Guidelines for Studio Practice PDF

GENERAL GUIDELINES FOR STUDIO EXPLORATIONS 1- To learn to speak a language, we begin with the foun- THE SPACE dational sounds. We experiment with how to shape our mouths and tongues; we play with tone and in...

GENERAL GUIDELINES FOR STUDIO EXPLORATIONS 1- To learn to speak a language, we begin with the foun- THE SPACE dational sounds. We experiment with how to shape our mouths and tongues; we play with tone and inflec- tion. We listen to other people, mimicking the sounds Creating a Studio we hear. We begin to weave sounds together—vowels A studio can take many forms. In your program, you and consonants forged into words. After time, we no might have ample space, enough that you can dedi- longer feel clumsy and this new language becomes cate an entire room to art, creating a full-fledged stu- familiar. Eventually, our dreams unfold in this new dio. Or you might have a corner in a classroom or in language. We’ve claimed it as our own. your family child care home that you can set apart In just this way, we learn the language of art. We from the hustle and bustle of the room’s activity with explore the physical qualities of a particular medium: several simple screens or shelves. The experiences how it feels on our hands, how it moves across paper, you and the children share in the space are what mat- how it holds its shape. We experiment with tools ter, not the formality of the studio space. and with techniques. Through many encounters and An art studio needs a few basics: engaged exploration, we become comfortable with this new art medium. We begin to think in terms a tile floor, because many encounters with art of color, texture, movement, and sculptural image. are messy; We’ve claimed the language of art as our own. a table with plenty of work space for four or five To learn the language of art, we create studio children and you; spaces, or areas set aside for art exploration. We good light from both natural and artificial develop practices that guide our exploration. We col- sources; lect notes and photos and samples of children’s work to use in written documentation, displays, and port- storage shelves for art materials: these shelves folios. We make time to reflect on our studio work can be at the children’s level—materials don’t with families, with teachers, and with ourselves. The need to be kept in a closed cupboard that is following guidelines offer suggestions for ways to inaccessible to children; begin this work. space for paintings to dry: this can be a drying rack, a clothesline from which paintings can be 7 8 The Language of Art hung, or a shelf system with lots of space for of white paper with a brush laid across the top, or large paintings; a piece of canvas awaiting clay. In the way that you space for three-dimensional sculptures to dry: arrange the space, you create an invitation for chil- shelves spaced so there’s plenty of room between dren to bring their full attention to the art medium them work best for this. they are about to encounter. If you cover the table, use a simple plastic table- Find a way to set the studio space apart from the cloth or big pieces of butcher paper. Choose a neutral rest of the classroom. Some programs use tall, open color—white, light tan, or black—and avoid patterns shelving to create a “wall” around the studio space. or designs that visually take over the work space. The Other programs use simple free-standing screens table covering should emphasize the materials and made of wood frames and sheer white fabric. Hang- the children’s work, not distract from them. ing screens, like those designed for outdoor patios, Be thoughtful about the sound in the studio are another option. Vines planted in a box on the space—again, with the intention of creating an envi- floor can grow up a trellis to create a living wall. The ronment that fosters quiet concentration. You may intention in dividing the studio from the rest of the strive to create silence in the studio space. Or, if your room is to invite focus and attention and to commu- studio space is part of the larger classroom, you may nicate to the children, “You can immerse yourselves use a CD player to play quiet, rhythmic instrumental in this work. You can linger here, uninterrupted. We music that brings focus to the space. honor your work here.” Have a plan for cleaning up before you begin! As Make the studio space beautiful, a place that nour- children finish fingerpainting or working with clay, ishes the spirit and senses. If you have the resources, how will they wash their hands? How will they dry store paint in clear jars to bring vibrant color into the their hands? Where will the children’s paintings go to room. Bring lush green plants into the space. Pour dry? Where will you set the clay pieces? How will you glitter into glass jars and set them on the window label each child’s wire sculpture when it’s completed? ledge to sparkle in the sun. Arrange shells, rocks, or Create a system for cleaning up and for tracking art branches on shelves, or hang them on the wall. Tuck pieces before you invite the children into the studio unexpected treasures into the studio: a vase of feath- space, so that you’re not scrambling to figure this out ers, a basket of sea glass, or an abandoned bird’s nest. when the first child finishes her work! (More guide- Store paintbrushes in pottery jars. Create a space that lines for cleaning up can be found on page 12 and in stirs the imagination and awakens the senses. the chapters on specific art media.) As you create your studio, remember that “studio” is as much about how we think about art practices as it is about a specific place. Barbara Burrington writes that “studio” is “a name that implies work, study, and MATERIALS art all in a breath” (2005, 56). A studio stands for a You’ll use some materials in a number of art explora- way of experiencing the possibilities of art materials tions, and a few materials that are specific to particu- in community with others. lar art media. Each chapter lists the materials needed for that specific exploration. You can use these lists to Setting Up the Space stock your studio. As you prepare to invite children into the studio, Gather materials from places like hardware stores, arrange the work space in a way that creates focus restaurant supply stores, kitchenware shops, and and attention. The table ought to be cleared of all but yard sales, as well as from the more typical art sup- the materials you’ll need at the beginning of your ply stores and educational provisioners. A search on exploration; these materials can be displayed with the Internet will lead you to companies from whom order and beauty in the center of the table: a few jars you can order many materials. Inexpensive art mate- of paint, perhaps, or one lump of clay, unwrapped rials are available at Discount School Supply (www. and waiting for the children. Each child’s work space discountschoolsupply.com), Creation Station (www. can be defined with an echoing simplicity: a piece creationstationinc.com), and Dick Blick Art Materi- als (www.dickblick.com).  