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This year I wanted something similar, but more focused. I needed something for the kids that had already done my "around the room" games to have the next level of exploration. I wanted them to see and use a variety of my resources that seem to get hidden and under utilized in my centers. I wanted them to act like artists to create in a studio... but knew they would just sit around and do nothing with out a bit of guidance. So I created a drawing bingo.

Set up like a bingo card it has 25 different drawing related short activities. They ranged from making a value scale, or a chalk pastel sunset, to drawing a still-life object or creating a zentangle flower. I gave them between 5-8 days to finish as many as they could. They worked in their sketchbooks and I would circulate the room "signing-off" on things they had finished.

Since my drawing bingo worked out well to have 7th and 8th graders explore all the drawing materials. I decided to do a collage bingo. I might do a paint one... but not sure I want all those balls in the air at the same time. My tables were already set up for 6th graders to do collage around the room, so 7th and 8th graders would pick a table each day to create collages from the bingo style choice menu.

Other times I would just provide books or invite kids to look things up on our classroom Chromebooks. At the bottom of this post I am providing my bingo pages for you to adapt. Many activities were in class type things, so if you are going remote, like I am... then you will want to change a few things. P.S. I can't share my slide show, because it uses images that I found online and used in my class under the fair use policy, but it would be a copyright infringement to publish other's images in this way. In this time of very generous sharing, please give credit when you use someone's work and don't take it and resell it on TPT!

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This year I wanted something similar, but more focused. I needed something for the kids that had already done my "around the room" games to have the next level of exploration. I wanted them to see and use a variety of my resources that seem to get hidden and under utilized in my centers.

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(all media)

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John Crowe's groundbreaking take on student directed learning and teaching

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A long essay for the interested!

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Home &rtrif; Exquisite Corpse: The Surrealist Game

LADIES AND GENTLEMEN, YOUR ATTENTION PLEASE! Before we delve into the complex innerworkings of the Surrealist Mind, we must ensure that we are all on the same wavelength. You are cautioned to read the following definitions with care, lest you tumble headfirst into the raging sea of Surrealist oblivion:

Surrealism: "Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.

Exquisite Corpse: Game of folded paper played by several people, who compose a sentence or drawing without anyone seeing the preceding collaboration or collaborations. The result is a collective work which, in theory, is free of the limitations we face as individuals. One person would draw the head, for example, while others sketched the upper body, lower body, etc. Together, the unique parts, make up an "exquisite truth" which could never be arrived at alone.

Automatic Writing: Surrealist technique which encourages spontaneous writing and urges the individual to transcend conscious preparation, hence giving the unconscious free reign. "Write quickly with no preconceived subject," advised Andre Breton in his First Surrealist Manifesto, "so quickly that you retain nothing and are not tempted to re-read. The first sentence will come by itself, since it is true that each second there exists a sentence foreign to our conscious thoughts which asks only to be brought out in to the open. It is somewhat difficult to make a definite statement about the next sentence; no doubt it partakes of our conscious and unconscious activities at the same time, if one admits that the fact of having written the first sentence implies a minimum of perception. Besides, it should matter little to you. Here lies the greatest interest of the surrealist game."

All that being said we must now say, LET THE SHOW BEGIN!

Unconscious thought. Collective Creativity. Automatic Writing. The Exquisite Corpse. All part of the Surrealist philosophy espoused by André Breton and his French comrades during the height of the movement in the 1920's and 1930's, these notions of transcending traditional logic in search of a higher "surreality," are the main thrust of my proposed project. As I would like to explore in depth both the methodology of automatic writing and the Surrealist philosophy of collective creative enterprise as seen through the Exquisite Corpse game, my project will be composed of two distinct parts. The first, a critical essay on the technique of automatic writing, will focus on the philosophy behind it as well as its practical application. As primary sources, I plan to use The Magnetic Fields (A.Breton/P.Eluard), a collection of nine creative essays often cited as the first "pure" work of automatic writing , and Breton's influential Surrealist Manifestos. Once I have grasped these elements, I plan to try my own hand at automatic writing and hope to include select excerpts.

Growing out of this study of Surrealist technique, the second part of my thesis will be a full-length play exploring the Surrealist philosophy of collective creative enterprise, most specifically, via the Exquisite Corpse game. A playful outgrowth of Surrealist philosophy, Exquisite Corpse recreates a sense of collective fate in a world where emotions and emotional afflictions are all too often isolating and individualistic. Throwing together five psychologically diverse characters into the centerfuge of a small town Surrealist group, I plan to challenge, via turns and twists of plot, the Surrealist philosophy that the Exquisite Corpse is in fact a form of liberation. Juxaposing Surrealist views against those of a staunch Christian Science contigency, I also plan to explore the animousity of many Surrealists against organized religion.

For as Breton himself conjectured, the forms of surrealist language are possibly "best suited to dialogue, when two thoughts confront one another, the one reacting to the other." Using two surrealist dramas ("If You Please" and "You Will Forget Me")as models, this project will give me the opportunity to explore the somewhat hazy realm of Surrealism in the theatre. In addition to utilizing traditional playwriting techniques such as those learned in my playwriting seminar last spring, I plan to use my newfound grasp of automatic writing to compose at least a portion of the play's dialogue. Creating an intriguing dialectic between form and content, as well as the critical and the creative parts of my thesis, I will use surrealist technique (Automatic writing) to shape the dialogue of a surrealist play.

As the Surrealist movement was an artistic as well as literary phenomenon, the stage medium of my creative piece lends itself to the blending of the two disciplines via artistic stage decisions (i.e., lightening, blocking, costumes, etc.) Essentially what I envision is giving the play a distinctive "surreal" flavor, be it through, for example, juxaposing of "hot" colors with tragic action, the visual contrasts between characters or various elements such as backdrops and music.

Synopsis

This piece will explore how five individuals, brought together in pursuit of creative liberation from the limitations of reality, are drawn into a collective fate. Like strange, unanticipated pieces of a puzzle, each member's distinct "unconscious works towards the creation of a single collective destiny. As the group finds itself tossed together in the flames of religious controversy, they discover that their actions are becoming more and more inexplicably linked. Like players in the game of Exquisite Corpse, each member is a driving force behind the final product, however horrifying or liberating it may turn out to be.

Hidden away in the rundown factory town of Sofolk, Kansas, where vocal labor unions and staunch Christian Scientists have run of local politics, the intellectual passions of psychologist Dr. Sandor Cenceinno and his Thursday night Surrealist Group have never created much of a stir. When a routine town hall meeting ends in vicious mud-slinging over the school board's proposition to teach creationism as scientific theory, however, the soft-spoken psychoanalyst and fellow members, David Notting, Natalie Steadman, Riley Shohman and Christian Giaric, soon find themselves thrown head-first into a raging battle of religious passion. As the creationism debate gains momentum, media vultures flock into Sofolk, snatching up bits of the controversy as fodder for the nightly news. Threatened by the brigades of network big-wigs swarming into Sofolk, local journalist (and ex-Surrealist group member) Harold Humbold writes a scathing (if ill-founded) "expose" on the "fervent anti-religious sentiments" of Dr. Cenceinno and his Surrealist discussion group. As the town's only psychological clinician, as well as visiting counselor in the local high school, Dr. Cenceinno is immediately decried by the more extreme of the Christian Scientists as trying to "corrupt" the community with his own insidious brand of psychoanalytical atheism. As Cenceinno struggles to regain his professional reputation, Riley Shohman, pulls the group further into scandal with his camera-pleasing oratories on the "obsessive" nature of religion, a view espoused by Freud and often cited by the Surrealists.

As the debate continues, the stakes continue to escalate, bringing into play the life of Garret Notting, the 14-year old son of the Church of Christ Scientist's most vocal member, Kathleen Notting. Debilitated in a car accident at the age of five, Garrett suffers from a rare but treatable bone disease, prompted, many suspect, by the refusal of his parents to seek medical assistance following the accident on grounds of religious conviction. Though seemingly fated to spend his life with a limp, Garrett is a shy, cheerful adolescent who prides himself on his remarkable musical talent. When he accompanies his mother to one of the volatile town hall debates, however, Garrett finds himself involuntarily tossed into the spotlight as an opponent condemns his mother, arguing that, "Any woman who forces her child to suffer like that has no right to determine how we should teach our kids." To complicate matters, the child's father, David Notting is a two-year member of the Surrealist group and has long harbored doubts about the Christian Scientists, especially in regard to his son's medical condition. Further embroiling the community in controversy, Kenneth Linsell, a local attorney, resolves to take up the case of young Garrett in bringing charges of negligence and child abuse against the Nottings.

Suddenly, on the eve of the courtroom trial against the couple, Garrett is found slouched over his baby grand piano, desperately gasping for breath and muttering incoherently. Three hours later, he is pronounced dead and cries of foul play quickly fill the air. Despite local authorities' refusal to confirm any theories, sketchy bits of evidence are traced back to David Notting, the boy's father. Given the tight link that has developed between the group members in the face of the past three months' opposition, the entire Surrealist group soon becomes suspect and finds itself face-to-face with one of the most "surreal" collective fates ever, a virtual Exquisite Corpse come to life.

Character Sketches

THE BIG FIVE: (below) Brought together through the Surrealist Group as prisoners of their unconscious and what they believe to be a certain predestined fate. The games and the theories they engage in at meetings are a means of liberation, of freedom. Despite this philosophy, however the characters ultimately discover that they are bound by the mutual fate they have created. For once the Exquisite Corpse has been assembled, there can be no revision.

1. Dr. Sandor Cenceinno, 42, Loosely based on the historical father of psychoanalysis, Sigmund Freud, Cenceinno is the founder of the Sofolk Surrealist group. While Cenceinno's abstract reasoning is the source of friendly joking among his inner circle, his soft-spoken amicable character has rarely failed to establish quick rapport between himself and his patients. An Italian schooled in Paris, Cenceinno remains somewhat of an outsider in the Kansas town although he does wield considerable influence as Sofolk's only practicing psychological clinician. For years he has been heading the small Surrealist discussion group which meets at his office every Thursday to discuss the philosophies of Surrealist giants like Andr6 Breton and Philippe Soupault and practice their own Surrealist writing through the use of automatic writing and other games. Relatively low-profile, the group is currently comprised of Cenceinno and four others.When the media seizes upon Surrealism's anti-religious!stance as "proof" of Cenceinno's sympathies with the secular contingency, however, it weaves his psychological practice into a sensationalistic web of conspiracy and draws uproars from the town's large population of Christian Scientists. This challenges not only Cenceinno's professional reputation but causes a breakdown in the established rapport with long-time patients and impedes the progress of new ones.

2. David Notting, 35, Surrealist member, the husband of vocal religious devotee Kathleen Notting, David's religious affiliation is most accurately "marginal Christian Scientist." Slow to anger yet quick to throw insults (occasionally punches) if rage should get the best of him, David was once taken into the local police station after neighbors suspected him of hitting his wife. As a member of the Surrealist group, David, a financial consultant, is on difficult terms with both his wife and somewhat with his son, Garrett.

3. Natalie Steadman, 25, haunted by terrifying nightmares, Natalie suffers from a mild case of agoraphobia, thus making it difficult for her to interact with society. While she used to be religious, the sudden death of her younger brother William earlier this year has turned her away from the church and towards the liberty promised by surrealism. A talented artist, Natalie makes a habit of chronicling her life in the paintings and sculptures she creates. " Believes death is her destiny, propels herself towards it. Perhaps those who are dead laugh at our fear," she writes. "You are fraught with the desire to be not of this world. Why in the moments of most profound passion, must we always find ourselves in the midst of such despairing solitude?". Turning to the Surrealist group immediately following William's death, Natalie plays up the idea of Surrealism as a liberation and God as imprisonment. Although she works as a fairly successful free-lace artist, she shares the morbidfascination of Surrealist writer Jacques Rigaut who once wrote, "As long as I do not overcome the taste for pleasure, I well know that I shall be susceptible to the intoxication of suicide." - "A man spared by bores and boredom perhaps finds in suicide the accomplishment of the most unselfish gesture, provided that he is not curious about death" There is something in her unconscious that plagues her constantly and she plays it out through art. Uses surrealism as her guide - believes in its methods as a means of liberation from herself. The sudden death of her youngest brother, same age as Garrett and closest friend in a racing incident - "Don't wait for God to save him, he's not going to make it," she advises Garrett's father.

