Pensil- blyanter

Papers- papir

Oil pastels - Oliepastelkridt/oliepastel

Colorline/ink - tush/black

Figuartive - figurativ

Non-figurative -

Abstraction - Abstraktion

Graphite pen - grafit pen

They will then draw different shapes by connecting the lines. They will draw only geometric lines on one sheet of paper and organic lines on the other. I will show them the difference and examples to inspire them.

The final task will be for the pupils to create, in groups of three or four, an object of their choice (e.g. a car, a handbag) by cutting out the shapes and shaping them to resemble the object.

Goal:

Introducing to the world of line, shape and form by means of theory and practice in order to understand the basic characteristics of these concepts and to be able to use them in artwork

Materials: 

pencils, crayons, markers, coloured paper, scissors, glue

Inspiration:

Show examples of artworks that prominently feature geometric and organic shapes

• Composition II in Red, Blue, and Yellow" by Piet Mondrian

• Henri Matisse  "The Snail"

Excecution of the lesson:

1. Introducing the concept of lines, shapes, and forms. Show examples and discuss the characteristics of each element.

2. Drawing different lines with pencils/crayons/markers (Different lengths and thicknesses).

3. Drawing different shapes by connecting the lines (Geometric lines on one sheet of paper and organic lines on the other. 

4. Creating in groups of three or four, an object of choice (e.g. a car, a handbag) by cutting out the shapes and shaping them to resemble the object.

Age group:

This lesson could take place in grades 1-3 in primary school, as it introduces the basic concepts of line, shape and form, which students can develop more in older grades.

In my worksheet for children, I prepared activities with concepts such as:

Primary colors - Understanding the base colors (red, yellow, blue in RYB model; red, green, blue in RGB model).

Secondary colors - Learning how to create secondary colors by mixing primary colors

Complementary color - Identifying opposite colors on the color wheel and understanding their contrasting effects.

What technique should the student work with?

Color Mixing: Practicing mixing primary colors to create secondary

Color Wheel Exercises: Creating a color wheel to visually understand relationships between colors.

Complementary Color Schemes: Using complementary colors to understand more how color wheel works.

Filling shapes with color - to understand the concept of primary colors and to recognize the color of a given object.

Which grade level and why?

I created this worksheet for children in grades 1-3. At this age, children begin their journey with colors, their analysis, application, and understanding. Therefore, it is important to familiarize them with the basic colors, which form the foundation for further understanding of color theory. That's why I focused on teaching primary colors, simple colors, and complementary colors. These exercises can help them understand the basics of colors, how they interact with each other, and what colors are created by mixing different ones.

While creating landscape paintings, I think I did well in interpreting the titles I chose. I was also able to recreate the vision I had from the beginning of how my landscapes should look. I reproduced each landscape in the same way, considering the title and color terms. However, during the process, I noticed that "Summer Heat" and "Spring Is in the Air" looked very similar. As a result, I had to change my concept to reduce the similarity between the paintings.

Reflect on the painting techniques/materials you have used:

While creating my works, I chose four titles: Winter Haze, Night Sky, Summer Heat, and Spring Is in the Air. I started by sketching my landscape ideas on sheets of paper, ensuring each landscape was similar. The next step was using paints. I dipped a brush in water to facilitate spreading the paint on the paper more easily. For details, I used thin, precision brushes. For larger areas, I used thick brushes, which allowed me to save time.

Reflect on working with color and color terminologies in art assignments with students in art class.

I think the teaching students about colors and color terminology can help them understand how colors work together and what compositions they create. Furthermore, working with colors allows students to be creative and express their emotions while working with them. This way, students can familiarize themselves with terminology through practice and play with colors. On the other hand, working with colors and creating paintings is time-consuming, requiring good time management by both the teacher and students. It can also be challenging for younger or less experienced students. In particular, more complex concepts such as Tertiary Colors may pose difficulties.

I began my work by mixing acrylic paint colors, for example, (mixing violet paint with white), to properly match the color to the glued newspaper sheet. On a separate sheet of paper, I checked what color I got and compared it with that on the picture. If necessary, I continued mixing the paints.

