Mondrian Compositions with Yr 2

After observing a number of Mondrian's famous primary coloured compositions, this year 2 class made their own grid of vertical and horizontal lines with permanent marker before filling in their resulting squares and rectangles with regular acrylic paint. 

Before I undertook this lesson I was having second thoughts about the possible “sameness” of each student's art, but I decided that if Mondrian himself can rework this idea again and again and again, then surely it's worthwhile that the students experiment with the same. And you don't have to look closely to realise that none of these are identical!

I especially asked the children to focus on balancing the colours within the composition — not too much or too little of any one, but not all exactly equal amounts either, not all in one area, and to use the white spaces too. I think they did a great job. I know they were really proud of their work : )

3 + 3 with Kindergarten

Three lines and three colours — straight, curvy and zig-zag with the primary colours plus black and white. The lines were painted in black earlier in the day and the colours blocked in later on, unfortunately the black wasn't 100% dry so it muddied the colours in parts. I'd never been with this class previously, so it was a bit of an unknown bringing out the paint... but I think they did a great job!

I recalled seeing this lesson on Christie's Fine Lines blog and really should have paid more attention to her instruction to wait until the black is dry : )

Finger Paint Printmaking

These Kindergarten children had a choice of three warm colours or three cool colours. The regular classroom paint was spread directly onto their class desks by myself and then the students took turns at finger painting straight, curvy and zig-zag lines – one line type per colour. We made a single print from each. Once they were dried the children decided on the order and orientation they preferred for presenting their three prints. The shock, horror and pure joy of seeing their school desks smeared in paint and then painting with their fingers was a big hit with the students and they really enjoyed seeing their prints come to life as the paper was peeled from the table.

For me the really appealing part about these prints is the brush patterns created behind the finger lines. On a day when I'm feeling more adventurous I'd like to let the children be responsible for this part of the process too, and experiment with variables like more or less paint, sponges, squeegees etc. But as a relief teacher I'm always in someone else's room, with a class I don't know back to front, and in this case already with paint smeared over half their furniture, so I often end up erring on the side of caution... Perhaps I'll try this with an older class where the children are obviously up to the responsibility. I'm guessing that students of every age would relish the chance to get their fingers wet!

I first encountered this finger painted printmaking technique in a primary art teaching class while undertaking my undergraduate studies in primary education at UTS. Anne Bamford was our lecturer and I really looked forward to being in her art room each week, where the learning was always hands on. In hindsight I would like to have chosen visual arts as my major, oh well. I have kept a large folder of resources we made as part of that subject and still refer to it for inspiration. Looking through it a few months ago I was reminded of this very idea and had opportunity to use it only a few days later. And by the way, even once dry the paint easily comes off the desks with a wet cloth!

Shapes & Lines

Art is of course a very subjective thing. What is considered good and not so good varies greatly from one person to the next. I think as teachers we often feel pressured to make sure all our art is "successful". Sometimes this can take the adventure out of art lessons and make us overly prescriptive to our students. Also it can mean that we focus too much on the end result (a nice display on the wall for visitors!) rather than the simple skills that actually contribute towards growing our students' ability to create successful art. Sometimes it's worthwhile keeping it really simple. Well I think so anyway, you'll no doubt make your own mind up!

In this case, I was keeping it simple with a year 2 class. The children were engaged with a core fine motor skill of loading up their brush with paint and making deliberate and intentional, but not pre-prepared or penciled lines. This was repeated over and over. With one colour and one shape the students began roughly in the middle and continued to replicate the same but larger shape again and again until it disappeared off the paper.

To be honest, at first I wasn't sold myself – but I soon came around! Especially as I came to recognise the value in the basic skill practice, and when viewed together they became even stronger visually. I also think it was great for the children to see how striking and effective some simple repetition can be. The ones with several colours were completed one line each by the fast finishing students. There's an abundance of variations on this simple lesson that I look forward to exploring in the future.