4. Riley Shohmann, 27, very artsy, single, left by his wife a few years earlier. Works on community theater productions but aspires to much more. Acting as the porte-parole for theater, Shohmnn is constantly doing odd jobs to finance his lifestyle somewhat extravagant (by the standards of a middle-class factory town like Sofolk) lifestyle. Like Cenceinno, Riley's background is somewhat mysterious A self-styled philosopher king who refuses to do work which he believes to be "beneath" him, he acknowledges the plight he puts himself in and accepts it almost proudly as self-sacrifice in the name of Beauty and Pride. Outspoken atheist. Very Narcissistic.

5. Christian Giaric 19, suffers from schizophrenia (i.e., is very cold towards the outside world yet feels emotion very intensely inside. Strange outward affectations). A patient of Syncline's. As the play commences, Christian has not yet been diagnosed for schizophrenia. Constantly questioning his emotion and, behaviors. Contemplates the priesthood but more as an excuse for his lack of success with girls. He is referred to Cenceinno by the school counselor right around the time the controversy starts to break out. Per procedure, Cenceinno recommends psychiatric drugs to lessen the burden of the illness but Christian's behavior touches into the notion of "secondary benefit" of the disease, i.e., the attention. His case, though controllable by medicine is borderline and he has mixed feelings towards psychiatric drugs. The isolation brought on by his illness is both paralyzing and liberating - "I don't have to interact, it is understood". The narcissistic nature of this illness makes it an appropriate tool by which to construct the extreme individuality this character is subject to, so as to make a firm delineation between his outlook and the ultimate collective one. "Everything here reeks of constructed circumstance, of nonsense, of absurdity," scoffs Christian. Though he does not join until later, Christian becomes increasingly interested in Surrealism under the influence of Natalie.

Harold Humbold, 36, a local journalist and short-lived member of the Surrealist Group, Humbold is best characterized as brown-nosing lowlife seeking more than his fair fifteen minutes of fame. For it is the self-aggrandizing attack of Humbold which thrusts the Surrealist group into the controversial limelight, thus drawing out the first part of the Exquisite Corpse.

Kenneth Linsell, 32, a civil attorney working in New York, Linsell happens to be visiting his ailing mother in Sofolk, just as the school board controversy over creationism begins to gain momentum. A self-proclaimed expert on issues of church/state separation, Linsell is immediately intrigued and makes a point to attend the next town hall meeting. It is here that he first learns of young Garrett Notting and the religiously-based decision of his parents, both Christian Scientists, not to seek medical assistance for the boy's rare yet treatable bone disease.

Kathleen Notting, 30, head of the local school board and full-time teacher at Sofolk's Caring for Kids daycare center, Kathleen is essentially a wolf in sheep's clothing. For despite the soft voice and gaze, she has a relentless passion for both her family and her faith. While her relations with David are shaky, she has always been willing to continue in the relationship out of fear for what effect divorce might have on Garrett. For unlike her husband, Kathleen has no ambiguous views of religion and goes regularly to prayer services.

Garrett Notting, 14, son of Christian Scientists David and Kathleen, has a severe bone disorder for which, his parents refuse to seek medical help. A talented musician, Garrett alters between being optimistic and downright cynical. Tossed into an examination of conscience when the school board debates spring up, he begins questioning his religious faith . With your mother as religious fanatic, however, forgoing your roots to God take a little more brawn than brain.

Michael Nasson, 35, a hot-shot lawyer friend of Riley's who takes up the Surrealist group's case after they are implicated in Garett's murder. His vibrant, fearless court manner contrasts greatly with his low-keyed talking in private. Also intrigued by Surrealism.

Sample Dialogue

Having tagged along with his father to a weekly Surrealist rendezvous a few months ago, Garrett finds himself being interrogated by his mother about the goings-on of the meeting. In what will turn out to be prophetic foreshadowing of the fate that awaits him, Garrett describes the game of the Exquisite Corpse and hints at the collective destiny of those playing it.

As the scene opens, we see Garrett seated at the piano, absentmindedly fiddling with the keys and listening to his parents hurl accusations at each other from the other room. (Since Humbold's story on the" anti-religious" temperament of the Surrealist group, the hostility in the Notting household has been insufferable.) Shortly afterwards, a door slams and we hear the sound of a car engine as a furious David drives away. Kathleen enters the living room and begins pacing anxiously back and forth. Not wanting to get caught in the cross-fire, Garrett pretends to be deep in concentration, trying to piece together chords and rhythms for a piano composition he is working on. At least three times, Kathleen looks over at her son, begins to speak and then turns away. Finally, to Garrett's annoyance, she perches herself on the edge of the piano bench and begins her interrogation.

Kathleen: Garrett, when you went to that meeting with your father a couple months back, you remember?

Garrett: (playing louder, knowing where his mother is going with this): Uh, yeah, sure, at Dr. Cenceinno's.

Kathleen: (grimacing) Yeah, that's right. (Garrett hits a loud chord. Kathleen softens her voice) Now, honey, you know I don't want to do anything to hurt you (afterthought) or your father but I really need to know what you talked about there. The sort of things the Doctor and everyone else said. I'm heading over to the Church in a bit and I.

Garrett: Need evidence to corroborate Humbold's story?

Kathleen: It's not a matter of corroborating anyone's story, Garrett. It's about protecting you and everyone else in this community from what may turn out to be a very dangerous organization. Your father has refused to tell me anything and you'll only be hurting him if you do the same. We can hypothesize all we want and in many cases that may prove to be worse than the truth. I just want to know the truth. So, now, tell me, do you remember anything they talked about?

Garrett: (Still playing) Nah. Me, I played on the computer while Dad and this guy wearing leopard print pants went on and on about how all of Salvador Dali's work was driven by the incessant hard-on he had for his mother.

Kathleen: (shocked) Garrett!

Garrett: Hey, don't shoot the messenger, mom. I didn't say it.

Kathleen: (Growing increasingly perturbed) Hmm, I should imagine that's far from the worst thing they've said. (insistent) You don't remember anything...more? About God, maybe? Did they talk about God?

Garrett: (flipping through his piano music) Ah, geez, I don't know, Mom, it's more or less just a bunch of talk. Honestly, all this yapping about the Surrealist Group, I don't get it. It really wasn't anything big from what I saw. Just ramble ramble. BIah blah. (Mimicking Cenceinno in the earlier meeting scene, picking up a large book.). "Beauty is nothing if not (pause) CONVULSIVE" (plays a little rift on the piano) Voila. That was about it. Books and reflection. Reflection and books. (offhandedly) Oh, and then they played Exquisite Corpse. That was actually sorta cool.

Kathleen: Exquisite Corpse?

Garrett: Yeah, it's this Surrealist group game where everyone makes up a sentence or a picture together. Here, I'll show you how to play.

Kathleen: Garrett, I don't want to play.

Garrett: No, no, it'll be fun. I promise. If nothing else, it'll show you just how harmless they really are. (Folds up a piece of paper) See, you fold up a piece of paper so there the number of sections is equal to the number of players. It's better with more people but for now two will have do. Now each person draws a part of the body without seeing what the other one drew. (Sketches out a detailed head and upper body), lips it over, hands to Kathleen) Your turn.

Kathleen (hesitant): This is a waste of time, Garrett.

Kathleen: Fine, what should I draw?

Garrett: Whatever. I drew the upper body now you draw the lower.

Kathleen: Okay (Hastily draws two stick legs. Hands the paper back to Garrett. He unfolds it)

Garrett: (scrutinizing it) Hmm, that's not very good.

Kathleen: Sorry.

Garrett: That's okay. You get the idea though. Every person draws a part and when you're done you end up with something completely unique that you probably never could've thought of all on your own. Dr. Cenceinno said it always ends up that the thing created together frees the individual from his or her limited insight.

Kathleen: (examining the pic) Do you feel freed?

Garrett: Well, no, not really but like I said, this one sucks. You should've see the ones they made at the meeting. It was eerie, the pieces fit together almost perfectly even though no one knew what anyone else was drawing! It was like they were one mind or something. Dad says that the more you play it with the same people, the more liberating each new work is. Sort of a collective unconscious driven by the same overarching destiny.

Kathleen: (Examining the picture, shaking head) Exquisite corpse. Jesus.

Note: This same picture will later re-appear, side-by-side Garrett's picture as a backdrop during the courtroom trial, impressing the idea that Garrett himself is the Exquisite Corpse.

Preliminary Bibliography
From the Horse's Mouth: The Surrealists Speak Out
Artaud, Antonin. "Address to the Pope" La Révolution Surréaliste, No.3, April 1925.

A scathing attack on what he deems the "knife blade of enlightenment," this brief essay written by poet and dramatist Antonin Artaud offers an emotional appeal against the acceptance of Christianity. "We don't give a damn for your canons, index, sin, confessional, clergy," confirms the Surrealist writer, "we are thinking of another war - war on you, Pope, dog." While, admittedly, bordering on the far end of extreme, this piece offers rich insights into the animosity of many Surrealists towards organized religion and promises to be a useful resource in constructing the psychology of Nathalie and Riley, the avowed atheists of Cenneinno's group.

Breton, André. Manifestes du surréalisme. Gallimard - Société Nouvelle des editions Pauvert, Paris, 1g79.

Published in 1924 and 1930, Breton's two manifestos are indispensable cornerstones of any intellectual endeavor into the Surrealist movement. In both, Breton elucidates the notion of the unconscious merging with the conscious into a "surreality," defining the term Surrealism as, "Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and, outside all aesthetic or moral preoccupations." These ground-breaking essays will help me shape the "feel" of my piece, via the interactions both within and in relation to the Surrealist group, and also, via artistic staging decisions. In addition to the overarchingphilosophy of Breton, the first manifesto provides a clear, straightforward approach to the technical aspects of automatic writing, thus serving as a guide for my use of this method as part of the creative process.( I have both the original French Ian!guage version and English translation at my disposal.)

Breton, André. Nadja. Penguin Books. Translated by Richard Howard. London, 1999.

Touted as one of the most influential works to emerge from Surrealism, this renowned novel offers an intriguing gaze into the interactions between the narrator (assumed to be Breton himself) and Nadja, the multi-faceted, somewhat psychologically unstable young woman he becomes involved with. Mixing bits of surrealist philosophy ("I shall discuss these things without pre-established order, and according to the mood of the moment which lets whatever survive survive") with very precise narration ("Last October fourth, toward the end of one of those idle, gloomy afternoons I know so well how to spend, I happened to be in the Rue Lafayette: after stopping a few minutes at the stall outside the Humanit4 bookstore and buying Trotsky's latest work, I continued aimlessly in the direction of the Op6ra,"), Nadja is a tremendous resource as I commence my quest of combining Surrealist thinking and methodology with concrete form and content.

Breton, André, Paul Eluard, Philippe Soupault. Anti-classics of Surrealism: The Automatic Message, The Magnetic Fields, The Immaculate Conception. Trans. David Gascoyne, Antony Melville, Jon Graham. BCM Atlas Press. London, 1997.

Published in 1920, Breton and Eluard's The Magnetic Fields (Les Champs Magnetiques) is often considered the first "pure" work of automatic writing. A creative precursor to the philosophy Breton would lay down four years later in his first manifesto, the entire work, consisting of nine separate "essays" with titles ranging from "The Unsilvered Glass" to "The Hermit Crab Says:", was written exclusively via the automatic method, i.e, in a state of psychoanalytical free association and with no revision beyond simple spelling errors. As writer David Gascoyne argues, The Magnetic Fields is not simply a series of exercises resulting from the employment of a new technique but rather "the application of a distinctly new type of literary discipline." This same compilation also contains The Automatic Message, a more theoretical writing helping to orient the reader in the field of automatic writing, and The Immaculate Conception, an automatic writing piece touching on Surrealist viewsof religion.

