Established in 1951, the Museum of Art - DeLand, Florida, is a vital and interactive non-profit community visual arts museum dedicated to the collecting, preservation, study, display and educational use of the fine arts. The Museum of Art - DeLand, Florida, is a 501(c)3 organization incorporated in the State of Florida and is a member of the American Alliance of Museums and the Florida Association of Museums.
Gallery Hours
Tuesday - Saturday 10 a.m. to 4 p.m. Sunday 1 p.m. to 4 p.m.
On the cover: Adolf Dehn, Italian Hillside, No date, Watercolor on Paper, 21 x 29 in
Copyright 2025 Museum of Art - DeLand, Florida. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or any other method without written consent by the Museum of Art - DeLand, Florida.
2025 Creative Connections Teacher Institute
Participating Educators
Kristan Kinsella Brinley
Lina Chiu
Katherine Crane
Tamera Dillen
Dorothy Featherston
Kelli Ferniak
Amy Fernandez
Alexandra Gibson
Heather Gleason
Bryce Hammond
Marisa Ingram
Jllian Larriviere
Keri O’Connell
Mary Osmun
Victoria Roberts
Faith Scrivano
Dr. Rajni Shankar-Brown
Jenny Sejansky
Christina Sills
Nicole Steel
Amanda Turner
Jennifer Ware
Tiffany Warren
Kathryn Wilson
The Creative Connections Teacher Institute continues to offer a powerful space for educators to reflect, collaborate, and grow through the lens of visual art and interdisciplinary practice. This year’s Institute centered on the themes of creative placemaking, sparking curiosity, reframing ideas, and creating artifacts to demonstrate learning transformation.
Visual art served as a catalyst for connection and reflection. The evocative photography of Thomas D. Mangelsen, the expressive prints of Adolf Dehn, and the immersive installations of Carlie Trosclair helped spark conversations about environment, empathy, and presence. Through these works, we explored how art can invite new perspectives, ignite curiosity, and deepen engagement across subject areas.
What makes this Institute so meaningful is the community it cultivates. This group of educators brings a spirit of generosity, resilience, and creativity to every conversation. Their commitment to transforming classrooms into spaces of possibility and growth is both inspiring and essential. I am honored to learn alongside them and to witness the many ways they continue to shape the future of education in Volusia County and beyond.
Martha Underriner Curator of Education Museum of Art - DeLand
Adolf Dehn, Italian Winter, 1961, Lithograph
Tamera Dillen Tamera Dillen
Pine Ridge High School Pine Ridge High School
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99th-12th th-12th
The Creative Connections Teacher Institute has been a great experience that has helped me add to my interdisciplinary skills in teaching art. It gave me new strategies to help my students develop their artistic techniques and boost their creative thinking, making their artwork more meaningful. One of the biggest takeaways has been learning how to create a “creative placemaking” classroom. This approach has made my classroom feel more welcoming and inclusive, fostering a sense of community that’s both social and culturally diverse. It’s been very good to see students feel more heard and supported in such a dynamic environment.
I’ve noticed a real change in some of my students as they show more empathy and understanding toward each other. The Institute also introduced me to different ways of bringing artists’ work into my lessons. Some of the artwork I’ve encountered in museums has inspired my own teaching and my students’ creations. Overall, participating in the Creative Connections Teacher Institute has been incredibly refreshing. Not only has it expanded my own skills as an artist and educator, but it has also strengthened my approach for teaching art, helping me connect with my students in new and meaningful ways.
Artwork by Tamera Dillen
Collage
Students will create collages with images, symbols, colors, and textures reflecting their identities.
Lesson Objectives
Students will develop art based on their self-concept. Students will create multiple solutions to an art concept Students will demonstrate and apply an understanding of elements and principles of design. Students will apply traditional and contemporary media to plan and create a work of art. Teaching Strategies Show examples of contemporary collages. Demonstrate how to find, cut, and glue images to a paper. Demonstrate layering and in different media. Facilitate student reflections and critique.