General Guidelines for Studio Explorations 9 When you gather children in the studio, you may THE PROCESS decide that the group will stick together: you and the children will head to the studio at the same time and Gathering the Children stay in the studio as a group until everyone’s finished Certainly, we want all of the children in a classroom with the exploration and the studio is cleaned up. Or community to have lots of opportunities to explore you might decide to create a more fluid coming-and- each medium. We also want each child to receive the going between the small group in the studio and the luxuries of time, space, and attentive support, which rest of the children in the classroom. As each child fin- allow deep relationships with art media to grow. For ishes at her own pace, she neatens her work space, and this to happen, children ought not to be competing then heads back to the classroom, allowing another for resources and for a teacher’s attention. Small child to join the studio group. Either way works fine— groups of no more than six, and optimally four, chil- but it’s best to have a clear plan at the outset. dren are best. Do keep track of which children have spent time This may feel like a daunting task. Most classroom in the studio exploring a particular art medium. groups hold many more than six children. Here are Make sure that every child has a full turn with each some strategies teachers have used to bring a small art medium, then move through the list one or two group of children together for studio explorations: more times, so that each child has several encounters with the medium. If your program has two adults, make a plan to invite a small group of children into the studio space with one adult while the other adult works Introducing a New Art Medium or Material with the other children. You might schedule What if we introduced children to a new art medium this during a time in the day when children are as if we were introducing them to a dear friend, some- typically doing “free choice” sorts of activities. one we expected would become a treasured compan- Another option is to schedule studio work dur- ion to them? What if that sense of hopeful anticipa- ing a time in the day when children typically do tion infused our introductions between children and small-group work. paint, or clay, or wire? Ask each parent to spend an hour in the class- I’m glad you’re in the studio today. I’m eager room every few months. With the support for you to know about paint—how it feels on of even one parent a week, you can carve out your hands, how it moves on paper, how its weekly small-group experiences in the studio. colors come together to create new colors. Get Consider using “floater” positions as classroom comfortable so that I can show you the begin- support to allow the regular classroom teacher to ning of our work today. work in the studio with a small group of children. We want our introductions to be simple and direct, In some half-day Head Start programs, teach- marking a beginning and focusing the work. ers offer each other regular support by “trading time.” A teacher responsible for an afternoon You are artists, and there are some tools you group has planning and preparation time in the need to know about. Today, we’ll experiment morning; that teacher could step into the morn- with an important tool for clay that artists use, ing classroom once or twice a week so that the so that you can use it in your work. morning teacher could work in the studio with It’s helpful to use “technical” language with chil- a small group of children. The morning teacher dren, giving them the real names of the media and would then offer the same support to the after- materials in the studio: “tempera paint,” “a size 2 noon classroom during his planning and prepa- paintbrush,” or “wedging clay to get the air bubbles ration time. out.” We want to give children a full and accurate In some programs, administrators establish art vocabulary, which provides them access to the regular schedules to be in the classroom once or medium and allows them to talk with each other with twice a week, adding an extra adult into the ratio detail and specificity. for that hour. 10 The Language of Art The Teacher’s Role During Art Explorations Before you decide you’re finished with this painting, let’s look at the work you’ve done Several goals about children’s studio work help us and see if there’s anything you want to add or understand our roles as teachers: change. I see that you’ve used mostly red and We want children to explore the sensuality and orange, but that you’ve also got purple on your beauty of color, texture, movement, lines and palette. I wonder if you want to use the purple curves, and space through encounters with a paint somewhere on your painting. wide range of media and materials. Another way to encourage children to slow down We want children to strengthen the dispositions and take time with their work is to invite them to of artists and scientists, dispositions to look draw on all their senses to explore the medium. carefully, to pay attention to detail and nuance, and to work with intention and awareness. We What does the paint feel like as it moves on want children to reflect on their experiences, to the paper? use their reflections to guide their explorations. Is the clay cold on your skin? And we want them to collaborate with each other in ways that honor each person’s work. I wonder how you’d describe the smell of the clay. We want children to become knowledgeable Look at how the colors of the watercolor paint about a range of media, developing skills that swirl together. allow them to use each medium with ease. Listen to that squishy sound when you mush We want children to be in dialogue with each the clay between your hands! other, to take new perspectives, and to deepen Or you might help children notice different ele- their relationships with each other. ments of their work. Call attention to the details you