Breton, André and Philippe Soupault. "S'il Vous Plait". Breton, Oeuvres Completes. Editions Gallimard. Paris, 1988.

The first of two dramatic pieces written by Breton and Soupault, "S'il Vous Plait" ("If You Please") plays with the idea of form and content within a surrealist vain. Seemingly placing spectators in the midst of familiar scene at the beginning of Act One, the authors quickly foil complacent audiences by creating three acts which appear to be completely unrelated. In the harsh words of critique Michel Sanouillet, the piece is" a series of playlets constructed according to the best rules of dramatic art but perfectly incoherent." A type of coherently is created, however, when, as the fourth and final scene begins, an "audience member" stands up and decries the inane nature of the spectacle before his eyes. Such intentionality disguised as" incoherence" upsets the traditional method of play viewing and directly implicates the spectator as part of the story. This aspect in particular will be explored as part of my critical reflection on the application of Surrealist ideology to the dramatic form. Furthermore, dialogue between characters Gilda and Maxime in Act Three is the direct product of automatic writing.

Breton, André and Philippe Soupault. "Vous M'oublierez". Breton, Oeuvres Compktes. editions Gallimard. Paris, 1988.

Capitalizing on Lautr~amont's poetic observation about the beauty of "the chance encounter, on a dissecting table, of a sewing machine and an umbrella," this second drama uses as its principal characters an umbrella, a sewing machine and a dressing gown. Like "S'iI Vous Plait" its unorthodox juxtapositions of situation and dialogue give the play a uniquely Surrealist "feel", a mood I wish to recreate as part of my piece as well as analyze in my critical reflection.

Breton, André. "The Exquisite Corpse" Surrealism. (ed. Patrick Waldberg). Thames and Hudson. London, 1997.

An excerpt from a 1948 art exhibition catalog in Paris, "The Exquisite Corpse" explains the collective word and drawing game created by Breton and other Surrealists. Its title, taken from a classic example, was drawn from the first sentence created in the game: "The-exquisite-corpse-will-drink-new-wine." The collective nature of this game and its philosophical implications as far as its so-called of games ability to" liberate" the individual spirit will play a major role in the psychology of my piece, providing an intriguing critical link between plot and surrealist theory.

Dali, Salvador. The Secret Life of Salvador Dali. Dover Publications, Inc., New York.

The autobiography of this ground-breaking Surrealist artist, The Secret Life of Salvador Dali provides yet another orientation in the utilization of automatic writing. Like Breton and his literary comrades, Dali was a strong believer in Freudian notions of hidden latent content and the power of the "surreal", such as dreams and hypnosis, in bringing out the "truth." Here, Dali discusses his life, his works and his psychology in a style which is undoubtedly influenced by the Surrealist affection for spontaneous writing.

Rigaut, Jacques. "From an article by Jacques Rigaut." La Révolution Surréaliste, no. 12, December 1920.

The victim of self-inflicted misery, Surrealist Jacques Rigaut wrote a number of dark articles foreshadowing his suicide in 1920. A combination of backwards wit and morbid humor, Rigaut's treatise on "why I killed myself three times," can be readily incorporated into the character psychology of Nathalie, the forlorn, suicidal atheist of the group.

Société Médico-Psychologique. "Discussion: De Clérambault et Janet." Journal de l'Aliénation Mentale et de La Médicine Légale des Aliénés. Novembre 1929.

An excerpt from a discussion on surrealism between two prominent French psychologists of the early 1920's, Drs. De Clérambault and Janet, this brief article airs some of the grievances on the part of traditional psychologists with the Surrealist ideologies. "The works of the Surrealists," conjectures Janet, are above all confessions of the obsessed and the doubtful." As psychoanalysis and Surrealist are generally considered to be fairly tightly linked, the skepticism of Janet poses an alternative viewpoint which adds another dimension of opposition to the Surrealist aside from that of the religious Christian Science contingency in my play.
After the Fact: Secondary Source Surrealism
Matthews, J.H. Theatre in Dada and Surrealism. Syracuse University Press. New York, 1974.

Delving into the question of form and content, Matthews' work offers valuable insight into the little explored territory of Surrealist drama. Given Surrealism's propensity for creating unorthodox juxtapositions of words and ideas, the medium of dialogue in theater provides amble breeding ground for Surrealist dramatists.

The scholarly work of Matthews will provide me with useful background information in writing my critical reflection concerning the dialectic between Surrealist automatic writing and dramatic form. Waldberg, Patrick. Surrealism. Thames and Hudson Ltd. London, 1997.
A comprehensive historical overview of the movement, from its breakaway from the Dadists to the later works of Breton, Patrick Waldberg's survey of Surrealism provides necessary background information to the movement as well as the inclusion of a number of key articles from the journal La R6volution Surr6alist.
Creative Direction
Kaufman, Moises. Gross Indecency: The Three Trials of Oscar Wilde. Vintage Books. New York, 1998.

A superb play based on the legal battles of the flamboyant literary legend Oscar Wilde, Gross Indecency: The Three Trials of Oscar Wilde utilizes primary sources, for example, excerpts from the actual trials, to weave together an intriguing tale of courtroom drama. As I wish to incorporate primary Surrealist sources, as well as legal confrontation, Kaufman's piece is an excellent model of successful dramatic compilation.

Miller, Arthur. "Many Writers: Few Plays." The Theater Essays of Arthur Miller. Ed. Robert A. Martin. The Viking Press. New York, 1978.

Featured in The New York Times, August 10th, 1952, this inspiring essay by one of America's most prominent playwrights, Arthur Miller touches on the "nature of the creative act." The very nature of a great play, asserts Miller, "is incompatible with an undue affection for moderation, respectability, even fairness and responsibleness." Such disdain for caution and, in modern terms, "political correctness" fits hand in hand with the dramatic exploration I plan to undertake via the Surrealists.

Miller, Arthur. "What Makes Plays Endure?" The Theater Essays of Arthur Miller. Ed. Robert A. Martin. The Viking Press. New York, 1978

Similar to the above article, this second Miller essay offers more theory on what makes a play great. "More than any other art," writes Miller, "theater asks for relevance." In commencing my piece with the debate over the teaching of creationism in public schools, I immediately tap into the recent Kansas State Board of Education decision (and the accompanying controversy) to allow such teaching. As I delve further into this issue, as well as the controversy surrounding the Christian Scientists and their religious conviction in the" healing power of faith" versus that of traditional medicine, Miller's essay will serve as a useful guiding point to maintaining the cutting-edge relevancy of my piece.

Wright, Michael. Playwrighting in Process: Thinking and Working Theatrically. Heinemann. New York, 1997.

Chock-full of playwrighting exercises, Playwrighting in Process offers creative means of getting in touch with your audience, ensuring a consensus between content and form, and answering that ever-crucial question of "why must this be a stage play?" (as opposed to a novel, a musical, an essay, etc.). As I combine automatic writing technique with dramatic form, this practice book will help me to solidify the link between Surrealist ideology, my own free association and, of course, plot. In addition, Wright's numerous suggestions for character studies and plot development will be of invaluable aid in formulating the meat of The Surrealist Game.

The works in this section will be consulted to give my play a realistic feel as far as Cenceinno's professional occupation as clinical psychologist, as well as the character development of patients such as Christian, a paranoid schizophrenic.

Maxmen, Jerrold and Nicholas Ward. Essential Psychopathology and Its Treatment.(2nd Edition, revised for DSM-IV). W.W. Norton & Company. New York, 1994.

A straightforward approach to the mental disorders encompassed by the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition), this textbook-style work provides clear symptomologies, behavioral patterns and treatments for each disorder.

De Mijolla, Alain et Sophie De Mijolla Mellor. Psychanalyse. Presses Universitaires de France. Paris, 1996.

A standard textbook for French psychology students, Psychanalyse offers a very through explanation of major mental illnesses from the psychoanalytical viewpoint.

Gay, Peter, Editor. The Freud Reader. Vintage. London 1995.

A compilation of Freud's most essential works (Interpretation of Dreams, Totem and Taboo, Civilization and its Discontents, etc.), The Freud Reader gives a through overview of the works, views and theory of this influential psychologist. Especially pertinent to my project is Freud's parallel between obsessive compulsive disorder and religious rituals, elucidated in his essay, "Obsessive Actions and Religious Practices.
Religious Controversy
The official home page of the Church of Christ, Scientist: http://www.tfccs.com

Providing information of the beliefs and practices of Christian Science, with a special section devoted to the notion of healing by faith alone, this site will allow me to develop the outspoken, fervently religious character of Kathleen Notting as well as other Christian Scientist characters.

"Kansas vote sends education to Dark Ages." The Minnesota Daily. August 18, 1999.: http://www.mndaily.com/daily/1999/08/18/editoriaLopinions/l081 8. lett/

An editorial discussing the Kansas State Board of Education's decision to allow public school to teach creationism, the piece echoes the vehement protests raised across the country and can be cited, either directly or indirectly, as part of the debates in my piece.

"Granting of Charter Is 'Abdication of Responsibility." The Boston Globe. February 22, 2000: http://www.boston .com/dailynews/053/economyLG rantingof_Charter_Is_Abdica: .shtml

This recent Globe article highlights the controversy between Rochester Leadership Academy in upstate New York, scheduled to open next fall and contemplating the teaching of creationism as scientific theory, and the American Jewish Congress which has demanded that State University of New York trustees revoke the public school's charter should it pursue plans to teach creationism. Yet another take on the controversial debate.
Hands on Playwriting
Along with the bibliographical resources listed above, my project will incorporate knowledge and expertise gained outside as well as inside of the library during my year here in Paris and have a firm grasp of the Freudian psychoanalysis, as well as general knowledge in the area of psychopathology.

"Therapy": Last spring I wrote and produced a one-act play entitled "Therapy" as part of Professor Amy Robinson's Playwrighting Seminar. Grappling with issues of time and the patient-therapist relationship, Therapy" addressed some of the same issues I will explore in my upcoming project, i.e., psychopathology and the question of therapist culpability in relation to the patient's actions.

Mock Trial: With years of Mock Trial experience, I have a fairly good understanding of trial procedures and legal-speak, both of which will be vital to creating powerful courtroom drama in my piece.

Steppenwolf Theatre Company, Chicago: As part of Steppenwolf's Summer Intern Program, I will be working directly with the Literary/Artistic department in reading incoming play submissions, conducting auditions and doing dramaturgical research. This will, no doubt, give me extensive exposure to different modes of writing as well as heighten my knowledge of the technical aspects of staging a play.

Chicago Dramatists Course: In addition to my summer internship, I will be taking a playwrighting class focusing on character psychology and development.

Please note that a hard copy of this proposal has been sent as well and, should be substitued for the electronic copy here upon its receipt. Thank you for your assistance.

Writing Sample

As my thesis includes two distinct parts, a critical essay and a full-length play, I have included both a creative and a critical writing sample.

I. Creative Writing Sample: This final scene of my one-act play Therapy (Spring 1999) features Jeffrey Bayne, an obsessive compulsive patient, and his therapist, Dr. Bridgette Jacoby, an obsessive workaholic, carrying out a session on, of all times, New Years Eve. Dealing with themes of time and the ever-questionable line between sanity and psychosis, this particular scene is essentially a reversal of power between the two characters as Bridgette finds herself trapped in Jeffrey's maddening world.
Scene Six: "Compulsions"
Note: Throughout the scene, a marked transition should occur in Jeffrey: Growing increasingly angry and hostile, he transforms from an eccentric, anxious, but, for the most part, seemingly harmless patient to the menacing character hinted at earlier in his interactions with Marie. By the time he pulls out the gun, he should be in a state of wild-eyed frenzy.

Bridgette: Jeffrey, from what you've told me, about your routines, your childhood, I sense a definite dependency upon that "giant clock."

(Jeffrey does the watch-drop routine again)

Jeffrey: (defensively) Don't you?

