see you. If using paint, allow to dry and remove the tape. 

3. Tape the edge of the first half off and on the second half of your surface, paint or draw what you feel like on the inside. Allow to dry and remove the tape.

4. Reflection

   1. Group Reflection

      1. Use Descriptive review protocol  ( support statements with content form the paintings)

      2. Describe what you see or notice?

      3. How does the work make you feel? Why? 

   2. Personal reflection in sketchbooks

      1. What do you notice about the work?

      2. What is similar

      3. What is different

      4. What is a surprise to you?

Teaching Artist Reflection

• Problem wise, I am worried people will be thrown off by the word “portrait” and get too caught up in trying to make something that physically looks like them.

En Plein Painting Prep

Name of Project: In place En Plein Air Prep

Grade Level or Age of Participant: College

School, Teacher and Classroom: MCTC, Laura Andrews

MCAD Teaching Artist:  Emma Konrad

OVERVIEW OF PROJECT

Students will create an en plein air painting following the instructional demo. Students will combine previous instruction of perspective, color, and observational painting to create the painting while also gaining instruction on surface and material preparation.

“BIG IDEAS”/ ESSENTIAL QUESTION(S)

How can artists interpret space? How can artists recreate a space based off of observation? How can color be used to convey space? 

STUDENT OUTCOME OBJECTIVES

Students will:

1.     Prepare materials and surface for En Plein air landscape painting

2. Make a painting outdoors.

3. Participate in critique of work and reflection on experience.

PRIOR KNOWLEDGE

Students should understand perspective, color, and the use of observation within painting. This will all inform the preparation for en plein air painting.

ASSESSMENT

Are the students able to complete the task from the instructions and the video demo?

What does the prep tell us about the outcomes?

What is the evidence of student learning?

MATERIALS

Acrylic paint

Tape

Pencil

Eraser

Variety of surfaces (cardboard, paper, denim)

Blanket

Backpack

Acrylic Brushes

Sealed Water Container

Paper Towels

Sketchbook/Book

STEP BY STEP PROCESS

1.      Introduce the idea of an en plein air to students who have have talked about landscapes

2.     Show the process of surface preparation including a variety of materials that might be used

3.  Walkthrough material preparation

4. Discuss appropriate protocols to working outside including materials needed, safety, social distancing, weather checks.

5. Students prepare materials for painting outdoors

6. Send students out to paint

7. Regather online for reflection and critique during next class

Comic of our Fears hosted by Mia

Comic of our Fears

Grade Level or Age of Participant: First grade and above

School, Teacher and Classroom: Minneapolis Institute of Art, Angela Olsen

MCAD Teaching Artist: Anavi Mullick

OVERVIEW OF PROJECT

This simple drawing project addresses fears and how to approach them with humor. Participants think about their own fears, choose one that is most alive for them, and then pick an animal which they feel best represents their fears. Then keeping in mind the fear and the animal they will draw the animal in a silly situation. For example; the fear of loved ones falling ill, embodied as a porcupine, and then imagining the porcupine juggling balls, and drawing this.

The lesson was designed focusing on the challenges that we are all facing as we live through a pandemic. Participants will be able to share their work through online social media platforms, as well as with members of their families.

A step-by-step document is featured on the Minneapolis Institute of Art (Mia) Website. Link Here.

“BIG IDEAS”/ ESSENTIAL QUESTION(S)

What are we afraid of? How can we learn to visualize something? How can art be reflective and expressive? How to draw from imagination? How can art be accessible to all?

STUDENT OUTCOME OBJECTIVES

Participants will:

1. Explore their own fears with guidance through a process to visualize a fear.

2. Draw from imagination.

3. Experience art as a form of expression.

4. Reflect on the power of the creative process.

PRIOR KNOWLEDGE

Ability to read/follow step-by-step instructions, or have a partner to help guide the participant.

LESSON PREPARATION TIMELINE

-       Brainstorming lesson

-       Step-by-Step planning

-       Reflect on outcomes and next steps

This lesson was conceived by Anavi Mullick from the MCAD Teaching Artist Practicum course and reviewed and workshopped by the Education Department of the Minneapolis Institute of Art prior to being included in their web lessons during the Covid 19 Pandemic

EXAMPLES OF ARTWORK

Samples chosen from the Collection at the Minneapolis Institute of Art.