I learned how to mix paint colors properly to get the right color. Also, what proportions to maintain so that the color does not come out too light or too dark.

2 stars:

• Appropriate color selection

• Proper mixing of colors to darken or lighten the shade

Wish

• I could better reproduce the colors to perfectly match the picture

Title: (1)Article – ex the, a, an, (2)subject , (3)verb, (4)adverb, (5)preposition + (6) article -ex a/an/the, (7)adjective, (8)object. Create the title by each taking turns writing  down the word following the title-structure and not showing  to each other what you have written

Our Title: The mountain dancing rapidly on a small stove

We began by brainstorming the concept we wanted to present and how best to depict the title. During our work, we used geometric shapes (circles, triangles) to effectively represent the mountains and the sun. Meanwhile, we employed organic shapes to depict water, plants, and clouds. We also try to fill the entire background to avoid leaving empty spaces. In the foreground (Positive shape), we aimed to place the mountains. Communication in the group went very well, we worked together on the work. Everyone offered their own point of view and together we came to an agreement.

Create another A3 picture, however only using abstact shapes to create a non-representatial depiction of the emotion, feeling, or some concept which you find in  your title

Our group's idea for the willow hut was to create a shelter that would serve multiple purposes. The hut was designed as a space where people could find refuge during their time in nature, offering a place for rest and privacy. Additionally, we wanted the hut to function as a potential sanctuary for small animals, reinforcing the idea of coexisting with nature. 

How did you communicate the idea and your message? 

We communicated the idea and message of our willow hut, focusing on the theme of shelter and privacy in the natural environment. The design of the hut, windowless and covered with leaves, emphasized its role as a hidden shelter, offering a quiet, space for people to rest and reconnect with nature. In addition, we placed a bouquet of flowers inside to further enrich the hut's nature-promoting delate

How is it connected to the concept of nature connectedness and what senses were put into play? 

Willow cottage we can combine with the concept of connection with nature as Using natural materials such as willow branches, we engaged in creating art from nature. The act of weaving the branches together used a natural rhythm that reflected the organic forms found in nature. Moreover, being in the willow hut encouraged integration with nature and the lack of use of telephones.

Give 3 starts and a wish for your finalized project. 

3 stars

• Good group cooperation, where everyone contributed to the construction of the hut. Everyone was able to propose his idea, where we made decisions together at the end.

•  The decision to make the hut a private shelter for both people and animals was clear and thoughtful. The use of leaves to cover the structure increased the sense of privacy and protection, making the hut part of the forest.

• The final product was well detailed, the construction came out solid and the decorations looked nice

Wish

We could have chosen a different location, as ours was in the sun, and as a result the work was carried out in difficult conditions

How do you connect the 3 different concepts to Jettes art and to the project you have been engaged in? 

Layered: Jette Mellgren’s work often involves multiple layers of meaning. In our willow hut project, we also explored layers—starting with the physical structure of the hut and building up to its deeper symbolic meaning as a shelter for humans and animals alike.

Connected: Mellgren’s art emphasizes the importance of connection—both between materials and within the community. Our willow hut embodied this by using natural elements like willow branches. So that people can connect with nature while sitting in the hat

Mischievous:  In Jette's work, there is often an unexpected element that can surprise viewers. In our project, we decided to omit windows and use leaves for privacy adding a subtle sense of mischief

How would you like to work with nature from a contemporary art perspective in your own teaching?

In my teaching, I would like to encourage students to be in nature and think about the relationship between nature and art - by working with natural materials. For example, going out into the woods with students and engaging them in sketching trees or plants. What's more, collecting natural resources such as leaves or flowers to create artwork from them.

What I took away from Jette Mellgren's presentation on making willow huts was the incredible combination of nature, craftsmanship and community that her work embodies. What impressed me most was how she transformed simple, natural materials like willow branches into functional structures while promoting environmentally sustainable practices. The process she shared not only highlights creativity and skill, but also the way these huts can bring people together in a practical collaborative project.