With these goals to guide our work, we have some see, and encourage the children to look at their work specific roles to play during children’s studio explora- more closely. tions. I notice that you’ve created spiky lines with your Encourage children to slow down, to take plenty of paintbrush by pressing it down on the paper. time with their work. Your clay is getting softer and softer; it’s easier You can take a very long turn in the studio, so to move it into new shapes. you really get to know about tempera paint. You’ve bent the wire nearly in half. I appreciate the way you’re spending a long time with that clay; that’s just what an artist does. You might ask questions that help the children reflect on their work. Sometimes, a child rushes from one painting or clay sculpture to the next, getting caught in a fast- I wonder what your idea is for the clay, now moving effort to produce many finished products. that you’ve rolled it into a long, thin strip. When you see this happening, or sense that a child is You’ve been adding so many dots to your paint- paying only superficial attention to her work, you can ing. How are you doing that? ask her to stop and refocus herself. Listed here are some examples of things you might say to her. Study What are you discovering about watercolor these examples and the other examples throughout paints? the book, paying attention to the underlying tone, Call children’s attention to each other’s work. intention, and values. These examples can help you Help children see what their companions are discov- get started in your conversations with children; over ering, and encourage them to serve as resources and time, you’ll find your own voice. teachers for each other. I see you moving fast to make lots of paint- Pattiann has found a new way to use that tool. ings. I’d like you to try taking a longer time Let’s take a break from our own work for a with one painting.  General Guidelines for Studio Explorations 11 minute so that she can teach us what she fig- stuck into clay, the hair on the brush becomes ured out. tangled and gooped up with clay. And the clay gets hair in it. We’ll save the paintbrushes for You want to attach that tube to the box to paint, and the clay tools for clay. make a chimney. I see that Alex has a tube on his construction; I bet he can show you a way Offer the child another, more appropriate tool to to make your tube stay on. use. Coach children about how to work with a medium It looks to me like you’re curious about how to or tool. Children need and deserve direct teaching make deep holes, like tunnels, in the clay. Let’s about how to use the materials and media we give find a tool that will help you do that. them. Stay alert for times when they get stuck or run out of ideas about how to use the medium, and offer Sit with the children as they work, minimizing them specific coaching. your movement around the room. You might paint or sculpt alongside the children. When we sit with I see you’re having a hard time with that tape. the children, we communicate that the work of art is Let me show you a way to tear the tape off the important—that it’s worthy of slow, deliberate atten- tape holder. tion, that it’s worth sitting down for! When we move I think you’re ready to learn about a new tool around the art space tending to little details, leaning to use with clay. This will help you with the over the children’s work briefly to check in, we dis- sculpture you’re trying to make. courage quiet focus and disrupt children’s work. Keep the work space uncluttered and inviting. As At times, a child will use art tools in unexpected the children work, keep an eye on the table. You may ways—dipping the tip of a brush handle into the quietly neaten the space, so that the children are able paint, for example, and using that to make lines on to sink into their work without clutter or mess get- paper. When this happens, observe for a few minutes ting in their way. Or you may call children’s attention to understand what the child is trying to figure out. to recurring issues so that they can learn how to best Is she discovering a new possibility in the tool? Is her manage a particular medium. use of the tool helping her discover an intriguing or important quality of the art medium? Once you have I notice that your canvas keeps slipping over a sense of what she’s working on, you can reflect with the edge of the table, and when that happens, her about it. bits of clay roll onto the floor. Pay attention to the edge of your canvas. When you see it coming Look at the thin, thin line you made with the over the edge of the table, pull it back like this. tip of the brush handle! It looks different than the thin line that the hair of the brush makes. Pay attention to time. You want to be sure children Did you notice that? have plenty of time to bring their work to a close. It’s interesting to paint with stiff tools, isn’t it. This is a good time to start thinking about how Not like the soft hair of a paintbrush, but hard you want to end your work with clay today. and strong. Let’s try some other tools that are stiff like the brush handle. How about a twig? It’s important that children don’t start a new A piece of wire? undertaking right before cleanup time. It’s awfully frustrating to just get started with something and Sometimes, the unusual way in which a child uses then be asked to stop. a tool can break the tool or mess up the art medium: sticking a delicate paintbrush into clay, for example. The painting that you’re working on now will When this happens, gently coach a child about how need to be your last one today. We’re coming to best use that tool. close to lunch, and there isn’t time to start another painting now. That thin paintbrush works best for making lines and adding color to paintings. When it gets Noticing how long a particular exploration takes will give you a sense of how much time to set aside 12 The Language of Art when you next take up this exploration with children, As you decide on a labeling system for each which will be helpful as you plan your work. medium, keep in mind that we want people’s eyes to During an art exploration, consider what you go to the work itself, not to a child’s name written in would find helpful from a teacher if you were learn- some overbearing place. Sometimes, children want to ing how to use a new art medium. Most likely, you’d write their own name or symbol on their work; give look for some specific coaching about tools and tech- children a ballpoint pen and have them write on the niques; you’d