Essential Questions
How do artists synthesize knowledge of art traditions, risk, and personal artistic vision to create original work? What role do experimentation, practice, and persistence play in developing artistic skills and exploring ideas?
Supplies and Materials
Magazines, Scissors, tape, old artwork, glue, heavy construction paper, Sticky notes Tempra paint, Oil Pastels, Paintbrushes, water cups, and paper towels
Time Requirements
Teacher Prep Time 30 minutes
Demonstration Time 30 minutes
Student Studio Time 6 hours
Florida Standards
High School
VA.912.C.2.6
Investigate the process of developing a coherent, focused concept in a body of work comprised of multiple artworks
VA.912.O.1.1
Use the structural elements of art and the organizational principles of design in works of art to establish an interpretive and technical foundation for visual coherence.
VA.912.O.1.3
Research and use the techniques and processes of various artists to create personal works
Differentiation
Demonstrate collage and painting techniques 1:1 or in small groups as needed. Give students options to work on a smaller or larger scale to simplify or expand their compositions.
Be mindful of student sensitivities and allergies when working with paint media. Offer alternatives when possible
Teaching Strategies
Show examples of contemporary collages
Demonstrate how to find, cut, and glue images
Demonstrate tempera painting techniques and other media
Facilitate student essential question
1.Gather found objects and imagery for a symbolic self. Select and neatly cut out images and artifacts.
2.Curate and arrange selections. Experiment with composition. Refer to the resources Essential Compositions and Types of Composition for inspiration. Create a collage on a piece of heavy construction paper
3.Select one composition in preparation collage.
4.Cut and place pieces together before gluing. Add mediums.
5.Present final artworks and engage in a class critique. Utilize the Discuss and Critique assessment to generate a list of targeted critique questions.
6.Summarize artistic intentions, processes, and learnings in an artist statement. Reflect upon the following questions: How can personal artworks inform one another? How do the final artworks demonstrate a synthesis of personal, social, cultural, and historical life?
Amy Fernandez Amy Fernandez
Read-Pattillo Elementary School Read-Pattillo Elementary School
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VVPK-5th PK-5th
Reflecting on the time that I spent at the Teacher Institute, I always feel a sense of professional growth as a teacher and creative freedom from the perspective of an artist, which is exactly what I need as an Art Educator. The days are always well planned with a purposeful lesson designed around one of the instillations which sparks our intellect and draws us into the world of the present artist. Then we are allowed to dissect it and see how we can relate it to our own classroom, turning it into a lesson if we desire
I was intrigued by the printing and collage that was very present in this year’s work. The artist Adolf Dehn’s printing moved me to design the lesson that I wanted to try with my Elementary students and was excited to figure out how to use appropriate materials for their age.
I found the lesson to be extremely successful, and used Ziplock pages, tempera paint, copy paper, bubble rap and non-slip matts for my students to create monoprints. From these papers, they created flower collages that were amazing.
A lesson that I would not have created if I had not been introduced to this artist, been shown the lesson using ink and been surrounded by the amazing like-minded artists and educators at this Institute
Ms. Fernandez's Art Classes
Grades : 3rd
Lesson Name: Monoprinting
Assigned: ___3-3-25___ End Date:_3-21-25
Purpose/Objective of lesson:
1. Students will learn about the printing process.
2. Students will learn about the art of collage.
STUDENT DIRECTION:
WEEK 1:
1. Students will see a demonstration of how to create a monoprint using a variety of materials and tempera paints.
2. Using these materials students will each be assigned one different color and they will create 6 prints, they will be shared with the entire class.