• How would you describe Jette Mellgrens artworks – discuss using/showing the reference to Land Art and Environmental Art 

Jette Mellgren's works can be described as grounded in both land art and environmental art, as they reflect the interaction between human creativity and the natural world. Her use of organic materials to create functional structures, such as willow huts, follows the principles of Land Art, in which the natural landscape becomes the canvas.  Mellgren also reflects the core values of environmental art, which emphasizes ecological and sustainable use of resources. Her works are ecological in nature, as she uses renewable and biodegradable materials. As a result, the sculptures are living structures that continue to grow and evolve

  • Analyze the idea/theme you have decide on and discuss how you will apply your and communicate your idea/theme.  

Our group decided to build a willow hut as a shelter for people visiting the forest for rest, as well as a potential refuge for small animals. This theme revolves around the concept of creating a connection between humans and nature, providing a natural, eco-friendly space for people to relax while respecting the wildlife around them. The decision to exclude windows and cover the hut with leaves was made to enhance privacy and create a shaded environment inside. By avoiding windows, we aimed to minimize distractions from the outside.

 • Evaluate the first workshop day and reflect on the group’s performance? – what went well, what was difficult, how did the groupwork go etc.

Collaboration in the group went well. Everyone in the group actively participated in the building process. We effectively divided tasks such as weaving willow branches and preparing leaves for covering. We quickly agreed on key elements of the project, such as the lack of windows and the use of leaves as additional covering, which kept the project moving forward. The process of creating the willow hut was an interesting way to pass the time and spend time together with the rest of the group. However, working with willow was not easy, it required a lot of work, which was time-consuming. Braiding the willow was also not simple to understand at first. Lastly, working in the sun was also hard in effect created greater exhaustion.

Creativity in design: Our group showed creativity, we decided to use not only sand but also algae and stones to add artistic elements and details (Such as cigarette filter and ash).

Teamwork and collaboration: The group worked well together. Each member contributed ideas and took on specific roles.

Choice of object: We were the only ones to take on the creation of a cigarette, which is one of the most common trash on beaches, causing a lot of pollution.

Wish:

We could have worked more on the decorations or the shape of the sculpture to make it look more like a cigarette in real life.

Reflect on the outdoors as a classroom. Besides the physical space, how was it different?

Outdoor activities were unique in that we could be in a natural environment, which was the beach. As a result, we could feel the atmosphere of the task more by listening to the sounds of the beach, such as the sound of the water and the animals living there.  Moreover, being outdoors made the activity more casual and less formal. When working outdoors, we can also be more creative and use resources we wouldn't be able to use during classroom activities.

Analyse the outdoors from the perspective of aesthetic learning processes.

From an aesthetic learning perspective, being in nature stimulated multiple senses, creating a richer learning experience. Sand sculpting on the beach required not only intellectual engagement, but also physical and emotional responses. By working with sand, we were able to aesthetically replicate realistic objects so that they resembled them as closely as possible.

The interesting information I have learned is that the art project will consist of twelve standing stones carved in granite. What is more, each standing stone is 7-9 meters weighing 25- 55 tones. At the top, the sculptures appear with a 2-meter-high head facing the centre of a circle. Between the figures are natural stones from which electronic music can be heard every day.

• While observing the sculpture Exhumed Limy Pool, we can suggest that students choose a theme to work with, such as horses or biodiversity (plants). We could propose that they sketch plants or horse skeletons.

• While observing the sculpture of a woman giving birth, we can discuss topics like perspectives and horizons with the students—what they see when they look at the sculpture (the beginning of a new life). We could ask them to find a picture of themselves as children and write a poem about it.

• Seeing the artwork Mortarerer, we can talk about the theme of water and ask students to take photographs of water (rain, moving water, etc.) and then paint the photograph with paints.

• Another task could be a visit to the forest, where students will observe their surroundings and then paint them in an abstract form.

Complementary - the location of the sculpture represents the fact that it interacts with nature and conducts a kind of dialogue

Symbolic - The sculpture represents a woman giving birth against a background of vegetation, which can symbolize the connection of humans with nature.