appreciate gentle feedback and correc- back of their painting or drawing, or invite them to tion when you struggled. You’d look to the teacher for write on a piece of tape that can be attached to their clear guidance about this unfamiliar medium—and work. We want to honor children’s eagerness to write you’d expect the teacher to offer that guidance with their names on their work, claiming with pride the deep respect for your ability to wrestle with some- art that they’ve created, and, at the same time, we thing new and to stick with challenges. You’d want to want the viewer’s eye to fall on the work itself. leave with a sense of increased skill and expanded pos- sibilities. You’d probably be frustrated if the teacher simply glanced at your work occasionally and made vague comments about “nice job” and “interesting EXTENSIONS AND FOLLOW-UP colors.” We can offer children the specific, generous, respectful coaching that we would hope to receive as Inviting Children to Revisit Their Work learners. We want to encourage children to take time with their work in the studio—time that may extend over Cleaning Up several days or weeks. When children revisit their work over time, they are able to view it through dif- Before you begin, have a plan for how you’ll clean ferent lenses. Seeing it from new perspectives, they up. Devise your cleanup system as you set up for may decide to add to it or change it. the exploration, before children arrive in the stu- Create storage and labeling systems that allow chil- dio. There are suggestions for cleanup systems in the dren to save their work and come back to it later. Some chapters about specific art media that follow. programs use “saving cards,” simple index cards with As you set up the studio, consider where children children’s names that children can set on their work will put their paintings, sculptures, collages, or con- to indicate that they’re planning to return to it and structions as they finish. Think about what will best would like it to be left as it is. Other programs have art preserve the integrity of the work: if children are cubbies set up in the studio in which children can save painting with tempera paint, for example, then you their work in progress. The studio-saving system ought may want a drying system that allows the paintings to to be flexible enough to allow for work done in a range lie flat, since tempera paint tends to run. Will children of media to be stored for later work: paintings, clay, be returning to work on their clay sculptures another wire, loose-parts construction, and even easel paint- day? If so, you’ll need some plastic wrap ready to drape ings. These systems communicate to children that we over their clay to keep it moist. Set up these systems expect them to revisit their work over time. for drying and storage as you set up the studio. Teachers can take the lead in urging children to Consider how you’ll keep track of the children’s continue with their work later. When a child declares projects. Again, it’s important to respect the integrity she’s done with a particular creation, we can encour- of a child’s work. We often write a child’s name on a age her to take a break for a few minutes, and then to painting or drawing; consider doing this on the back look at it again to see what she might want to change of the painting or drawing, in ballpoint ink rather or add: than with a marker that bleeds through the paper. With a clay sculpture, you can carve a child’s name How about getting a drink of water, and then on the bottom. With loose parts, collage, and wire, coming back to this painting to see if there’s consider writing a child’s name on masking tape and any more work you’d like to do on it? taping that loosely to the sculpture, so that it can be removed easily. When a child is engaged in her work as cleanup time rolls around, reassure her that she can save her  General Guidelines for Studio Explorations 13 work and come back to it later, so she doesn’t feel setting up the work space, and carrying out their rushed to finish a piece. vision for their work. We emphasize the importance of lingering with and revisiting work not to stop children from finishing Representing and Re-representing their work, or from ever taking anything home, but to create a spacious sense of time in which children can an Idea or Experience immerse themselves in their studio work, allowing it We can extend children’s thinking by encouraging to unfold through a relaxed and thoughtful dialogue them to represent and re-represent their ideas and with the art materials. experiences in a range of art media. For example, you might invite a child to create a black and white sketch Creating Opportunities for of her clay sculpture, or to translate her marker draw- ing into a watercolor painting. This practice of using Many Different Encounters multiple media to represent an idea or experience It’s important for children to have many different can take place over several days; it is another strat- opportunities to explore a particular art medium or egy for inviting children to take time with their work, material. Just as it takes many encounters for a deep embracing the process of thoughtful creation rather friendship to grow—many opportunities for conver- than a finished product. sation, for shared experiences, for storytelling—it When children move from one medium to takes many encounters for a child’s relationship with another, or work on different scales, or move from an art medium to grow into easy familiarity. two to three dimensions, they see their work in new Plan a range of ways for children to explore an ways. They take different perspectives. They notice art medium or material. Begin by inviting children new details. They develop new understandings of the to explore a medium through their senses, without relationships between elements of their work. They a great deal of teacher instruction. Early encounters come to deeper awareness of the role of color or line with clay, for example, may include opportunities to or texture. The practice of representing and re-repre- work it from stiff coldness to warm pliability by roll- senting an idea or experience often sparks a transfor- ing, pounding, and stomping on it; investigation of mation of thinking. what happens to clay when it meets water—a little bit of water, and then a little bit more, and then a lot more, until there’s a puddle of gooey water and not much clay at all; exploration of how it feels to lay DOCUMENTATION clay on our faces, or to wrap it around our