Describes an art activity for first-grade students in which the students draw their own still-life pictures, using teddy bears and balls as the subject matter. Explains that the students must include three objects, a line for the table, and overlap the shapes. (CMK)

Presents an art lesson used in an advanced high school art class where students used the encaustic painting technique by melting wax and combining various pigments. Explains that the students painted a still-life of flowers in the style of Vincent van Gogh. (CMK)

Presents an art activity where students learn about Cubism and color mixing. Explains that the students create camouflaged animals after learning about the work, "Female Torso" (Pablo Picasso). Includes directions for how to create the pictures and states that the assignment can be used with students of all ages. (CMK)

Describes a fifth-grade art activity that offers a new approach to creating pictures of Aspen trees. Explains that the students learned about art concepts, such as line and balance, in this lesson. Discusses the process in detail for creating the pictures. (CMK)

Describes an art project for high school students in which they create Aboriginal-style paintings using cotton swabs. Discusses the process of creating the works of art in detail. Includes learning objectives, art materials, and a bibliography. (CMK)

Describes an art activity used with sixth-grade students that was inspired by the work of Wassily Kandinsky and also teaches students about rock art by American Indians living in Texas. Explains that the students learn to use both contemporary and primitive art when creating their "Petroglyph People." (CMK)

Presents a lesson used with middle-school students where they created their own three-dimensional desserts with the aim of making them lifelike. Explains that the students utilized a problem-solving model in order to complete the project. Discusses the benefits and the methods used to make the desserts look real. (CMK)

Describes an art project for high school students that combines a still-life drawing with 12 colors of tempera paint colors to teach students about the color wheel. Discusses the process of creating the paintings and the assessment of students. Includes a list of the materials needed. (CMK)

Describes the cross-cultural Harvard Project Zero that was designed to identify major issues in Chinese arts education and to clarify differences between the aesthetic and educational systems of the United States and China. Discusses the exchange of education specialists, the interviewing of artists, and the examination of philosophy. (KO)

Describes Chinese art education from the viewpoint of an exchange expert in a cross-cultural study. Provides insights into the context in which art is produced in China. Contrasts the Chinese emphasis upon teaching by imitation with the Western emphasis upon concepts and guidance. (KO)

The Tri-District Arts Consortium in South Carolina was formed to serve artistically gifted students in grades six-nine. The consortium developed a summer program offering music, dance, theatre, and visual arts instruction through a curriculum of intense training, performing, and hands-on experiences with faculty members and guest artists. (JDD)

Describes how the author, influenced by Celtic, Trajan, and contemporary alphabets, created his own alphabet. Discusses the developmental drawing process, color determinations, and how he created his final large scale letter forms in plywood. Outlines how students can adopt these ideas to develop their own alphabet. (KM)

Describes how a second-grade class used large templates to draw and paint five-digit numbers. The lesson integrated artistic knowledge and vocabulary with their mathematics lesson in place value. Students learned how draftspeople use templates, and they studied number paintings by Charles Demuth and Jasper Johns. (KM)

Outlines the life of Henri Matisse and how he created his paper cut-outs, which were reproduced in a book. Discusses the importance of artists' books. Suggests some creative activities for all grades in book making and paper cut-outs that could be worked in conjunction with a language arts program. (KM)

Deals with differences between drawing in art class and in other subjects. Points out that the latter are considered serious learning while learning promoted by art class is often dismissed. Advocates both rational analysis of art and the imaginative extension of such rational art as maps and diagrams to promote visual literacy. (KO)