WEEK2:
1. Students will choose from the papers created last week three papers to begin their collage images.
2. One paper for the background, one for the table and one for the table cloth.
3. Students will glue these all down to their paper
4. Using a smaller paper, students will fold paper in half to create a symmetrical vase shape then glue this down.
WEEK 3-5
1. Students will create flowers out of construction paper so there will be contrast against their monoprint paper
2. Students need to over lap their flowers creating full bouquets, then add leaves last.
3. Students may add additional items to the foreground of their still-life if they choose.
Outcome/reflection on the implementation of the lesson/activity : I feel that this was a very successful lesson and will definitely do it again next year I decided to do a similar project with the k, 1, and 3 but they did not print and paper they just did the collage still-life.
Grayson, age 8
Joshua, age 9
DeLand High School DeLand High School
HS and IB Dance HS and IB Dance 99-12 -12
Heather Gleason Heather Gleason
Spending my Saturday mornings once a month with VCS Arts, English, and Theatre teachers was inspiring, comforting and helped nurture my creativity in the classroom. The activities were sometimes humbling as I am not a visual arts teacher, but the novice feeling of trying to create something meaningful with little art experience gave me new perspective on how my students might feel coming into Dance class with little experience or training outside of social dance.
The sessions gave me time to reflect on myself as a teacher, mother, wife and friend offering activities that provided food for my soul allowing me to lose & find myself while working on each new task assigned. At times the experience was emotional, almost therapeutic as memories of my mother surfaced often. She’s been gone for 3 years now but lives on in our memories. She was my sounding board, my rock our families pillar of strength always knowing the right thing to say providing courage, advice, unconditional love and wisdom beyond her years I feel a part of me has been missing since her passing but being surrounded by such strong, knowledgeable women at our monthly sessions has me feeling like I am finding some of those missing pieces.
The triumphs and challenges shared by workshop attendees offered new perspectives on how to approach our students examining our trials through different lenses. Through self-reflection and group discussion I found myself taking risks in trying new ways of teaching some learning objectives breaking free from my triedand-true comfortable old approaches. While the results varied in their outcomes, the information gathered from both my delivery of the lesson and student outcomes gave me new ways of presenting material as I move forward.
After attending the Teachers Art Institute monthly from Nov. 2024-April 2025, I have applied many strategies learned from the course activities. The most useful observation tool I expanded into a project. Through research of selected artwork, they applied observation skills through written analysis of line, shape, space, color, and texture. These observations served as a platform to develop movement problems based off each art element
Students’ physical exploration of these elements resulted in students developing a deeper understanding of self-generated problem-solving prompts to create movement. Early stages of their explorations led to some confusion on the part of the student despite teacher modeled examples. Through the project students’ confidence began to grow and their creative choices seemed to involve more risks The end results demonstrated new movement vocabulary created by the students because of their research and self-tasked learning objective.
“Framing an artist”
Part I- Select 3 visual artists who inspire you. Painter, sculptor, architect, etc.
Art Research Journal
* Select one piece of art from 3 different visual artist’s
* Include an Image of the piece, title of the piece and the name of the artist who created the work.
* Research music ideas you feel fit the emotional tone or topic of the piece.
* You will be developing one of these selections into a movement study so choose pieces that intrigue or inspire you.
Suggestions compliments of: Kristan Kinsella (DHS Art ��)
Edgar Degas
Faith Ringgold
Henri Toulouse-Lautrec
Henri Matisse
Chuck Close
Claes Oldenburg
Grant Wood
MC Escher
Frida Kahlo
Michelangelo
Georges Seurat
Banksy
Diego Rivera
Michelangelo
Pablo Picasso
Marc Chagall
Roy Lichtenstein
Paul Cezanne
Andrew Wyeth
Romare Bearden
Leonardo Da Vinci
Albrecht Druer
John Biggers
Georgia O’Keeffe
Elements(the items in the composition): line, shape, space, color, texture
Principles (how the elements are arranged in the composition): balance, contrast, pattern, unity, variety, emphasis, movement, rhythm
Part II:
· Narrow your selection to1 piece to use as your inspiration for a movement study.
· Review the selected Elements of Art below and analyze your selected piece This will provide a foundation for the development of your self – created movement explorations in Part III.