-       Graham Sutherland, Bird and Mouse, 1968, 24.75 x 19.5 in.

https://collections.artsmia.org/art/54851/bird-and-mouse-graham-sutherland

-       Getsuju, Frog and Mouse, late 18th - early 19th century, 65 × 35 in.

https://collections.artsmia.org/art/117177/frog-and-mouse-getsuju

-       Gerhard Marcks, Cats, 1921, 15 x 20 in.

https://collections.artsmia.org/art/72892/cats-gerhard-marcks

-       Unknown artist, Seated Dog, 386-535.

https://collections.artsmia.org/art/872/seated-dog-china

-       John Randolph Carter, Grinning Dog with Raggedy Ann Doll, Clouds with Ears in Sky, 1979, 13.5 x 17 in.

https://collections.artsmia.org/art/8873/grinning-dog-with-raggedy-ann-doll-clouds-with-ears-in-sky-john-randolph-carter

-       Dudley Huppler, The Bug of Marianne Moore, 1945, 11 x 9 in.

https://collections.artsmia.org/art/128355/the-bug-of-marianne-moore-dudley-huppler

-       Unknown artist, Finial with Animal, late 12th-11th century BCE, 7 x 6 x 2 in.

https://collections.artsmia.org/art/1155/finial-with-animal-china

-       Clement Hurd, Animals, second half 20th century, 10.5 x 27 in.

https://collections.artsmia.org/art/117681/animals-clement-hurd

ADDITIONAL RESOURCES

-       Henri Rousseau’s (Artist) paintings of animals. (https://www.google.com/search?q=henri+rousseau+animal+paintings&hl=en&sxsrf=ALeKk00R9An6fyTyrO9S3pOqd82ipG4TPQ:1586804902830&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjJ7r30jOboAhWRuJ4KHck5CUUQ_AUoAXoECBMQAw&biw=1172&bih=539)

SUPPORT MATERIALS

ASSESSMENT 

-How did you feel at the start of the lesson when you were thinking about what you were afraid of? How did you feel after the lesson?

MATERIALS

1.     A drawing tool

a.     Any one of the following; pencil. Pen, marker, crayon, color-pencil, paint and brush, chalk.

b.     Optional – if you think you would like to color your drawing after, you are welcome to. (crayons, paint, color pencil)

2.     A writing tool - a pencil or pen

3.     Paper/drawing surface - (2)

a.     Anything you have around you. (blank white paper, one sided paper, ruled sheets, an old paper bag, cut open a cereal box and use the inner surface, colored paper, newspaper, your driveway or sidewalk if you are using chalk)

4.     A comfy spot to sit, with a flat surface in reach. Not limited to, but a few options are; a dining table, or on the floor, or with a drawing board/a clipboard, or against a wall.

LEARNING ACTIVITIES AND PROJECT OVERVIEW

PROVIDE AN OVERVIEW OF THE PROJECT, PROCESS AND PURPOSE. See description above.

PREPARE. Gather drawing tool and decide on a drawing surface. Have everything at hand prior to starting. Then get comfortable.

Step 1. Brainstorming. Take a few seconds to observe your body, your breath, your heartbeat. You can close your eyes if you would like. 

Think about where you are, how you have been feeling, what you are afraid of.

 Step 2. Making a list and choosing. If your eyes were closed, you can open them. Pick up your writing tool, and your chosen drawing surface. Make a list of the fears that came to mind.

 When you are done with your list, take a moment to look at your list and identify which fear feels the most alive to you? Choose one that stands out to you.

Is it big and overwhelming? Is it small but sharp? Can you imagine this fear as an animal? What animal represents this fear?

Step 3. Imagining. Once you have chosen an animal that represents your fear, think of the animal doing something silly. Is it juggling balls? Eating fourteen bananas at the same time? Jumping on a trampoline? Be as silly as you can!

Step 4.  Draw it! Draw the animal doing this silly thing! Color it if you would like to. Do not worry about the animal or the activity looking ‘correct’. Just draw and enjoy! No judgement.

Step 5. Think about it….How do you feel now? Is your fear as great? Do you feel differently?

Step 5. Upload image, hashtag and respond. Tag @artsmia if you choose to post it, or #InspiredbyMia #MiaFromHome #MuseumFromHome. We’d love to hear what animal you chose, why you chose it and how you feel now.

Do as many as you like!

TEACHING ARTIST REFLECTION

-       Some participants will need assistance depending on their age in participating.

-       Participants might feel intimidated to think about the fears or drawing.