Bridgette: (holding her hand out) Here, Jeffrey, let's put the watch on the desk.

Jeffrey: No.

Bridgette: Jeffrey, one of the first steps to letting go of these compulsions, for example, repeatedly dropping and picking up your watch, is to distance yourself from the compulsatory object. As your therapist, I think that-

Jeffrey: (instantly angry): You damn therapists and your temporary solutions. I swear, the whole goddamn world's got their temporary solutions. This morning some woman calls me up. 'Hello, Mr. Bayne," she says. (reciting, as if out of book) "My name is Paulette Jones and I'm calling on behalf of AT & T Worldwide long-distance international to offer you, Mr. Bayne, a very special opportunity. As a member of AT & T Worldwide, you will receive a 30-day trial offer with up to twelve hours of cost-free local calling as well as a 96 cents-per-minute AT & T Worldwide long-distance calling card. Also as part of our special offer, you, Mr Bayne, will be enrolled in AT & T's job and life protection program. In the event that you lose your job, AT & T will pay your minimum credit card balance for up to six months as well as provide you with an insurance plan in case of pre-mature death.

(Suddenly, outside, loud cries of New Years Eve partygoers.)

You hear that Doctor? The world's rearing up on its heels to play Russian Roulette with ole' Father Time and my resurrection is 96 cents per minute. Doctor, she just yap, yap, yap. What'd I do? Stood in my bathrobe like a fucking convalescent and listened to every damn word. That's right, at full attention for some scripted charlatan. Well, enough of temporary solutions (Repeats the watch-drop routine)

Bridgette: Now, Jeffrey, I know it's difficult but if you could just hand me the watch-

Jeffrey: (suddenly) What if I asked you to give up your compulsion?

Bridgette: What?

Jeffrey: (gets up, walks around, picking up books and papers from the desk) Your work, your career. What if someone told you to hand it over?

Bridgette: Jeffrey, I really don't think-

Jeffrey: Like your coat. Hand over your coat.

Bridgette: I really don't see what that has to do with anything but if it helps you in some way-(Takes off coat and hands it to him. Jeffrey puts it on and goes to sit on desk. As such, he towers over Bridgette who is seated on the little desk chair)

Jeffrey: (Grabs a clipboard, his posture mirrors Bridgette's) The only difference between your compulsion and mine is that obsessive productivity is a virtue whereas mine is just plain .. irrational. Just look at these books, these diplomas. You're a goddamn sensation. Me? I'm a damn degenerate. Ironic isn't it?

Bridgette: Now Jeffrey, I know there's a lot of resentment, a lot of hostility there inside you. Especially from your childhood. But as your therapist, it is essential that you and I be on the same wavelength in addressing your concerns. I know you're willing to do that. You've told me yourself that you need to work these issues out.

Jeffrey: (Turning away from her, takes a deep breath) Yes, how right you are Doctor. The patient-therapist relationship. Nothing more destructive to it than a failure to communicate. (Turns back around) That being said, Doctor, I really think it's time we talk about you. Let's talk about your husband, your workaholism...

Bridgette: (taken aback) There is nothing to talk about. Jeffrey, I want to help you but I need you to work with me here. I'd be pretty upset if my wife were spending New Years Eve in the office.

Bridgette: Jeffrey, my personal life is none of your business.

Jeffrey: Yet as therapist, or, perhaps more precisely, "the rapist," you have to right to meddle in mine.

Bridgette: I'm trying to help you. You shouldn't perceive it as an attack.

Jeffrey: And vice-versa, I would never attack anyone. Doctor, I only mean to help you. The first step, as you know, is letting go, detaching yourself from the object of compulsion. (shaking head) All these books and papers though. I have a feeling this is going to be a very long session. You'd better call David to tell him you'll be late.(pulling out a gun) Maybe you'd like to make the call personally this time.

Bridgette: (scared but trying to remain calm): Jeffrey, now let's just calm down a little. (Burst of happy screams outside, sounds escalating)

Jeffrey: Calm down? How can one calm down with all that going on? Why, they sound absolutely mad! I, however, (deep breath, he is in control now) am perfectly calm. You're the one I'm a little worried about. I really think you ought to call your husband, just to let him know what's going on. Here, I'll dial. What's the number?

Bridgette: 298-543-8346

(On other end, someone picks up. Party sounds in the background. We do not see David, just hear his voice.)

Bridgette: David!

David: (furious whisper) You selfish, heartless little b- You know, I thought once, just once, you could show me some goddamn support. It's not much. Just show up. Just show up. But, hell, you can't even do that.

Bridgette: (getting more desperate) David, there's a patient here and he's (Jeffrey holds gun to her back, watching the clock and mouthing "tick-tock-tick-tock) he's keeping me longer than I expected. (in urgent whisper) David, you need to come pick me up right now. I don't know what he's doing, he might-

David: Oh no, don't you dare. I've heard the excuses long enough, Bridgette. And you know what? Forget it, I fold. You want to be obsessed with your office, your patients, your work, Fine. I can't stop you. But if I have to live with the consequences, so do you.

David hangs up. Bridgette, in shock, holds the receiver limply in her hand.

Jeffrey: (seeing her reaction) He hung up on you? Oh well, probably for the best anyways. After all, no one understands your problem as well as I do. No one could really. The thing that gets me though, that really gets me, is that even we are so limited in helping each other. Detachment, therapy, sublimation, all these things, sure, they may work for a while but they're all temporary answers. Time (setting metronome)- tick-tock-tick-tock - it never stops. We try to control it, you, and me, but when it comes right down to it, it's bigger than we are, Bridgett

Phone rings.

Jeffrey: Go ahead. Pick it up.

Bridgette: (Urgent, frantic) David?

Male Voice: (voice-over, as if reading off a paper) Hello. My name is Thomas Vanson and I'm calling on behalf of Citybank Visa Mastercard International to offer you, Mrs. Jacoby, a very special offer. As one of our preferred customers in our GoldVisa Executive Club, you are entitled to a free CityBank checking account with no minimum balance as well as a complementary savings account. Also included in the special offer is our new Citybank Preferred debit card, with unlimited withdrawals. Mrs. Jacoby, this is a 30-day free trial offer. Now, are there any questions I can answer for you?

(Jeffrey pushes gun in her back)

Bridgette: (terrified) What the hell are you doing calling my office on New Years Eve?

Jeffrey: (ripping the phone from Bridgette's hand, hanging it up.) No, what are you doing in the office?

Bridgette: (terrified) You psycho, let me go.

Jeffrey, pulls her over to the therapist's couch, forces her to lie down by holding the gun to her head. At this point he is wearing the Doctor's coat and sitting in the Doctor's chair.

Jeffrey: Now, now, that's not a very professional term, Doctor. Calling me a psycho. I think we've already established you and I suffer from the same disease. I suppose that would make you a psycho as well.

(Sound of a gun going off outside, New Years noises. The clock reads "0 hours, 1 minute remaining.)

This whole millennium thing ... making everyone crazy! The sad thing is, come midnight, not a damn thing is going to change. Fools, waiting for Revelation to come rescue them from their miserable little lives. But that (pointing out window), this (pointing to Doctor's coat), these (picking up books from desk), they're all temporary solutions. (Starts metronome) Temporary solutions to a permanent problem.

At this point, a Countdown begins outside and continues through this part. The pace should be fit with the dialogue so that it ends on cue.

Voices: 10...9....8....7....6.... 5....4321

Bridgette: (on verge of tears): Jeffrey, please don't do anything foolish. We can find a solution, we can find an answer. Not everything is temporary.

Jeffrey: No, not everything. The clock'll go right on ticking. No matter what happens or how terrifying the world is. Time is permanent, Doctor. The question, is what is the permanent solution?

Bridgette: (Jeffrey holds her down, pointing gun at her. Desperately pleading) Jeffrey, please-

Jeffrey: It won't take long, Doctor. I promise, only a couple seconds out of your busy schedule. It's a very (pause) time-conscious weapon.

Bridgette: No!

(Lights go out. Stage is dark. Sound of a gunshot

End of Countdown
Voices: Happy New Year!!!

Sounds of "Auld Ang Syne". Gradually fades out. Stage is still dark and silent except for the giant clock that continues to go, reading, "8760000 hours remaining (=1000 years)" and the sound of the metronome.

Jeffrey: Still ticking. Always..

Sound of a gunshot

Jeffrey: (very faintly)... ticking

Curtain Falls

THE END

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Exquisite Corpse: The Surrealist Game - Department of English

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LADIES AND GENTLEMEN, YOUR ATTENTION PLEASE! Before we delve into the complex innerworkings of the Surrealist Mind, we must ensure that we are all on the same wavelength. You are cautioned to read the following definitions with care, lest you tumble headfirst into the raging sea of Surrealist oblivion: Surrealism: "Pure psychic automatism by which [...]

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DRAWING MACHINES charcoal2 The drawings above were produced by a drawing machine (a great RISD architecture genre) The drawing mach...

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In his series of drawings titled Each Line One Breath, Netherlands-based artist John Franzen creates textured drawings reminiscent of wrinkled fabric or waves of water by drawing tediously placed rows of lines with black ink. The artist begins by drawing a single vertical line on the far side of a canvas but on subsequent lines allows for various imperfections to become amplified or suppressed as he continues, line after line. The process, which might look maddening, actually appears to be a sort of meditative effort for Franzen who works with almost robotic precision.

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Each Line One Breath: Morphogenetic Freehand Drawings By John Franzen

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In his series of drawings titled Each Line One Breath, Netherlands-based artist John Franzen creates textured drawings reminiscent of wrinkled fabric or waves of water by drawing tediously placed rows of lines with black ink.

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Warm-ups and closing rituals by
MARVIN BARTEL, Ed.D.
© 1993, 2001, 2009
Emeritus Professor of Art, Goshen College
Read how Learner's Edge
art teachers responded to this essay.
An teacher reports on her experience.

I see many students afraid to draw and very confused about art. Art is much more than drawing, but deep down they wish they could draw better. They long to understand the many meanings and purposes of art beyond the skill of drawing. I'm thinking of grades one to 12, and especially of the fragile middle school or junior high years.

Here are two ideas to improve the art period. One idea deals with the beginning of the period, the other with the end.

BEGINNING RITUALS

I propose we start every class every day with a warm up ritual. We do a few minutes of quiet concentrated blind contour drawing from observation of a real thing, person, setup, or scene. Secondly, I suggest we end every period, after cleaning up, with another ritual. We have a discussion centered on the meanings and implications of what we did today. Between the beginning and ending rituals, during the main part of the period, we teach our projects as we always do.

I remember music teachers who always had us doing vocal exercises to warm up the vocal cords and tune our ears at the beginning of every rehearsal session. The ritual centered us. Our attention was on singing. There was never a question, "Let's see, what are we doing today?" We didn't feel we were performing a concert, we felt we were practicing.

Can we ritualize the art experience? The art class needs a devotional time to cleanse souls and center consciousness. Life outside the class and inside the student is turbulent, disorientating, sometimes violent, often depressing, and always confusing. How can we better help today's youth, than to give them a ritual liturgy to focus on learning art? Repeat the practice every day.

Life is tense enough. Instead of striving for a unique surprise each day in art, I propose for each day to begin predictable, stable, fulfilling, skill building, brain building, and above all centering.

Teach them about the joy of practice. Practice makes anything easier. Practice builds self-esteem. Practice builds confidence.

AIR DRAWING: Encourage them to do imaginary drawing in the air before drawing on paper. Teach them to point with a pencil, finger, or even the nose to the subject and do a careful imaginary drawing ⁶ in the air. Air practice is simply pointing to edge of the object and drawing slowly in the air. Draw invisibly on paper with only a finger before using a pencil. Looking carefully means following the contour slowly--about as fast as an ant could crawl along the edge. End Note⁶

Teach them to look carefully at the edge of the object being drawn while the pencil moves. Use a 4B or 6B soft pencil so it shows. No erasers. This is practice. Just add another line. Never look at the paper while the pencil moves, but look at the paper any other time. I never draw for them. Maybe allow erasers after it is finished, but practice with extra lines until a discovery is made.