ELEMENTS OF ART: The visual components of color, form, line, shape, space, texture, and value.
Line An element of art defined by a point moving in space. Line may be two-or threedimensional, descriptive, implied, or abstract
Shape An element of art that is two-dimensional, flat, or limited to height and width.
Form An element of art that is three-dimensional and encloses volume; includes height, width AND depth (as in a cube, a sphere, a pyramid, or a cylinder). Form may also be free flowing.
Value The lightness or darkness of tones or colors. White is the lightest value; black is the darkest. The value halfway between these extremes is called middle gray
Space An element of art by which positive and negative areas are defined or a sense of depth achieved in a work of art .
Color An element of art made up of three properties: hue, value, and intensity.
Hue: name of color
Value: hue’s lightness and darkness (a color’s value changes when white or black is added)
Intensity: quality of brightness and purity (high intensity= color is strong and bright; low intensity=color is faint and dull)
Texture An element of art that refers to the way things feel or look as if they might feel if touched.
Part III: Developing Movement Problems
Create movement problems based upon the 5 art elements listed below.
Narrow down your research and select 1 artist's visual work to create specific movement problems relating to each of the following 5 art elements:
· 1) Line An element of art defined by a point moving in space Line may be two-or three- dimensional, descriptive, implied, or abstract
· 2) Shape An element of art that is two-dimensional, flat, or limited to height and width.
· 3) Space An element of art by which positive and negative areas are defined or a sense of depth achieved in a work of art .
· 4) Color An element of art made up of three properties: hue, value, and intensity
· 5) Texture An element of art that refers to the way things feel, or look as if they might be touched.
Mrs. Gleason's Example Below
Title of work: "Merry Structure" by: Wasilly (Vasillly) Kandinsky Bauhaus Art Period
***** BACKGROUND INFORMATION ******* taken directly from the Metropolitan Museum of Art
The Bauhaus was a German art and design movement that lasted from 1919 to 1933:
·Founding
Walter Gropius founded the Bauhaus in Weimar, Germany in 1919. The school was inspired by Expressionist art and the work of Frank Lloyd Wright and William Morris.
· Goals
The Bauhaus aimed to combine all artistic mediums into one unified approach, combining artistry with mass production and function. The movement encouraged teachers and students to work together in design studios and workshops.
· Style
Bauhaus design is often abstract, angular, and geometric, with little ornamentation. It features functional shapes, simple color schemes, and basic industrial materials like concrete, steel, and glass
· Notable works
Some iconic Bauhaus designs include:
o The Wassily Chair by Marcel Breuer
o The Cradle by Peter Keler
o The Bauhaus Chess Set by Josef Hartwig
o The Brno Chair by Mies van der Rohe
o The Tea Infuser by Marianne Brandt
o The Bachelor's Wardrobe on Castors by Josef Pohl
o The Barcelona Chair by Mies van der Rohe and Lilly Reich
· Closure
The Bauhaus was dissolved in 1932 after being constantly harassed by the Nazis.
Students will develop a movement problem addressing each of the following 5 art elements
Mrs. Gleason's example relating to Kandinsky’s Merry Structure are included below. Line - I plan to create 2 different linear linear floor patterns. After creating a movement phrase, I would like to teach one pattern to a small group of 5 dancers and expand upon the spoking element integrating different types of canons. (see below)
Types of canons I’d like to explore with my diagonal pathway exploration
Reverting canon
The simplest form of canon, similar to the singing game "row row row your boat"
Simultaneous canon
All dancers begin dancing at the same time, but at a different point in the dance phrase
Cumulative canon
Dancers begin at different points in the movement phrase, but all finish at the same time
Loose canon
The most versatile form of canon, where dancers can improvise and freeze movements
Shape - The staircase pattern and triangle shapes stand out to me. I'd like to explore floor and air pathways involving these shapes.