arms, or to mold it around our feet. Creating Written Documentation From these first sensual encounters, we can build about Children’s Art Explorations other explorations of a medium. What tools are use- Art explorations are rich experiences for children. ful with this medium? How do they work on the They inspire scientific investigation, as children medium? How is this medium used for representa- seek to understand the qualities and uses of an art tion? These sorts of encounters involve teacher guid- medium. They spark collaboration and strengthen ance, as children apprentice themselves to learn spe- relationships among children, as children share dis- cific techniques for using tools. coveries, coach each other about strategies to try Another way in which children become intimate with an art medium, and work together on a creation. with an art medium is by learning how to set up a They demand focused attention and physical finesse. work space to use that medium. What’s needed for They stir the senses and emotion, delighting eyes, watercolor painting? For clay? For loose-parts con- hands, and heart. struction? Where are those materials kept? How are Art explorations hold many stories worth telling: they best arranged on the table? And how do we clean stories for children to hear about themselves, stories up these materials after studio work? Our aim is for for families to hear about their children’s art learn- children to develop familiarity with art media so that ing, and stories for program administrators and other they can take a project from start to finish with a par- adult visitors to your program that challenge them ticular medium, gathering the materials they need, 14 The Language of Art to see the importance of art in children’s education. and shape our stories. In our written documentation, Written documentation is a way to tell those stories. we tell the story of children’s explorations and play, we There is an increasing emphasis in early childhood reflect on their play, we share our plans about how we programs on written documentation of children’s will extend their play and explorations, and we invite exploration and learning. Some programs use writ- families to think with us about the children’s play. ten documentation as part of formal developmental assessments of children. Some programs use written documentation for curriculum planning. And some Tell the Story programs use written documentation to bring the stories of children’s work and play to their families, Include many details to bring the story to life. to visitors, and to children themselves. Capture the children’s dialogue; use their real If you work in a program that emphasizes check- words. lists and other formal developmental assessments, you Use lively, engaging language and may find yourself frustrated by the sense that these conventional grammar. tools are disconnected from the daily experiences you share with the children—experiences of curious inves- Emphasize description rather than tigation, belly laughter, triumphant achievement, interpretation. heartfelt tears, satisfying discovery, and full-bodied Consider including sketches, scanned copies, engagement with the smells and textures and messes or photocopies of children’s work. of the world. These stories need to be told—and you are the person to tell them. I invite you to step into Isaac and Ian arrived in the studio this morn- the role of storyteller, taking up that work as a form ing eager to paint. They slipped on smocks of deep regard for children and for yourself, and as and looked at each other and at the easel an act of advocacy for the rights of children. Children with its big sheet of white paper. deserve to have their stories—not just checklists and “We’re gonna paint a picture at the easel assessments—anchor our programs. The suggestions together, right, Isaac?” said Ian in a hopeful and guidelines provided here and in each chapter fol- invitation to his friend. lowing will help you experiment with how to give form “Yeah, sure we are! Let’s do it!” Isaac to the stories of children’s encounters with art media. replied with a grin. If you work in a program that hasn’t yet experi- They took the lids off the jars of paint at mented with written documentation, the suggestions the easel and gathered brushes, and then and guidelines in this book will help launch you into this important practice. And if you work in a program paused. that is already engaged in the process of creating and “How about a tornado?” Ian proposed. reflecting on written documentation, the thoughts “Yeah, a tornado! A really big one!” Isaac offered here and in each chapter will help you deepen agreed. your practice. And the two companions began to paint, There is a wide range of possibilities for collecting filling the easel paper with swirls of color, written documentation. You might collect written their bodies moving together, their arms documentation in a binder that you keep in the stu- reaching up and over and around each other. dio or in the area where families sign in each day. You “We’re artists together, right, Ian?” sug- might create a journal for each child. You might add gested Isaac. written documentation to children’s portfolios. You “Right—artists together,” Ian confirmed. might send written documentation home with fami- lies. You might create handmade books for the studio about particular art explorations. Each of these ways Reflect on the Story of collecting and organizing written documentation Describe the meaning you make of the story. honors children’s investigation and discovery. At Hilltop, we’ve developed a structure for written Share your questions about the story. documentation that helps us organize our thinking  General Guidelines for Studio Explorations 15 When Ian and Isaac arrived at the easel How will you pursue the questions that this at the same time, both eager to paint, I experience raised for you? anticipated conflict: Who would have the first How will you make the children’s learning turn at the easel? How long would the other visible to them? How will you use this person have to wait? But Ian sidestepped that experience to invite them into further conflict with his proposal to work together, exploration and reflection? surprising both me and Isaac. I shouldn’t have been surprised, really. Ian and Isaac are good I’ve been thinking about how I might grow Ian buddies; their play is often quite physical and and Isaac’s artistic collaboration, and how I always full-throttle, and they know how to can use their work to nudge