Placing the pencil through a hole in the center of a 8 x 8 inch card hides the drawing and discourages sneaking a peek. Explain it to them by going to the object being drawn. Slowly move your finger along the edge of the object illustrating the deliberate careful way of drawing it. If you do this, there is no need to draw in front of the class or on their papers. Encourage air practice and invisible drawing on the paper with just a finger to build confidence.

Every day, have them work three to five minutes doing slow focused careful observation. Date the drawings. Place them in each student's special folder or use a sketchbook where this developmental record is kept. Every day it's the same. Nobody asks, "What are we doing today?" until this "devotional" is over.

When first doing air drawing and blind contour drawing, children may be confused and annoyed by double vision. Many are able to close one eye to to avoid seeing double. If a child has problems holding one eye closed, I offer an eye patch or a piece of masking tape to alleviate the problem. If they tape the paper to hold it, they can use one hand to cover an eye while doing observation.

From time to time, add new techniques to the liturgy. Try a new way to hold the pencil. Try charcoal. Try markers. Try crayons without paper on them. Try the other hand. Try it much bigger. Try it much smaller. Try white chalk on black paper. Try only negative shapes. Maybe every fifth day, explore a new way to make drawings. But always come back to basic pencil on paper. It is skill and creativity--not exotic materials or cute looking tricks that build skill and self-confidence.

Why contour drawing? Why not draw the dream from last night, or two point perspective, or some other worthy learning task? While drawing from observation is not the only worthwhile learning task in art, it is fundamental for several reasons. Everybody wishes they could draw better. Observation drawing develops the parts of the brain that help us see better. Drawing ability builds self-confidence. Finally, drawing is one thing we as art teachers know how to teach. It gets students weaned from dependence on copying, which I still see in many of our schools.

Observation drawing on its own is not art. However, it is one of skills that is frequently used by artists when they create art.

When first and second graders learn observation skills, they are less apt to have a crisis of confidence in the third grade when they begin to recognize the crudeness of their own work. Unfortunately, many children and adults have never been taught this simple secret of learning to draw. Many still think that drawing is an inborn talent rather than a skill that has been learned by practice. This blind observation drawing can form new brain neurons at any age, but learning this method at an early age helps form productive practice habits that build real ability. Younger brains often learn faster. Younger brains are forming learning habits that last a life-time.

The key to all teaching is to make it easy enough when they are beginners and hard enough when they become more skilled. Always keep them challenged, but never frustrated. Hard/easy practice isn't only for athletes. Hard/easy practice also perfects art skills. The hard times challenge and the easy times reassure and perfect.

Observation drawing is hard work because it requires intense concentration. ¹ For an early experience that is easy for anybody, bend a length of coat hanger wire into an abstract shape. Hang it in front of the room. Have them all do a blind contour drawing of the wire. Progress to stuffed animals, to plants, to people, to scenes. The best subjects are those they have never seen posed this way before so they don't rely on their learned way of drawing. If it is not new, make it harder by placing the objects upside down.

Once they understand the process of observation, they have learned how to learn how to draw. They'll never need a "how to draw" book or guide. Once you can draw from observation, you need no tricks, no guide books, no formulas for faces or body parts, and no more triangle cows or oval horses. No more stereotypes.

Because a difficult observation drawing can be intense concentration and hard work, three to five minutes may be long enough at one sitting. Be careful about pushing them too long, but it is also good to see what they can do. As skills develop, attention span will expand. A long session can yield very gratifying results.

Repetition and routine are so important to good practice and mastery. Shinichi Suzuki, the Japanese violin teacher, talks of creative repetition. He says, "Mastery equals understanding -- plus 10,000 times!" ² As a potter, I tell my students not to expect their fingers to have brains like mine until they have made 10,000 cylinders. I have virtuosity in my fingertips, not because of some great talent, but because of much hard/easy practice.

Dr. Alvaro Pascual-Leone, a scientist at the National Institute of Health, studying the brain, found that we acquire new skills in surprising ways. Using five finger piano exercises, he found that the brain's motor maps of the hand more than tripled for those who did goal oriented practice on the piano. Those who spent the same time just hitting keys showed little or no brain effects. The most surprising effect came from a third group who simply practiced by imagination. "They . . . were only allowed to rehearse mentally -- not manually -- while looking at the key board. `After five days the brains of these people were identical to those who had manually practiced . . . The same cell networks involved in executing a task are also involved in imagining it.' " ³

In more recent research by Daniel Glazer related to mirror neurons, reported by Peter Tyson, it is found that subjects who have achieved physical expertise experience real learning by observation alone. While the studies are not directly using drawing students, it follows that those with the ability to draw may find that careful observation while they imagine drawing (or air drawing) will enhance their learning and physical ability to draw.

It was known that these neurons fire when we perform an action, but it came as a surprise that the same cells also fired when we only saw that action being performed. The new study went a step further by showing that such a system operates differently depending on what you are physically expert at doing. ⁵

Does this mean we can devise ways to teach drawing without actually drawing? Maybe. When we really look at something while imagining how to draw it, we are already learning to draw. This may be a good way to help children prepare to draw. They can do this imaginary drawing at times it would be socially unacceptable to be drawing, as at a concert, or while listening to a boring lecture in another class. Because of their richly developed imaginations, creative people are seldom bored for long.

ENDING RITUALS

Having proposed a beginning ritual for the art period, allow me to propose an ending ritual as well. We clean up three to five minutes early. Use the remaining time to clarify and endorse today's work. This serves as a benediction time -- a closure time.

The teacher poses questions. "What did we learn today?" "What did we practice today?" "Why did we do what we did today?" "How will we be better people because of what we did today?" "What will we notice more after today's class?" "What did we learn to see today?" "What did we enjoy most today?" "What did we learn to help us on our next art project?" These are some general questions. Each day's work will also have specific topics for discussion such as, "What are the best colors to use when you want things to move forward (or backward)?" Good closure matters. Review time is often the most effective learning time.

Another way to endorse the work just completed, is to show examples of great art dealing with similar issues. The end of the period may be the best time to discuss the work of real artists. Why at the end of the period? Why not at the beginning so they'll benefit in their work? There are important reasons to show work of other artists at the end of the period and not before they do their own work. This teacher is ending the period by showing prehistoric drawing found in caves in France. The class has just finished a session doing observation drawings of a rabbit.

Image flooding at the beginning of an assignment gets what looks like artwork from students, but there are some important educational reasons to wait until near the end of the art period before showing examples from art history.

1. Artwork from art history can make more sense when it relates to concepts students have thought about in order to do their own artwork.

2. Students are practicing the creation of their own ideas -- they are not learning to depend on examples.

3. Examples present the answers instead of the questions. Do we want minds that depend on given answers or minds that can solve problems?

4. As teachers, we become more articulate if we explain the assignment concepts rather than depending on examples.

5. We learn to plan lessons that include practice and preparation for the main lesson. This is more like most major artists do their work.

First, their own work provides a frame of reference ⁴ for meaningful observations. By showing artwork at the end of the period, they will have a greater appreciation and interest in the work. Students will recognize ways in which the artist(s) had to deal with issues similar to issues students had to deal with in their own work that day. Naturally, the teacher shows a work or several examples that relate to things learned in the lesson that day. Use a few minutes at the end of the period to integrate Art History and contemporary art ideas, art criticism, and aesthetics into the lesson of the day. Avoid fragmented and irrelevant learning.

Second, by showing the work at the end of the session, we don't tempt or suggest copying the artist. Even when a teacher reminds them to use their own experiences and ideas, it is hard to get the example out of mind once they have seen it. There is always the unspoken endorsement of the example, despite what the teacher says, and no matter how large the variety of examples is. The easy way to do the assignment is to select a neat solution done by an artist. If we show an example, how can we expect students to do it the hard way and work from their own experiences? Showing artwork before the work is showing answers instead of articulating challenging problems and phrasing good questions that help focus creative experimentation and thinking processes.

Recently, while visiting with an art major at a nearby university, I asked her how she generally gets the ideas for her work. She replied, "I do research." I asked, "What kind of research?" "I look at artists' work until I find something that I like." I understand where she is coming from, but I am sad. She has learned well what most of us teach. Borrowing is easy. Original thinking based on our own experiences is really hard work.

As a teacher, when I don't show examples before the work I am forced to think about the assignment, understand it, know how it works, what I want learned, and so on. It challenges me to be a teacher, not merely a supply clerk. It may mean fewer finished products, but isn't it better to foster an honest understanding of art, learning how to think, and self worth? Fewer end products can mean more learning.

When students solve problems themselves, we find out how well we actually articulate the assignment. We also learn more about the diversity of our students. When students solve the problems, and ideas come from the students, we learn how unique our students are. This can be a bit disconcerting and can even look like regression if we are accustomed to seeing fairly skilled homogeneous mimicking of examples. In a product centered philosophy it seems stupid to reinvent the wheel. In a process centered curriculum where students learn how to think, the invention of a wheel would be a huge accomplishment.

For too long we have taught to do and not to see. We have taught to do and not to understand. We have taught to do, but not to own - merely borrow. We have taught to do, but not to feel. When we show examples first, we dishonor the artistic process. When we show examples first, we rob the student's ability to own the solution. When we show examples first, we imply unreal expectations on the end product. When we show examples first, we unknowingly corrupt the process of producing meaningful self-expression.

Let the end of each period be a benediction on today's learning. Let's endorse what we have learned by discussing it. Furthermore, at the end of the creative time we can show the work of real artists who have struggled with similar issues. What better way to close the session and help our students face the world?

CONCLUSION
Using practice rituals, learning rituals, and critical thinking rituals, we can structure a few minutes of predictable time at the beginning and end of every art period. We can address several significant shortcomings in art education. This proposal addresses the issue of artistic accountability, the problem of student attention span, the need to practice skills, the problem of self-confidence, the problem of copy work, the issue of creativity, the problem of knowing in art, the problem of art criticism, and the issue of teaching aesthetics. These are issues we cannot afford to ignore. We should habitually and ritually address these issues every day in every class. Otherwise, we cannot expect to gain the respect of our students, much less the communities we depend on for our support. This is a modest proposal. Please let me know what works for you.

RELATED TOPICS

OTHER KINDS OF OBSERVATION DRAWING RITUALS

Blind contours drawing is one of the basic ways to learn to draw. Using a blinder helps students practice. As students advance in their drawing skills, additional learning techniques are added to their practice routines. See this page for an explanation of all the skills that are needed in learning to draw. Art teachers, parents, and students themselves will want to use this as a check list.

WHEN DOES DRAWING BECOME ART?

This is not a simple question with a single answer. Drawing has uses as a planning tool, as a means to clarify an idea, to explain things, to aide in thinking, as documentation, and so on. When it is expressive and has aesthetic qualities, drawing becomes an art form as well. Gesture drawing is one example of observation drawing ⁷ that is an opposite from contour drawing. Instead of slowly observing edges, in gesture drawing artists very rapidly and expressively draw from the center instead of from the edges. Gesture drawing frequently expresses motion and intensity of action. Like a jazz player whose body understands how to produce expressive sounds around a melody, the artists in the act of gesture drawing feels the pressure of the tool on the paper. Responding to both internal and external awareness, the artist makes a variety of expressive marks rendering and developing a drawing.

After practice rituals in both contour and gesture drawing, students who are encouraged to experiment with combinations of styles within a single drawing may begin to understand the immense expressive and artistic potential in drawing. Students discover individual ways to express universal and common concerns. Artists also often draw dreams, imaginary content, inventions, memories, abstract patterns and designs, representations of sound, of tactile sensations, of taste, and so on. As we drawing becomes creative and expressive it become art. Art is a journey, not a destination. Many rituals and kinds of practice help us realize that we are on the journey.

CITED REFERENCES
¹Edwards, Betty. Drawing on the Right Side of the Brain. Los Angeles: J. P. Tharcher, Inc. 1979.