Space - Size and depth in the use of the space also stand out to me in the work. I plan to explore up and down stage areas of the stage to expand upon this concept.
Color - I plan to explore the color yellow with a focus on Energy and Optimism - AI research in yellow below.
The color yellow can evoke a range of emotions, including: Happiness
Yellow is often associated with feelings of joy, happiness, and optimism. It's often associated with sunlight and can bring out feelings of intelligence and creativity.
Energy
Yellow is the most visible and energetic color in the warm color spectrum. It can evoke feelings of excitement and energy.
Lighter or pastel shades of yellow are less stimulating than bright hues
Yellow has been used in art since ancient times. In ancient Egypt and ancient Rome, painters used yellow ochre pigment to paint gold and skin tones in murals and on the walls of tombs. In Hinduism art, yellow was used to represent deities.
Texture - I mostly feel texture from the spoking 5 lines and the crisscross pattern located in the circle. I plan to explore these textures with different body parts using instrumentation.
Assignment Timeline/ Due Dates:
Part I Topic/ Inspiration selection and research on artist/ topic selection
Part II Narrow selection to a single artist
Part III - Developing movement problems relating to line, shape, space, color and texture (Individual progress checks daily)
Part IV - Composition showing 1 (1 min 30 sec)/ peer & teacher feedback
Part V – Composition showing 2 - (2 min 30 sec)/ peer & teacher feedback
Part VI – Collaboration/ Student led instruction – Selected pieces will teach 2- 4 counts of 8 of each dance to give students a feel for the piece. Students will then sign up / audition for the pieces they are interested in participating in.
T. Dewitt Taylor Middle-High
T. Dewitt Taylor Middle-High
AArt rt
99th-12 th-12
Jillian Larriviere
Jillian Larriviere
During my time at Creative Connections Institute at the Museum of Art Deland, I was introduced to a variety of artists, I felt that my students would love the imagery of photographer Thomas Mangelsen. I love animals and so do my students so I thought this would be a fun way to tie in art and creative writing, poetry in particular.
I bought Thomas Mangelsen’s beautiful book and projected the image that resonated with me from the workshop. I chose 2 little tanagers; I recited my poem, and I tasked my students with choosing the photo that stood out to them that would inspire a poem.
I enjoy introducing my students to aspects of art that they may not get to see. This was a fun activity that felt less intimidating to them because they were comfortable with the subject matter
I enjoy professional development such as the Creative Connections Teacher Institute because it doesn’t feel like work. We get to have the comradery of our peers and let our creativity flow and experience new artists to introduce to our students. I am so grateful to have this opportunity in our backyard.
Eyes of the Forest
By Yeni Flores
Deep within its eyes
Surrounded by all attention
Its feathers hidden in eyes.
Colorful yet terrifying
Shows the terror of its eyes
Yet lies with eyes so beautiful.
Hidden in the center allows the beauty
Full within its eyes arranges a pattern
Patterns emphasize a fear within
A fear in which I cannot escape
It is watching me with beauty and yet fear within me
Its feathery fan illuminating its surroundings
Its feathers glisten like eyes
Beautiful yet brings fear into my eyes
I must escape its beauty while it’s trapped Me with terror in my eyes
I cannot escape its beautiful eyes they say I fear with terror yet enchanted by its eyes
Its beautiful feathers of eyes blind me
I only fear its enchanting eyes
Yet I cannot escape it
With its amazing feathers illuminating
Its mesmerizing feathers for eyes have trapped me
Terrifying yet mesmerizing
The eyes of the forest have caught me in an enchanting fear, therefore I cannot escape the eyes of the forest.
Captured but not Captive
By Kristian “Ruby” Romph
Whimsical and free, little birds capturing me.
Darkness surrounded by light, yet they shine so bright with child like delight they draw my eyes
Frozen eternally free, little birds captured for me, my children’s children will see your beauty long after you leave with me.
Little birds that never grow old, forever marveling in the snow, go along your way but know, we will remember you long after.