-       Challenging to consider consider sharing their artwork online

 Assessment from staff, general assessment through social media.

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Avivo Artworks' Community Mural Workshop

PLANNING BACKWARDS MODEL

Name of Project: Avivo Artworks’ Community Mural Workshop

Grade Level or Age of Participant: Varied, all adults.

School, Teacher and Classroom: Avivo, Jes Reyes, Basement Art Studio

MCAD Teaching Artist: Sarah Maude-Griffin

Number of Students: 3 for planning mural, 7+ for painting

VISUAL ARTS CONTENT OR STANDARDS

Participants will learn about the collaborative art-making process, scaling up images, and painting large surfaces and the importance of community art.

OVERVIEW OF PROJECT

Collective members will work with the Teaching Artist to create a collaborative design that represents the Artworks program. The entire Avivo art community will be invited to attend a workshop in which the teaching artist will discuss public art and members will collectively work to paint the mural design in. The Mural will be 6 feet by 5 feet and will be completed in two 4 hour collaborative painting sessions.

“BIG IDEAS”/ ESSENTIAL QUESTION(S)

How does art change a space?

How can art communicate a sense of place and inclusiveness?

STUDENT OUTCOME OBJECTIVES

Artists will:

1. Apply their personal experiences and the core values from their work at Avivo to a visual artwork.

2. Evaluate ideas and decide on a collaborative design for the mural.

3. Create a painted mural that communicates the importance of Avivo’s programming.

PRIOR KNOWLEDGE

Basic understanding of composition and symbolism, familiarity with Avivo

LESSON PREPARATION TIMELINE

2/25 12:30-2 pm Meet with Avivo Collective members and begin Mural design.

3/1 1-2 pm Create cohesive sketch from conversation with Avivo Collective Members.

3/3 11-12 pm meet with Lynda about PBM, 12:30-2pm refine sketch and transfer to wall

3/4 Get supplies in preparation for Fridays workshop

3/6 12 pm arrive at Avivo to set up, 1-3 pm teach workshop, 3-4 pm clean up.

EXAMPLES OF ARTWORK

http://goodspacemurals.com/ourwork

Greta McLain and Goodspace Murals’ work

Speaking Truth to Power, Sarah Maude-Griffin 2017

Tarana J. Burke, Sarah Maude-Griffin 2018

ASSESSMENT

During the lesson, the teaching artist will engage in conversations with the artists while they work in how the experience is going, how they feel the mural and space is evolving as they paint, and the whether or not they feel represented through the mural.

MATERIALS

Avivo has several gallons of acrylic paint, aprons, palettes, large paint brushes, paint markers, painters tape, butcher paper and canvas tarp. Teaching artist will get sample sized quarts of latex wall paint from Sherwin Williams in colors discussed with collective members and colors that are low or missing from Avivo’s acrylic collection. White, light green, yellow, light purple, and red orange. 5 quartz at $8 a quart totals out to be $41.21 with taxes. Paints will be set up on the communal tables in the art studio, along with larger paint brushes and palates. In hallway where the mural will be, we will have a canvas tarp down.

LEARNING ACTIVITIES AND TIMING

FOR FIRST DESIGN SESSION WITH COLLECTIVE MEMBERS

Introduce the project: We’re making a mural! This mural will represent what Avivo means to you and the values that are present in this community. Briefly walk over to the wall we will be painting, and then return to the tables. What does it feel like to be a part of this organization? Brainstorm word list on newsprint. (30 minutes) 2. Narrow down words and phrases everyone agrees with (5 min) 3. Discuss what could visually represent these words and the message for the mural and create list. (10 min) 4. Each artist is given markers and newsprint to create their own ideal design incorporated the words and visual elements listed. (15 min) 5. Group comes back together to discuss what they like best about each design. (25 min) 6. Teaching artist takes photos of the work and creates a digital mockup of this design to presented at next design session.

FOR SECOND DESIGN SESSION WITH COLLECTIVE MEMBERS

Open up digital mockup on laptop, along with the documented designs from last session. Feedback and critique! (15 min)

Make adjustments to digital file as a group on photoshop. Export image and send to Jes to print, so that we can use an Artograph projector to trace the image onto the wall. (15 min)

Move everything away from the wall we will be painting on, and wipe down the wall with damp paper towels to get rid of any dust or scuff marks. (15 min)

Set up the Artograph projector, and trace the design onto the wall with pencil (30 min)

FOR MURAL PAINTING WORKSHOP WITH ALL PARTICIPANTS

Welcome folks and discuss the process of painting murals (20 minutes)

• Go around the table and say names (some of us may already know each other!)