other children figure out problems together. into collaborative work. I hung the photos I I was curious about how they’d negotiate took of Ian and Isaac next to the easel, with the space at the easel. Though the easel the story of their work together. I added stands tall and the paper it holds is large, another hook and a second smock to the wall the space becomes tight with two children next to the easel, to suggest the possibility of standing side by side, extending their bodies two children painting together at the easel. to the easel. As I watched Ian and Isaac, I I want to think more about how we can wondered if this effort to share the space build collaboration into our work with each and the creation process was, in fact, the art medium we take up. Next week, we’ll most important part of their easel work. It begin exploring clay in the studio. I want seemed to me that their work together at to give each child time to work on his own, the easel was like a dance, a way to engage to get to know the clay, but I also want to with each other physically and, together, offer opportunities for children to explore to engage with the easel: the broad arm and shape the clay together. When I was movements, the turn of a torso, the leaning learning to be a teacher, I was taught to close and stepping back, moving color across make sure that all the children have plenty the paper. of materials, so that they don’t have to The physical dance with each other and worry about taking turns or sharing. I’ve with the paint speaks volumes about Ian and questioned that conventional notion, though, Isaac’s friendship. Their affirmation to each as I’ve worked with children. I see great value other that they are “artists together” moved in collaboration, in focusing on shared effort me. It seemed to me to capture the strength and shared accomplishment. Ian and Isaac’s and intimacy of their connection, deepened work at the easel rekindled my commitment by their collaborative easel work. And it to keep questioning my practices, and to push reflects an important value in our studio: that myself to create more opportunities (and art is not necessarily a solitary endeavor, but expectations) for collaboration. one that is anchored in relationship. Begin a Dialogue with Families Describe Next Steps and Invite families to share their thinking with you. Further Plans Include questions like these in your written docu- How will you follow up on the children’s mentation: explorations, questions, and discoveries? Will Have you seen your child engage in this sort you add materials to the classroom? Will you of play or exploration in other contexts? offer specific activities? 16 The Language of Art learning. Our observations and reflections create How does this play reflect or challenge your meaningful stories that capture details of chil- family’s beliefs, values, or practices? dren’s thinking and their relationships with one another, specific elements of their physical and What do you think is meaningful about this sensory development, and verbatim examples of play for your child? their language development. What are you curious about in relation to this We use written documentation as a tool for play or exploration? Does anything about this social change. The stories that we tell of chil- play surprise you? dren’s investigations and play have the potential How would you like us to explore the for changing how people understand and value ideas embedded in this play together as a childhood. We can share our stories with other community? early childhood professionals, with program reviewers, and with visitors from the commu- I’m curious about what you think of the bal- nity. Our stories call attention to the too-often ance between individual effort and col- unheard or disregarded voices of children. laboration. How does Ian and Isaac’s work as We use written documentation to record a “artists together” fit with what you hope for shared history for ourselves and for the children for your child? Does it leave you with a sense and families in our programs. Participation in of what you want me to do as their teacher? an unfolding story is a cornerstone for creating I’d really like to hear your thoughts about community. Our documentation tells the sto- this. I’m tucking a piece of blank paper into ries of these shared experiences, which, woven your children’s journals, just after this story; together, become the fabric of community. it’s for you to write on! You can also call dur- ing my planning time, from 1:30 till 2:00, or Each chapter contains specific questions and sug- send me an e-mail. gestions to help you create written documentation. As you write the stories that make children’s expe- riences visible, keep in mind the deep value of your Written documentation is not a final, stale prod- work. Telling these stories is an act of respect for chil- uct. It is a lively tool for communication, for new dren, for yourself, and for the community in which learning, and for advocacy. Written documentation you work. has a range of uses: Displaying Children’s Work We share written documentation with children, reading the stories and looking at the photos Display is different from written documentation. together. When children revisit their experiences Written documentation refers to the process of col- this way, they often decide to take up a project lecting observation notes, still photographs, tran- again from a new perspective or to invite other scriptions of children’s conversations, and samples children into an extension of their earlier work. of their work. These traces of children’s work become They reconsider their theories and explore new written stories that bring the children’s experiences understandings. to life for the reader. Display refers to the visual arrangement—usually on a large scale, like a bulle- We share written documentation with families. tin board—of paintings, prints, sculptures, photo- Our stories create windows for families, letting graphs, observations and reflections by children and them see into their children’s experiences during teachers, and questions for viewers. The intention of their time apart. And our stories invite families display is to create a visually beautiful presentation to share their thoughts and questions with us, a that invites viewers to look closely at children’s work way for them to help shape our programs. and that awakens new understandings of the mean- We use written documentation to meet program ing of children’s work. requirements for keeping records