Symbolic - The pool symbolizes a place for horses, which used to have drinking pools. The benches they use in the middle of the pool symbolize the horseshoes.

Symbolic - Gathering water in a bowl symbolizes the collection of a mother's tears.

Complementary - qualities are evident in the way natural and artificial elements, are combined in a way that enhances the dialogue between the artwork and the site

Symbolic - reflect deeper meanings associated with the landscape, such as listening and human interference with nature.

Dodekalitten has a strong “spirit of place.” The tall stone figures are located in an open landscape, which enhances the mysterious presence. The site extends beyond its physical form, creating an emotional and psychological response through the integration of art, nature and sound. The monumental scale and arrangement of the sculptures interact with the natural elements - sky, wind and surrounding hills - creating a sense of timelessness and ritual. 

Fuglsang’s sculpture park also has a “spirit of place”, but the sculptures are placed to interact gently with the environment rather than dominate it. The sculptures reflect natural forms or materials, and their placement in the landscape creates a sense of calm.  Visitors experience a quiet, thoughtful engagement with both the sculptures and the surrounding environment, creating a reflective mood.

Narrative exercise: This approach is story-based. It required considering the progression of events in the artwork - what happened, what is happening and what will happen next? Focusing on the characters, actions and the way the artwork conveys them through color, form and symbolism. What's more, it will relate to personal history and emotional reactions to the events unfolding in the work.

Existential Exercise: The existential approach was more philosophical and abstract. It involved focusing on the deeper meanings behind color and form, the beauty or ugliness of a scene, and whether the work conveys something beyond words.

Similarities:

Both approaches asked me to personally reflect and engage with the artwork. Whether I focused on storytelling or existential themes, I had to think about my own interpretations and emotions. Each method explored how the artist communicates meaning. Both the narrative and existential exercises helped me see the artist's use of techniques like color or symbolism to express their ideas.

It is important for students to work with data in a variety of ways, as understanding data is a key skill today. By using data, students improve their ability to think critically, understand information and make decisions based on facts. This helps them become better at problem solving and logical thinking, which gives them a clearer picture of the world through data. Combining technology with visual art gives students the opportunity to work in a modern way. Technology allows students to use tools such as data processing software. Visual art helps them be creative in the way they present data. Together, these subjects teach students how to balance both analytical and creative skills

• How can you as a teacher develop fundamental understanding for your students of the many aspects related to the concept of data?

We should begin by explaining what data is, how it represents information, and why it’s important. This includes discussing how data should be collected, the different types of data. Once students understand these basics, we can guide them through the process of collecting and analyzing data. To make it more relatable, we can use real-life examples, like surveys or research projects, and even provide hands-on exercises where students actively collect data. For instance, activities like the "Dear Data Diary".

• Working with data addresses the issue that any process involving the collection and use of data as representations of reality involves choices and omissions. How can you make students reflect upon that representations only reflect a portion of reality?

To encourage students to reflect on the fact that data representations reflect only part of reality, teachers can show different ways of representing the same data, such as bar charts, pie charts or infographics. Ask students to compare how these visualizations highlight or obscure certain aspects of the data. In addition, you can suggest a classroom exercise where students will collect data about themselves and then compare the data to the real world. During the exercise, they will be able to reflect on why they included certain data points and left out others.

• What are some concrete learning goals you would like to address in your own teaching working with data?

- It's important to teach students what the process of collecting data is, using various sources such as ankirts or online sources

- A major aspect is to teach students how to analyze data using various methods such as comparing results

- Acquiring practical skills by students while collecting data

- Learning how to interpret data and understand it on a given topic

2 stars:

- I quickly learned what block-based coding is, how to create animations and how to make transitions properly

- I created an interesting story and scenery in which I coded moving animals, interesting animations and transitions

Wish:

- I could have expanded some scenes more to incorporate more coding

How did the assignment go?

Reflect on the process of programing objects to move, respond and interact in the CoSpace environment using block-based coding.