²Sherer, Lon. Practicing: A Liturgy of Self-Learning. 1988. Pinch Penny Press, Goshen College, Goshen, IN. p. 17.

³Chase, Marilyn. "Inner Music, Imagination May Play Role in How the Brain Learns Muscle Control," The Wall Street Journal, October 13, 1993, pages 1 and A13

⁴Rueschhoff, Phil H. and Swartz, M. Evelyn. Teaching Art in the Elementary School. New York: Ronald Press, 1969. pages 45 - 46.

⁵Tyson, Peter. "Daniel Glaser's Latest Study With Ballet and Capoeira Dancers." NOVA Science Now - January, 2005
http://www.pbs.org/wgbh/nova/sciencenow/3204/01-resup.html back to text

⁶ Nose drawing. This is air drawing where the nose is used as a pointer. It is not actual drawing. Air drawing is done before actual drawing in order to practice better observation. The method of nose practice was submitted by Naida Leon, a Florida art teacher. She was told to use this method as therapy for a six-year-old child with an eye that drifts out. She and I both find that children enjoy this while learning to observe better.

⁷Gesture Drawing is described in greater detail on my page titled " Portrait and Figure Drawing." On that page, see Inside-Out Gesture Drawing.
http://www.bartelart.com/arted/figure&portrait.html

Gesture Drawing is also explained in Wikipedia (referenced Sept. 4, 2008)
http://en.wikipedia.org/wiki/Gesture_drawing.

© All rights reserved. You are encouraged to make links to this page, but to make printed copies or to include as part of another web site, you must have permission. Teachers may print one copy for personal use. Contact the author to make comments, ask questions, or to request permission to make copies to distribute.

Biography of the author

This paper was originally published as "ART RITUALS IN THE CLASSROOM" written by MARVIN BARTEL, Ed.D., Emeritus Professor of Art, Goshen College, copyright, © 1993, Photos - © 2001 This Update - © August 21, 2010 by Marvin Bartel. Original HTML editing by Lon Sherer, Emeritus Professor of Music, Goshen College
______________________________________

What do Art Teachers say after trying the ideas in this essay:
M any of you have written, and I apologize for not having time to properly acknowledge all your kind notes and questions. This note was came from a Kansas art teacher in October, 2009.

"I'm writing because I have found great information from your web pages, about teaching art! Since it had been quite a long time since I received my education, I was trying to brush up on what was needed to teach art. In searching for information on the web, I found your pages.

One thing I have taken and used is having an art room ritual. At my home school (grades K-5), all students in grades 1-5 come into the art room and draw what I have on the table for them. I usually talk to them quietly about not tracing, not erasing and working quietly. School has been in session about 8 weeks and their drawings are amazing! I asked my 4th grade classes last week if they noticed that their drawing was improving. They all enthusiastically agreed that it was, indeed! What a joy! I also have read the book "ish" to all my classes, and tell them regularly that what they are creating doesn't have to look just like what they are looking at for inspiration. Thank you for your pages of information and inspiration!"

Beth Burns -- back to top of this page--

GOSHEN COLLEGE SUPER BOWL COMMERCIALS
(They were only broadcast in our local area)

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Warm-ups and closing rituals by MARVIN BARTEL, Ed.D. © 1993, 2001, 2009 Emeritus Professor of Art, Goshen College Read how Learner's Edge art teachers responded to this essay. An teacher reports on her experience. I see many students afraid to draw and very confused about art.

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Boy do we know how to roll a weekend in, in style.

The Mr and I had come across the work of Tony Orrico for a project we were working on and the Mr has been plotting ever since. How to get his hands on BIG paper?

On Friday, he was chatting to his mate, George and before you could clear a living room floor, ginormous photographic backgrounds were rolled out and everyone was scrabbling about in drawers of odds and ends for bits of crayon.

Do you remember playing with a Spirograph set when you were a kid? That hypnotic whirling of the pen and cogs, creating all sorts of fabulous pattern? You'll need a greater level of fitness and buttock muscle and determination to become a Human Spirograph. But given half a chance, there is something incredibly meditative, about the repetition of pattern-making and getting into that zone that pushes beyond the aged-knees-bouncing-on-wooden-floor ache.

Can't tell you how much I LOVE IT when things are turned on their head and the usual routine flies out the window!

I doubt we've heard the last of it. The Mr was heard muttering things about getting whole school classes involved...

Here's how the original, PROFESSIONAL Human Spirograph does it:

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Boy do we know how to roll a weekend in, in style. The Mr and I had come across the work of Tony Orrico for a project we were working on and the Mr has been plotting ever since. How to get his hands on BIG paper?

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Mesmerizing performance drawings by artist and dancer Tony Orrico. He is a human spirograph, performing works for up to 4 hours continuously! Watch the videos below!

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Sometimes, the act of teaching is a work of art. In the days before clip art and Google image search, artistically-challenged teachers had few alternatives to the chalkboard for their visual-based lessons. Enter Frederik Whitney, author of Blackboard Sketching, who wrote his guide in 1909 with the promise that, with a few basic strokes and some practice, anybody could turn a chalkboard into a canvas. Check out the virtual art gallery below of chalk art that's too good for the sidewalk.

1. Plate 1

Whitney starts his lesson with a basic stroke and steps for drawing a telegraph pole and a chicken coop. "Ability to draw easily and well onto blackboard is a power which every teacher of children covets," art educator Walter Sargent writes in the introduction. "Such drawing is a language which never fails to hold attention and awaken delighted interest."

2. Plate 2

The secret to many of Whitney's drawings is to use the round side of chalk rather than the flat end. He advises that in order to create a gradient line, you should hold your chalk on one end, and when you're ready, put pressure on the end instead of the middle for a shaded look.

3. Plate 3

How do you like them apples? Once a teacher masters the rounded fruit, Whitney suggests he or she try the following activity with the class: draw a bunch of apples, each printed with a different word. As the students are able to identify a word on the apple, it is erased.

4. Plate 5

Especially festive educators may feel the need to decorate depending on the season. Whitney suggests using a pumpkin for the month of October.

5. Plate 7

This sketch of a mountain is the first in a series of images that he advises using when teaching geography. "The teacher who, with a few strokes of the chalk, can interpret to her class the thing about which they are studying, and can make an illustration which the whole class can see and appreciate, has an invaluable gift," he writes.

6. Plate 8

Whitney's sketch of a teepee combines the four techniques he has explained so far in his book.

7. Plate 10

Whitney suggests a second reading game once you master the art of drawing a ladder: write vocabulary words on each rung of the ladder and let students see how far they can "climb" by identifying each word.

8. Plate 12

This lesson focuses only on the ability to draw trees. "In sketching trees," Whitney writes, "one should bear in mind the general attitude of the tree, its characteristic form and branching, and the stroke which will best produce these."

9. Plate 14

Whitney breaks down which strokes should be used to create each aspect of his fireplace drawing. To make the fire in the fireplace, create a circle of white chalk, then smear it with your fingertip to create a smoky effect.

10. Plate 16

Whitney suggests using this image during a history lesson about the type of houses used by the early settlers. He writes that the log cabin pictured above is supposed to be the birthplace of Abraham Lincoln.

11. Plate 17

This is a favorite among students. "Whenever I have made a sketch of this kind it has always given great pleasure to the children, and proved of more or less value in history, or in story-telling in the lower grades," Whitney writes.

12. Plate 23

Whitney uses charcoal to add details to the feathers in this bird sketch. To ensure your bird pops, rub some white chalk into the background to create a light gray on the board.

13. Plate 25

Whitney created this illustration for use with studies of the poem "Flower-de-luce" by Henry Wadsworth Longfellow, demonstrating how blackboard sketching can be appreciated by students of all ages, no matter the subject matter.

14. Plate 26

This eerie castle sketch includes a quote from William Shakespeare's Macbeth, and would serve as a stunning backdrop to any discussion of the classic tragedy.

15. Plate 29

Whitney notes that this image was hastily sketched by the teacher, as if there's nothing to it. "Any teacher can easily arrange such backgrounds and costumes with the simplest material at hand, and in this manner add essentially to the interest and value of a lesson," he remarks.

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15 Gorgeous Examples of the Lost Art of Blackboard Sketching

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Sometimes, the act of teaching is a work of art. In the days before clip art and Google image search, artistically-challenged teachers had few alternatives to the chalkboard for their visual-based lessons. Enter Frederik Whitney, author of Blackboard Sketching , who wrote his guide in 1909 with the promise that, with a few basic strokes and some practice, anybody could turn a chalkboard into a canvas.

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All sources can be found on my Pinterest Board, "Drawing Making Marks". Link here .

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and feathers and bamboo brushes and no spill colored ink. Elementary class

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Comic artists weigh in on their favorite tool.

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Toronto Comic Arts Festival: Pencil it In

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Director: Christopher Hutsul
Director of Photography: Vinit Borrison
Producer: Nick Sorbara
Executive Producer: Jacinte Faria
Editorial: Melanie Hider, Bijou Editorial
Score: “Background Noise (Don’t Become)” by Solvent, Courtesy Ghostly International
Sound Design: Vapor Music
Online Artist + Colourist: Hardave Grewal, RedLab
Graphic Novelists: Chester Brown, Michael Comeau, Steve Charles Manale, Vicki Nerino, Michael Cho, Michael DeForge, Seth, Fiona Smyth + Britt Wilson.

A Hard Citizen Production.

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[music]

-My name is Emory Douglas, and I consider myself to be

a social justice designer, graphic designer.

Graphic design grabbed me when I really got involved

with the Black Panther Party.

I was asked to come to a meeting and they wanted me to do their artwork

for that event, which was a simple poster graphic of Malcolm X.

-I'm speaking as a Black man from America, which is a racist society.

-They have whole visions about starting a newspaper and telling our story

from our perspective,

and I knew that's what I wanted to be a part of and was assigned

to during the publication.

[music]

-As a grassroots organization, the Black Panther Party

did not have tons of financial means, and so they were using

inexpensive printing as a way to circulate their messages quickly to their community.

-They were essentially on the run from the FBI for a lot of their existence.

This is work that was done on the cheap.

It was done quickly, but also with a sense of urgency

because there was a need in the community and a message

that they wanted to convey, but they were also being chased

by those who were diametrically opposed to that.

-We had this great foundation of social justice activism that was unique

to California during that time.

You have a history of it, an artwork that was the reflection

of that.

We used to work out of studio apartments initially

before we had a headquarters.

We had portable operations.

We could shift them anywhere.

-There was no production office, there was no press

that they were working at.

They were working in people's bedrooms, living rooms.

-We would use natural light from the windows,

just regular tables or we might--

if we had to have two little horses set up over the smooth door,

use that as our layout table, whatever was accessible to us,

we would use that.

[background noise]

-There was something very scrappy about the way

that they were producing things because they needed to get

the message out to as wide an audience as possible

to support this idea of revolution and activism.

In the late '60s,

Emory Douglas joins up with the Black Panthers.

-At first I was doing production work,

cutting and pasting things together.

Then I was given the green light to begin to do graphic artwork for the front

and back page of the paper,

but also having design elements within the context of the spreads

in the paper as well.

-He was also responsible for logo design, poster design, flyers, booklets,

their Ten-Point plan, and the manifesto that they would distribute.

-When they first initially started, it was small but as it evolved

and grew at its height, it was 100,000.

It had a peak readership of 400,000, and it was taken all over the world.

The paper was a lifeline to the community.

-At its height, the Black Panther newspaper

had the highest circulation of any publication in the United States.

It was a powerful influence.

-Black Panther Party is informing and calling all the people

in the communities across the country to scorn

and denounce the action of this capitalistic government's attempts

to try to destroy the Black Panther Party, which has chapters and branches

all across the nation.

-Emory Douglas gets positioned as a graphic activist,

but also their minister of visual culture.

His role is really to not only be an activist

but to transform the visual language of the Black Panther newspaper,

which was a really vital publication that was used to inform

the community of these changing pressures from police and discrimination,

to talk about issues of housing, human rights.