of children’s  General Guidelines for Studio Explorations 17 There is an art to display—especially to displays Consider “framing” children’s two-dimensional of art! We can be creative in how to tell the story art by placing black paper behind it. This cre- of art explorations, whether on a bulletin board, a ates a small, simple border around a painting or classroom wall, or a long shelf. Display is a visual art: sketch that lets it step forward to catch a view- photos, prints, and samples of children’s work are the er’s attention. primary components. Text is a secondary emphasis. Weave poetry or other writing into a display. Display catches the attention of families, visitors, Invite children to create a poem or story as a and children. It sparks conversation and exchange companion piece to a mural, for example. Or and inspires new insights into the meaning of chil- include the work of a writer that speaks to some dren’s work. It instills pride in children—and in their element of the art. For example, the poems of families. It invites children to revisit their work, and Mary Oliver are natural companions to paint- it can invite families to participate with them in that ings, sketches, or sculptures of the natural world. revisiting. As you consider ways to display children’s art, Include questions that invite a viewer to reflect think about the story you will tell in your display: on the children’s work. You might ask the viewer Was the children’s studio work primarily about the to make connections between his or her experi- sensory experience of color? About using color to ences and the children’s art, or to study the chil- represent experiences and observations? Or about dren’s art from a particular perspective. Consider mastering tools like paintbrushes? Let your display making space in a display for viewers to write tell a specific story, choosing photos and samples of their comments and questions—and for you and children’s work that bring that story to life. In each the children to respond. of the following chapters, you’ll find suggestions for organizing your display around a compelling story. Creating Portfolios A few general guidelines to keep in mind as you Artists keep a representative sample of their work in create displays of children’s art: portfolios. This collection of work allows an artist to Create a display against a neutral background. revisit earlier work, noticing themes that have held Consider covering bulletin boards with cream constant through her work, or different techniques or ivory paper, or with a light-colored or undyed that she’s tried, or changes to themes or style over burlap. If you are creating display boards, choose time. Consider creating portfolios for the children in black or white. A neutral background keeps a your group: simple easel-sized cardboard folders in viewer’s attention on the images and text. which representative samples of a child’s work (paint- ings, drawings, photos of three-dimensional work) Include close-up photos of the children at can be collected. You can think with each child about work on their art. Print these photos as 5 x 7 what to include in his portfolio; these conversations or 8 x 10 images; the bigger the print, the more provide an opportunity for you to highlight impor- eye-catching it is. tant elements of a child’s work, and to hear from him Keep text to a minimum. Provide a simple, brief what he considers important about his work. overview that gives the viewer a context for the display. Emphasize children’s observations and I’d like to make a copy of this drawing for your reflections, and include a few of your own obser- portfolio. I’ve seen you working hard to learn vations and insights about the children’s work. how to draw people’s faces from the side; you’ve tried and tried and tried, and I think you’ve got Use a large font (at least 18- or 20-point), if it figured out! This drawing shows what you’ve you’re typing your text. If you write your text by learned. hand, use large, bold, black print. This is the first wire sculpture you’ve created! Consider giving a title to the display: “Portraits I want to take a photo of it for your portfolio, of Sunflowers” or “Exploring Line and Shape.” and I’d like to write down your ideas about this Headings give focus to a display. work to go with the photo. What do you want 18 The Language of Art people to know about your work with wire in making this sculpture? Invite your child to teach you how to make a sculpture, a drawing, or a painting like Be sure to set aside regular time to look through the one she brought home. Gather similar each child’s portfolio with the child, perhaps every materials and follow your child’s directions six weeks or so. Use this time to reflect together on as you build, draw, or paint. Take notes as themes you notice in a child’s collection of work, spe- your child talks you through her process, cific media and techniques that he’s explored, and or make a step-by-step sketch as your child ways that his work is changing. Invite the child to describes the process she used. share what he remembers about his work and what he notices as he studies the collection in his portfo- We are always eager for conversation with lio. Take notes as you talk; the child’s thoughts can you about what you see when you look closely become part of the portfolio! at the children’s representations. What ideas It may be a new practice for you and for families are they expressing? Which details surprise or to keep children’s work in the studio or classroom delight you? What do you think we might pursue rather than taking it home right away. Talk with next together? families about your intention to have children revisit their work and build on their earlier thinking. And assure families that children’s full portfolios will be Consider inviting families to meet with you, either theirs to keep at the end of the year or when children one-on-one or in small groups, to review children’s leave your program. portfolios. During these meetings, you can look at When you do invite children to take their work children’s work through the same lens you use with home, suggest ways that families might honor their the children when you study their portfolios. children’s work: What themes do you see in the content and in the aesthetic captured in your child’s work? Dear families, What seems to particularly engage your child? What art media particularly draws her? What Your children are proud of their art. They’ve have been landmarks for her, in her work? What invested