As a teacher, I would adapt this exercise to help students develop self-awareness and creativity while building data literacy. In class, students could track their habits for a week and then create their own abstract representations of the data. This could foster discussions about behavioral patterns and practice drawing skills.

• 2 stars

  • Good group cooperation, coming up with ideas together and sharing responsibilities.

  • Good reflection of the water, in which we presented its positive and negative aspects.

  Wish

  • We could have printed the images more efficiently and managed the work time better.

Teaching Design for “Wish for the Sky” Project

Age Group: 8th-grade students
Learning Goal: Enhance creative thinking, teamwork, and abstract representation through collaborative research and artistic expression.

Why & What - Explain the project purpose and foster curiosity.

Begin with a discussion on the symbolism of earth, fire, water, wind, and space in different cultures. Show abstract art examples to inspire creative thinking.

When - 2–3 lessons for each group to research their topic and develop an abstract representation idea. Additionally, printing stickers and sticking them on plates.

How - Students create their abstract representations (e.g., art pieces, digital designs) and stickers. Groups present their completed projects and explain their abstract approach.

2 stars

• The group together came up with a good idea, assigning a day to each participant

• Each group showed an original idea and included all group participants in their project.

wish

• We could have established beforehand a precise scheme of how to stick our shares, so that it would look better on paper.

• Each member of the group presented his idea, after which we decided together how to perform the task

• The final project came out interesting, thanks to the commitment of all members

Wish:

• We could work together in one computer, so that the final result would be better

Advantages of using CoSpaces in schools:

• Promoting creativity and innovative thinking, as iz allows students to design and animate virtual environments,

• Group projects in CoSpaces encourage teamwork as students can build and improve collaborative virtual spaces together.

• Introduces students to coding (block- or script-based), 3D modeling

Disadvantages :

• Some students and teachers may initially find coding tools difficult.

• Requires appropriate devices (computers, tablets), strong internet connection

• Designing and creating in CoSpaces can take a lot of time, which may not fit into busy teaching schedules.

Presentation to Students:

I would start by presenting an example of a 3D CoSpaces project (such as Halloween). Next, I would let students explore CoSpaces individually or in pairs to familiarize themselves with the tools. Then I would offer assignments where beginners work on basic projects while advanced students incorporate coding and interactivity. Furthermore, I would introduce group projects where each student plays a unique role

Initially, we decided to be inspired by the story “Ugly Duckling”. After some thought, we created a funny story about a duck (Farmer) who traveled by tractor. At the end encountering a disgruntled wife. We created our own sounds to more reflect the ridiculousness of the story.

To convey the mood and message, we printed scenery that matched the situation played out in the scenes. We also searched for appropriate characters (Duck, wife duck, tractor) that fit the ridiculousness of the story.

The creation process went positively. Each member of the group had his own task. As the Story deviates from the original version of “Ugly Duckling”, we showed our creativity.

How would you use Stop Montion in the classroom?

When working with children at the beginning, I would present examples of what Stop Montion is based on. Afterwards, I would choose an appropriate topic for the age range, for example (Christmas). I would allow time for experimentation during the process.

Positives:

• Encourages students to be creative by inventing their own characters and scenes.

• Encourages group work, during which everyone has their own task

• Has a positive impact on technological skills, combining art and technology

Disadvantages:

• Working with Stop Motion requires access to the Internet and electrical equipment

• May be difficult at first for students or teachers who are not familiar with technology

What went well:

• Students were very involved in designing their scenes

• Students showed creativity and created interesting Christmas scenes

Challenges:

• Some students had difficulty debugging the code, e.g. (how to make the door open) which required additional guidance.

• Limited time for all students to present their designs.

Student reactions:

• Most students showed a positive attitude towards creating scenes, they enjoyed working with technology

• Some were initially hesitant about coding, but gained confidence after the exercise.

Evaluation:

2 Stars

• We created a good overview presentation for the students.

• The whole lesson went well, working with students went successfully

Wish

• Allocate more time for peer presentations and coding problem solving.