-Health clinics, education, free breakfast to school kids,

self-determination, the right to defend ourselves

against injustice of all form and by any means necessary,

quality of life concerns.

-When you consider the fact that the Black Panthers

were feeding more children in the state of California

than the state school lunch program,

then you know that they were effective.

-One of the points of our Ten-Point Platform

and Program,

is we wanted decent housing, fit for the shelter of human beings.

I began to do illustration around that issue,

and relationship to rent control and conditions the poor people had

to live in with dilapidated houses infested

with rodents and all these things.

I tried to apply that into that artwork.

-Emory Douglas saw that in order to get people excited about a message,

it really took something visually engaging and interesting.

-See, the art was more of a not a me art, but a we art.

-It wasn't specifically about one's own personal self-expression

around an issue.

It was about understanding what was useful to win a campaign

and invite people into that conversation and move the needle on a particular issue.

-Is this the pamphlet you're talking about?

The pamphlet says that the Black Panther Party

for self-defense calls and the American people in general

to take careful note of the racious California legislature.

Why do you believe the legislature is racist?

-Don't you know? You're part of it.

Isn't it obvious? This is a white system.

This is obviously what we have.

-Do you believe everything that's in that pamphlet?

-Pamphlet speaks for itself.

-He talks about the fact that his posters, which are on the back of every newspaper,

were for an audience that may not be reading the newspaper.

-My colleagues who worked in the Black Panther, New York Chapter,

mentioned that they used to sell the paper each week

by turning it over on the back because people want to see

the illustrations.

-That could easily be translated into posters

that could be hung up in the streets.

In fact, he called the neighborhoods where he lived in his gallery.

It really felt like it was important that this work really was out

in the street and was being read by people in the community.

-You had a lot of rebellions took place in the '60s.

A lot of police murders, like it is today, always be justified.

Most of the inspiration was the listening to people

and what their feelings were and the expressions were.

-I remember studying the protest art of the students in Paris in 1968,

the posters that came out of the OSPAAAL collective in Cuba,

and the work of Emory Douglas and the Black Panther Party,

and those really influenced what I understood

as the visual vocabulary of protest and social change imagery.

-I was looking at political art.

The art that came out of Cuba was amazing.

They used to have some rays in some of the art

that they were doing in solidarity with people's struggles

around the world, so I was kind of inspired by that.

-The iconography of sunrays is it useful way to show movement forward

and resiliency.

We're very good at articulating what we're against,

but how do we articulate what we're for?

What is a vision for the community that we want to build?

-You had this whole climate of young people wanting to do something,

make a change all over the world that transcended borders.

-Black Panther Party probably joined hands with the liberation movements

of third world, [?] Babylon.

Those people were Afro-Americans.

Emory Douglas is Afro-American.

-David Emory used a visual language that made the struggle

of black people universal.

-He was representing what was the message of the Black Panthers at the time.

It's not just about strength and power, but there's a lot of humanity in it.

He was trying to depict people from his life, from his community.

-He was showing himself, he was showing his sister,

his neighbor in a way that hadn't really been shown before.

There's also this emotion of pain that's underneath the graphics.

I really feel like Emory and the Black Panthers

were at this point of enough is enough.

-We might not be back, I might be in jail, I might be anywhere

but when I leave, you remember I said, with the last words on my lips

that I am a revolutionary.

I am a revolutionary.

-The initial icon was a pink drawing, symbolizing the authority

who were abusing their power in the community,

particularly the local police at that time.

A white police force, a lot of them being from Oakland during that time,

or were being recruited from the south who were members of the Klan,

and all those things that took place.

-The other thing that's important about his work,

which really defines a lot of his style of illustration,

are these really heavy, thick lines.

-I tried initially to do with cuts but it was so time-consuming

that I began to mimic with markers and pens that kind of bold look

to something [?].

-Using these heavy lines covers up any misalignment that might happen.

It's interesting how this technical limitation

really informed what the art ended up looking like.

Then at the same time, the art itself just has such a big,

bold graphic look because of responding to that constraint.

-One of his pieces, there's a young black boy holding up

a newspaper being depicted in a way that was not only humanizing,

but it was empowering.

-Well, it was just a simple ink drawing, black and white,

and then I applied some prefabricated texture to it

and give tone to the skin.

I used those sheets and patterns that had 10% texture

or 20% to it so that you got these contrasting tones,

so you get some more fullness to the images

when it was used in that way.

Then because we only using one color ink,

that ink became the background behind the paper board.

The limitations then is that we couldn't afford but one color.

-Before he joined the Black Panther Party, the Black Panther newspaper

was a black and white publication that was mainly textbase.

He had the brilliant idea to change the way that they printed

the paper from a standard offset print to a web press which allowed

the introduction of two colors, black and one other color.

He's really, really brilliant in how he uses color

in a way that draws interest that makes some depth

to the page despite that limitation.

-It was nine Pantone Colors that we will shift from each week

for nine weeks, then come back to the next color.

-They didn't have access to tons of typographies

so you see him creating his own typographic language.

He's creating lettering that's custom, that's woven into his figurative

and graphic images.

-We're looking at the letters, what we used to use

for the format to make up your words.

For example, like you've got the words here,

"Free the GIs."

That's coming from using the format text, but you'd cut it and paste it in position.

-Also, part of the visual language of his designs have a graphic component

that's referencing the printing press.

You see dots and graphic forms in some of the textures

of what he's making.

-Letter tone is actually a rubdown pattern which he would add to a lot of his work

to get these different layers of depths without having to add more color.

-Artists like Emory came up with such effective visuals

that were steeped in the tool that he was using.

We don't have the limitations he, had but we have the inspiration

from this study that we can still carry forward.

[music]

-This idea of having to create a visual language

that's responding to another shooting in the moment

or another act of violence or another protest

is in the spirit of this rapid way that Emory Douglas

and the Panthers were assembling their messages.

-There still is an urgency that you have

in over 50 years' difference.

The context of the urgency had to come out of the graphic designers today

in the context of how they feel, and what their connection is

to the social justice movement.

-One of the things you see in a lot of Emory's posters

specifically is real simplicity in the messaging.

They were often done in very bold block San Serif letters,

but they're also done with imperfection.

I see today when you go to a protest and when you see the kinds of signs

that people are making now, you can see a lot of connection

to the way that he thought about a message and a poster

and how letters need to be seen but they also need to be human

and feel like they're coming from the person

that's actually speaking them.

-If I was a historian

50 years from the future looking back at this time,

I think some of the things that we'll remember

are these interesting contrasts between the way

that we can connect digitally, but also still the longing

for human connection.

-Today, there is a lot of turmoil and there are people

who want to get a message out.

It's really helpful to look back to a period in which

this was true as well.

The late '60s really was the height of that kind of emotion.

-In our efforts to reframe stories and disrupt dominant narratives,

I hope that we can keep helping each other do that really well,

do that in a way that's accountable, and have that humility

to really take that critical feedback that makes us better designers

and more useful to our movements.

[music]

-This program was made possible in part by City of Los Angeles Department

of Cultural Affairs,

LA County Department of Arts and Culture, and the California Arts Council.

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Emory Douglas: The Black Panther Artist | Artbound

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At its peak, the Black Panther newspaper publication had the highest circulation of any paper in the country. Behind the its powerful illustrations was Emory Douglas. This episode follows how Douglas created a visual language that uplifted the Black community's image of itself amid the racist portrayals of mainstream media.

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Art about Covid reflections PBS

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Hindsight 20/21: A Covid Project for students and teachers

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"I am a writer who draws"

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a long discussion but fascinating!!!

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Processing the Saul Steinberg Papers: Beinecke Illuminated visual podcast no. 4

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Eric Carle

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Eric Carle, Picture Writer: The Art of the Picture Book (Trailer for 32 minute short film)

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Eric Carle, Picture Writer: The Art of the Picture Book is a 32 minute  portrait of Eric Carle, creator of more than 70 books for children including the best-selling, classic The Very Hungry Caterpillar. Now 83, Eric Carle is still at work in his studio making books and creating art. Watch as he methodically layers a tissue paper collage of the caterpillar, pours over thumbnail sketches and drafts of his books. “I can do it, you can do it,” is his message and his mantra. This documentary taps into that deep creative need in each of us, a spirit that started in Eric as a very young child and is unceasing today.  

AWARDS & FESTIVALS: 
Audience Award for Documentary Short at the Woods Hole Film Festival 2012
The American Library Association, ALSC Notable Children's Videos for 2012 
Audience Award for Documentary Short, Northampton International Film Festival, Northampton MA 2012

Upcoming screenings: 
Wild & Scenic Film Festival, Nevada City, CA - Jan. 11-13
http://www.wildandscenicfilmfestival.org/

Director, Editor: Kate Geis
Producers: Kate Geis • Motoko Inoue
Cinematographer: Alex Rappoport
Additional Camera: Kate Geis
Music: Wes Talbot
Closing and Credit Music: George Langford
Online Edit & Sound Mix: Rikk Desgres 
Open Title Animation: Robert Mowen
Sound: Andy Turrett
Executive Producer: John Fortier • Motoko Inoue
Trailer: Peter Steinberg

Special Thanks: Eric & Barbara Carle • The Eric Carle Museum of Picture Book Art • Alexandra Kennedy • H. Nichols B. Clark • Rosemary Agoglia • Rachel Hass • Renata Sooknanan • Montessori School of Northampton • Annie Lionni • Marc Chusid • Susan Swift • Cathy Topal

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Last Updated on April 2, 2023

High school Art students are often required to produce still life drawings or paintings within the confines of a busy classroom. Most Art Departments have cupboards crammed full of visually interesting objects that can be used to create still life arrangements. This article lists still life ideas for teachers or students who are stuck or in need of inspiration. The collection includes tried and true favourites that have been used by Art teachers for generations, as well as more unusual and contemporary still life topics.

What is a still life? Here is a definition provided by Wikipedia:

A work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made

While senior Art students are usually free to come up with their own topic or theme (read our article how to come up with great subject matter for your Art project) many middle school or junior high school students are required to work with objects and scenes that meet the following criteria:

Viewable first-hand

Visually interesting, with a range of different textures, reflections, surfaces and forms

Small enough to set up and arrange in the classroom (light, easily moveable)

Able to arranged in different ways, creating original compositions so that multiple exciting works can be created

Durable enough to be handled safely by enthusiastic teenagers (without sharp or dangerous parts, for example)

Able to stored from lesson to lesson without eroding, decaying or breaking (this is not necessary if the still life can be drawn within a single lesson or photographed for completion at a later date)

Appropriate for younger students to view (i.e. not offensive)

This articles includes great work by students as well as famous still life artists. It is a work in progress, with many more ideas to be added over time!

50+ Still Life Drawing Ideas

Crumpled paper bags, such as this work by 18 year old artist Raegan Koepsel:

Styrofoam cups, as inspired by this activity by the DC Sketchers:

For more about drawing ellipses, please read 11 tips for improving your observational drawing.

Machinery and mechanical parts, such as old sewing machines, disassembled clocks, cogs/wheels and typewriters, inspired by this drawing from Parkway North High School, United States, taught by Art teacher and artist Grant Kniffen:

Driftwood, rope and fishing accessories, as inspired by these Roy Lichtenstein still life compositions (images © Estate of Roy Lichtenstein):

Fish, crustaceans and other seafood, such as these high school still life paintings from an IGCSE Art Exam by Nikau Hindin, ACG Parnell College:

Science equipment, inspired by this pencil still life from a student of Grant Kniffen at Parkway North High School, United States:

Wooden mannequins, as in these black and white still life drawings by Grade 10 and Grade 11 students from Conway High School, United States, taught by Carla Owen. Jeff (left), Dylan (centre) and Nathan (right):

For more line drawing examples, please read our comprehensive Line Drawing Guide for Art Students.