tremendous energy and effort in it changes do you notice when you study her work and are excited to share the results with you. as it unfolds over a period of months? They talk about you as they create: “My mom is gonna love this beautiful canoe!” “My dad will be so surprised when he sees my painting!” It’s challenging, though, to honor your child’s Reflecting on Your Work work when a lot of it begins flooding your home. Many of us are hesitant to call ourselves artists. It’s Here are some ways you can support your often quite new for us to use real art media, like oil children’s important representational work when pastels or porcelain clay or sculpting wire. Most of us it comes home: take our first uncertain forays into this new terrain in the studio alongside the children. Create a special display space at home, like Don’t wait until you feel that you’ve mastered a shelf with room for one or two sculptures an art medium before trying it with the children. and paintings and title cards: “A Truck, by Do some initial exploration yourself, certainly. But Dylan.” You and your child can choose the be bold: bold and intentional—not bold and unpre- creations to display. pared. Set up the studio space using the suggestions When an art piece first comes home or in each chapter and invite children to join you in an when an art piece is replaced on the display exploration of an art medium. Stay curious and aware shelf, take a photo or make a drawing of the as you and the children work. You’ll have small disas- creation. Keep these photos and sketches in ters and large triumphs, moments of uncertainty and an album: “Emma’s Art Book.” moments of great joy and discovery. You’ll come away  General Guidelines for Studio Explorations 19 from your exploration with new understandings and of the table for your own use during the exploration. new questions—and will feel more confident in your This lets you explore the materials alongside the chil- ability to journey into this new terrain. The only way dren, and also gives you a set of materials to use for to begin is to begin. demonstration. Reflection is an essential element of this bold work. After each art exploration, take time to reflect Exploring and Creating: steps to follow, questions on what happened in the studio. On page 20, you’ll to pose, and aspects of an art medium to emphasize find reflection questions that you can use after each as you introduce and explore an art medium. You’ll exploration. These questions are intended to help find lots of detail and very specific suggestions about you track what works well for you in your particular how to move through an exploration. My intention context and what doesn’t work well, what you want is to help you get launched into art exploration by to do differently next time and what you want to be giving you a clear starting place. I expect that you’ll sure to do in just the same way. When we reflect on revise and reconfigure these suggestions over time as our experiences in the studio, we begin to grow our you invent your way into your own studio practices. own understandings and routines. Reflection helps In this section, you’ll also find many examples us invent our way into studio practices. of things you might say to children during an art exploration. This isn’t intended as a script to follow word for word, but as an example of how to talk with children about the art medium in a way that invites GETTING LAUNCHED exploration, reflection, and collaboration. You’ll find your own voice as you become at home in the studio The studio explorations are divided into four chap- and with the art media. ters: “Exploring Textures and Movement,” “Exploring Color,” “Three-Dimensional Media,” and “Representa- Cleanup: a few simple suggestions about how to tional Drawing and Painting.” In each chapter, you’ll coach children about the immediate cleanup of an art find sections on specific art media, with guidelines medium. Again, please adapt these to fit your specific for creating a studio exploration with each medium. context. Here’s how each art exploration is organized: Documentation and Display: suggestions for how Materials: a list of the materials that you’ll need for you might focus your written documentation and the exploration and for cleanup. You’ll likely invent display about the art exploration. You’ll find a sample your own systems and strategies over time; my sug- piece of written documentation from my teaching gestions are to get you started. experiences at Hilltop in this section of each chapter. I share these as examples of how we can communi- Setting Up the Studio: suggestions for how to ar- cate with families about the dispositions and skills range the materials and set the table for the explora- that children acquire during studio experiences and tion. I encourage you to set up the studio for children’s how we can create a history for the children of their first encounter with an art medium; then, during each work in the studio. following encounter with that medium, coach the children about how they can set up the work space for Ways to Build on This Exploration: suggestions themselves. This invites the children to claim the stu- for how you might use this art medium to expand dio and the art materials as their own. children’s learning and to strengthen their relation- When you set the table with work spaces for each ships with each other. child, include a work space for yourself. If space is tight around the table, group a set of materials on a tray that you can set on your lap, or tuck a set of materials on a nearby shelf to pull onto the corner  REFLECTION QUESTIONS Inventing Your Own Studio Practices How did children use this medium? Was their focus primarily sensory? Did they venture into representational work? What seemed to impede the children or to detract from this experience? Skills that children needed but didn’t have? The set-up or the materials? The cleanup process? What worked well for you as you guided the exploration? The language you used to describe the materials? Suggestions and guidance you offered? Questions you asked? Notes and photographs you collected? What didn’t work well for you during the exploration process? What adjustments did you make? What might the children want to do next with this medium? What do you want to remember the next time you work with this medium? What questions do you want to ask another teacher about this medium? 20 Text © 2007 by Ann Pelo. Published by Redleaf Press (www.redleafpress.org). May be reproduced for classroom use only.