• Teaching artist talk about previous experience with creating murals Slide show of in process photos for both murals, explaining the significance of each stuff, scaling things up larger, what it is like to work large and publicly, what constraints may be placed on public art, and how to collaborate with people of varying art skill levels.

• Show some of Greta McClain’s work and how she does this with her company Goodspace Murals

• Answer any questions .

Quick introduction to where we will be painting and what, along with best practices for acrylic painting (10 min)

• Teaching artist stops at paint table and demonstrate pouring house paint onto pallets (using a wooden stir stick on house paint to ensure it’s mixed still), and grabs a few paint brushes of different sizes

• Group heads into the hallway where the wall is, Teaching Artist shows how to apply paint to the wall without drips, how to make clean lines, the ways you can use each kind of brush.

• Speak to the importance of giving each person working on the mural the space they need, and taking shifts working on the wall.

• Express the importance of covering as much of the wall as possible in order to make progress today—and also that things to not have to be perfect and precious if you don’t want them to be!

Artists take shifts painting in outlined shapes on the mural! Teaching artist will facilitate discussions with artists as they go in and out of their shifts about the progress of the mural and process of painting (120 minutes)

Wash brushes and palettes! (10 minutes).

TEACHING ARTIST REFLECTION

What problems are anticipated with this lesson?

• Some folks may be eager to take over and struggle with collaboration

• Things may take longer than three sessions (which is okay because Avivo has given the Teaching Artist permission to come back for a less formal painting day)

• There may be disagreements about the direction of the mural

How will you receive feedback on your teaching methodology and quality of student work?

One of the benefits of the mural being in such a communal area is that people passing by will engage with the artists and Teaching Artist/will be easy to invite to engage with the artists and Teaching Artist and give feedback. The small groups of artists working on the mural and shifts allows for down time to discuss how things are going and what is working and what is not working.

MMiW Screen Printing Workshop with Courtney Cochran

Screen Printing Events for Missing and Murdered Indigenous Women (MMiW)

School/Teacher/Classroom or Arts Organization/Mentor: All My Relations Art

Grade Level or Age of Participants: All levels and ages

MCAD Teaching Artist:  Courtney Cochran

Number of Participants: 100-300

Overview of Project: Community members can choose to make a MMIW screen prints on paper, t-shirts or banners at these traveling events. If they choose to print, they will learn how to pull a screen and why raising awareness for MISSING AND MURDERED INDIGENOUS WOMAN is important.

“Big Ideas”/ Essential QUESTION(s): How we can stand in solidarity to raise continued awareness for MMIW in any art form or non-art event.

Student Outcome Objectives:

 Community members can choose to:

1. Spread awareness for MMIW with this art form

2. Learn how to pull a screen and print an image

3. Choose to paint a blank banner by hand

4. Raise awareness of social issues using screen printing

 Prior Knowledge: No prior knowledge required, everyone welcome!

 Examples of Artwork: Images will be printed for participants to see what we are creating, no other examples are needed. Many have already seen the image since this has been a yearly event.

 Assessment: It’s more about building community together rather than strictly a student-teacher dynamic in these workshops. There is no hierarchy and these events and some volunteers are even first time printers, we are all standing together and learning from each other in many ways than an art form.

We show the people who choose to participate that they can use this medium to spread awareness in a way that can reach multiple people even after the events by wearing these designs on a daily basis. Assessment is focused on participation and participants engagement with the activity and the community in preparation for the event.

 Materials:

Paint

Screens prepared with content

Tables

Tarps for tables

Spatulas

Squeegees

Spray bottles

Clamps

Clothes pins

String

Learning Activities and Timing:

With time and studio space, goals are not to have community learn every step that goes into creating a design, burning to cleaning screens. These workshops offer the community a way to use the arts to carry their voices. Participants arrive throughout the printmaking workshop.

Step by Step

1. Artists are on site preparing screens, setting up and printing before the event begins.

2. As participants arrive artists teach them how to pull/print onto fabric and or poster paper.

3. Prints need to dry before they can be used.

Teaching Artist Reflection: Things might move too slowly while teaching inexperienced community members; screens can get too dry. If so, all we need to do is wash the screens. These projects goes beyond traditional classroom requirements because we are working with a larger community and don’t look at the quality of the print but rather than the time our community came together.