Armchairs, chairs or stools, as in this example by Daniel E. Munoz-Vidal:

Empty boxes, inspired by a drawing exercise completed by a student of Nicole Havekost:

Jewellery and treasure boxes, as in these still life paintings by IGCSE Art and Design student, Nikau Hindin, ACG Parnell College:

Preserved animals and other specimens in jars, such as these modern still life artworks by Cindy Wright:

Fruit and vegetables, inspired by Paul Cezanne 's still life with apples:

Vintage cameras, as in these collection of observational drawings by Year 9 student Dougal Burden from Takapuna Grammar School:

A glass of water, such as this example by Hanna Asfour:

A jug and cup of tea, with inspiration from cubist still life paintings by Juan Gris:

To see other background ideas, please read Painting on grounds: creative use of media for Painting students.

Hands, as inspired by this observational drawing by Cath Riley:

Marbles, spheres and balls, inspired by Pedro Campos paintings:

Potted plants, succulents and cacti, inspired by Laura Garcia Serventi's illustrations on Etsy:

Metal taps, silverware and other highly reflective objects, as is illustrated in this video of how to draw a spoon by VamosART.

Many resources that demonstrate 'how to draw step-by-step' encourage students to draw by formula, rather than learning to see and record what is in front of them. This time lapse video is very helpful, however, as it provides good insight into how tone can be built up using light and dark pencils on mid-tone paper.

Origami or folded paper, inspired by this observational drawings by Sean Dooley, a graduate of Savannah College of Art and Design:

Please view our list of substitute Art lessons for more one-off drawing lessons.

Bones and skeletons, as in this example by Year 11 student Manisha Mistry, from ACG Strathallan College (please view her full IGCSE Art and Design Coursework project):

Complex interiors and window panes, as in this Henri Matisse still life:

Old shoes and sandals, as in these examples by Vincent van Gogh:

There are also great ideas for tools in this great Highcrest Art Department Pinterest board.

Weaving, as in this example by Year 11 IGCSE Art student Manisha Mistry, from ACG Strathallan College:

Musical instruments, as in this detail from a Pieter Claesz vanitas still life:

You may also be interested in viewing this 100% AS Coursework project based upon an abstraction of instrument still life by Year 12 AS Art and Design student Nikau Hindin, ACG Parnell College.

Old books, such as this example of a Dutch still life with books completed in 1628 (artist unknown):

String, sticks and stones, inspired by a teaching exercise designed by Andrew Strachan (now teaching at ACG Senior College).

In this activity, students are presented with a collection of sticks, string and stones, and asked to create a sculpture by tying together the sticks and hanging a stone from this using the string. Observational drawings are then created of this, with the tension of the thin, taut string contrasting the textured wood and stone.

Still life with flowers, inspired by these Vincent van Gogh sunflowers:

Lamps, lanterns and light bulbs, as in this charcoal drawing by Akrawczyk:

Contemporary food and packages, as in this still life painting by Tom Wesselmann (Art © Estate of Tom Wesselmann / Licensed by VAGA, New York, NY):

A cluttered desk, inspired by this Jean-Baptiste-Siméon Chardin still life:

A busy pinboard, as in this still life painting by Jean-François de Le Motte:

Eggs, as in this AP Studio Art summer assignment set by teacher Billy Hicks:

Rubbish / litter / discarded remains, as in this drawing by Brittany Lee, Year 10 Art student at ACG Parnell College:

This drawing lesson also featured in our list of ideas for substitute Art teachers.

Shirts, dresses and drapery, as in these examples by the students of Kristy Patterson, Guymon High School:

You may also wish to view this high school art project by Nikau Hindin, which contains images derived from decaying fruit and vegetables hanging on string.

Cutlery and kitchen utensils, as in this warm-up drawing exercise by the students of artist and teacher Julie Douglas:

This work was earlier featured in How to Create an excellent Observational Drawing: 11 Tips for High School Art Students.

Did you enjoy this list? Please share it with other Art teachers and students that you know!

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50+ Still life drawing ideas for Art students

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A list of still life ideas for teachers and students, including tried and true favourites, as well as more unusual still life drawing topics.

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Wonderful website

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"The dictionary says that a hobby is "an activity or interest pursued for pleasure or relaxation." Although urban sketching certainly provides both pleasure and relaxation, I don't think of it as my hobby. I think of it more as a way of life - something that has become such a normal part of my everydayness that it shapes how I view the world.

For most of my life I had both the fear of drawing as well as the desire to draw. In 2011, inspired by Gabi Campanario's Seattle Sketcher column, I finally decided to overcome the fear. His drawings of Seattle - my birthplace and lifelong home - were of sights that I had seen many times, yet had never truly seen. I wanted to learn to see, and therefore experience, those locations (and any new ones that I travel to) more completely. Part 8 of the Urban Sketchers Manifesto, to "show the world, one drawing at a time," has a flip side: Sketching enables me to see my own world, one drawing at a time.

In the last four years, it is not an exaggeration to say that Urban Sketchers has changed my life. I have met and sketched with many wonderful people around the globe, either at symposiums or during other travel, because the USk network brought us together. I sketch almost weekly with my local group, sharing sketches, art supplies and friendship. Even when I stay home and enjoy sketches online, I am still a part of that rich network, learning with every sketch about other people's lives.

In May, my husband Greg and I went to France for the first time, and I sketched the Eiffel Tower. Sketching one of the world's most famous icons felt like a dream come true - the ultimate in urban sketching. But although I can't resist sketching world-famous icons whenever I'm fortunate enough to see them, for me, urban sketching is much more than that.

Urban sketching is a tree with its middle chopped away to accommodate Seattle's ubiquitous power lines. It's about a couple of women chatting over coffee, or about workers roofing the house next door. It's about an excavator filling a hole where a cherry tree once stood. Or the Tibetan monastery I drive by frequently that I couldn't resist because it's bright orange. Urban sketching is a string band performing at a local farmers' market - or perhaps in Villefranche-sur-Mer.

Celebrating the mundane as well as the famous is what urban sketching is all about. My sketches are not necessarily about "special" moments; they are moments made special because I sketched them."

Tina has been editor of Drawing Attention since 2013 and now serves on the Urban Sketchers editorial board. See more of her sketches on her blog, on Flickr and on Instagram.

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"The dictionary says that a hobby is "an activity or interest pursued for pleasure or relaxation." Although urban sketching certainly provides both pleasure and relaxation, I don't think of it as my hobby. I think of it more as a way of life - something that has become such a normal part of my everydayness that it shapes how I view the world.

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Drawing as speech and as preparation for other work.

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Drawing as speech and as preparation for other work.

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One of four new films from Art21's spring 2021 programming
Recalling her formative years as an artist in the 1960s and 1970s, Lynn Hershman Leeson recounts the suppression of her literal and figurative voice that continues to motivate her work today. Shown at work in her San Francisco, California studio, Hershman Leeson describes her drawing practice as a meditation and a basic language that plays a role in all her projects. "It's all about collaging," says the artist of her work.

In 1965, Hershman Leeson suffered a near-fatal complication during her pregnancy. The experience inspired her to record and incorporate audio of her breath into wax sculptures cast from her own face. "To me, it was like a drawing," explains Hershman Leeson. "It was sound that extended into space."

When the wax sculptures were exhibited in the 1970s, they were denounced by an exhibiting museum for "not being art." Indicative of the struggles of many female artists at the time, this rejection by the museum system ultimately fueled Hershman Leeson and shaped her work. "The cultural experience of having your voice suppressed has made speech and talking and having a voice really important in what I do," states the artist. "A lot of what I do as being an artist is creating a voice for myself because I didn't have one for so long."

This film is among a collection that comprise Art21's participation in the multi-institutional Feminist Art Coalition initiative. Feminist Art Coalition (FAC) is a platform for art projects informed by feminisms, fostering collaborations between arts institutions that aim to make public their commitment to social justice and structural change.

More information and credits

Credits

Extended Play Series Producer: Ian Forster. Director: Ian Forster and Christine Turner. Editor: Morgan Riles. Field Producer: Laura Wagner. Camera: Ethan Indorf and Tyler McPherron. Sound: Kevin Crawford. Production Assistant: Trinity West. Colorist: Jonah Greenstein. Artwork Courtesy: Lynn Hershman Leeson, Bridget Donahue, and Yerba Buena Center For The Arts.

Extended Play is supported by The Andy Warhol Foundation for the Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; Dawn and Chris Fleischner; the Art21 Contemporary Council; and by individual contributors.

Closed captions

Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Lynn Hershman Leeson was born in Cleveland, Ohio in 1941. At once a pointed critic and a sly practical jokester, Hershman Leeson has worked across a wide range of mediums, from drawing, painting and sculpture to interactive films, net-based media works, and artificial intelligence. Overlooked for the better part of her decades-long career, Hershman Leeson is a pioneering multidisciplinary artist, critiquing the deep seated gender biases that have excluded her and other women artists.

"A lot of what I do as being an artist is creating a voice for myself because I didn't have one for so long."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Drawing Breath, Lynn Hershman Leeson - Art21

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How does an artist get maximum results out of minimal means? In a new film from the ART21 New York Close Up series, artist Louise Despont uses architectural stencils to create intricate pencil-on-paper drawings in her home and studio in Fort Greene, Brooklyn. Working between a small desk and her bedroom floor, Despont's daily practice, with a limited set of tools, yields surprising discoveries. "To be focused and dedicated to doing one simple thing can perhaps be the most transformative thing," says the artist, "That as narrow as it is, it can be infinitely deep." This film documents Louise Despont and her assistant Nicole Wong over the course of six weeks as they create Mediated Polarity and the Third Property (2014), a multi-panel drawing on antique ledger book paper. Looking through her private notebooks, Despont reveals how years of experimentation with collage, ink blots, and freehand drawing led her to the incredibly refined process she uses today. The artist shares how each new drawing emerges organically, such as large-scale Roman Room (2014), often begun without a formal plan and initiated with just a few marks. "It's a complexity that you can't think up. It's like little mineral deposits build up and make an entire surface." As intuitive explorations of symmetry born out of pure geometry, Despont's drawings tap into universal themes of energy, spirituality, and nature. The film concludes as Despont takes her latest drawing Garden (2014) to be framed at White Mule in Chelsea, looking at it one last time before it begins its journey out into the world. Also featuring the works Hive Mind No.10, Hatch (2014); Dandelion Constellation I (2014); Bathing Constellation, Dusk (2012); Sandglass (2012); DI-EH (2010); and Blue Moon, Pondicherry (2010); with music by Antonio Vivaldi- Concerto in B flat Major: VIII Allegro vivace-and Johann Sebastian Bach- Cello Suite No.4 in E flat: V Serabande Bouree No.2 and VI Serabande Gigue.

Louise Despont (b. 1983, New York, New York, USA) lives and works in Brooklyn, New York.
CREDITS | ART21 New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Producer & Editor: Rafael Salazar & Ava Wiland. Cinematography: Rafael Salazar. Sound: Ava Wiland. Associate Producer: Ian Forster. Design & Graphics: Crux Studio, Open. Artwork: Louise Despont. Music: J.S. Bach, Musopen & Antonio Vivaldi. Thanks: Virgil Bailey, Nicelle Beauchene Gallery, Anne Gibbs, Jeremi Poulin & Nicole Wong. An ART21 Workshop Production. © ART21, Inc. 2014. All rights reserved. ART21 New York Close Up is supported, in part, by The Lambent Foundation; the New York City Department of Cultural Affairs in partnership with the City Council; The Andy Warhol Foundation for the Visual Arts; and by individual contributors.
Jonathan Munar is the Director of Digital Media and Strategy at ART21, overseeing the organization's overall digital, Web, and social media presences. He edits and contributes to the Magazine's "Art 2.1" column.

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Louise Despont Draws Deep | Art21 Magazine

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How does an artist get maximum results out of minimal means? In a new film from the ART21 New York Close Up series, artist Louise Despont uses architectural stencils to create intricate pencil-on-paper drawings in her home and studio in Fort Greene, Brooklyn.

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Quentin Blake discusses his processes.

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Rhoda Kellogg Child Art Collection - Mini

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Automatic drawing takes courage and persistence!

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Used in an elementary art class.

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Created for beginners in a college undergraduate program.

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Basics in an elementary classroom.