Mary Osmun Mary Osmun
Westside Elementary School Westside Elementary School
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KK-5th -5th
“Busy Daytona Beach” Collage Scene
Week #1 of 4
In the spirit of Jacob Lawrence’s “Street Scene, Boy with Kite”, 1962.
Week #1: Look the artwork of Jacob Lawrence and talk about how he wanted to share memories of his busy childhood street. Discuss how Jacob Lawrence drew, painted and created collages
Discuss standard: VA.2.H.1.1: Identify examples in which artists have created works based on cultural and life experiences. Jacob’s cultural and life experiences are different from ours in “Busy Daytona Beach”
Look at student collage examples and discuss the layers they worked in. Major buildings, bridges, details like people, street vendors, cars, planes, helicoptors, wildlife,etc… Finally paint a brilliant background.
Discuss what layer #1 should be. The major buildings that make Daytona Beach so famous.
Students view images of Daytona Beach Building “Icons” from visitors bureau.
Instructions:
1.) Choose one (or more) of the Daytona Beach “Icons”
2.) With your pencil, draw it on your paper.
3.) You may use one marker or crayon at a time to color it in.
4.) Add details such as people, street vendors, cars, planes, helicoptors, wildlife etc… This will be the 1st layer of your “Busy Daytona Beach” collage
“Busy Daytona Beach” Collage Scene Week #2 of 4
In the spirit of Jacob Lawrence’s Street Scene, Boy with Kite 1962.
Week #2 of 4
Look again at the artwork o Jacob Lawrence and reinforce our discussion about how he shares his childhood memories of childhood and his busy Harlem, New York, neighborhood.
VA.1.H.1.1: Identify examples in which artists have created work based on cultural and life experiences. Again Lawrences’s cultural and life experiences are different from ours in “Busy Daytona Beach”.
Look again at Student collage examples and discuss the layers they worked in. Last week we drew buildings, this week we will draw a bridge.
Discuss how the layer #2 bridge should look. Look at the photos of 2 of Daytona Beach’s bridges, Veterans’ Memorial and Sea Breeze.
Instructions:
1.) Choose one of these Daytona Beach Bridges.
2.) With your pencil, draw it on your paper
3.) You may use one marker or crayon at a time to color it in.
4.) Add details such as crossing cars, people, bike riders, boaters, etc…
5.) This will be the 2nd layer of your “Busy Daytona Beach” collage. Turn it in.
Busy Daytona Beach Collage Scene 3# of 4
In the Spirit of Jacob Lawrence’s Street Scene, Boy with Kite 1962. Week #3 of project
Look again at the artwork of Jacob Lawrence and reinforce our discussion about how he shares his childhood memories of his busy neighborhood in Harlem, New York City
VA 2.H.1 2: Distinguish between appropriate and inappropriate audience behavior
Look again at the student collage examples and discuss the layers they worked in. Last week we drew bridges and details. This week we will paint a brilliant sky design.
Read the book sky color:
Discuss how sky’s can be any color. Demonstrate Wet Brush technique to apply watercolor in broad strokes across paper. Warn about mixing of warm and cool colors.
Allow students time to paint. Collect painted back grounds on trays.
Instructions:
1.) When you get your paper, write your name and your classroom teacher’s name on the back of your paper
2.) Put your pencil away, Use the wet brush technique to apply broad strokes across your paper for the sky background. Leave water cup and paint tray flat.
3.) Do not reapply paint to areas that are already wet.
4.) Place on tray to dry.
5.) Put brush down for clean-up
Busy Daytona Beach Collage Scene Week #4 of 4
In the spirit of Jacob Lawrence’s Street Scene, (Boy with Kite) 1962. This is the week we collage and put it all together! (See the page variations and possibilities for more ideas).
Week #4
Take a good last look at the artwork of Jacob Lawrence and talk about sharing visual memories through art or what things may have looked like during his childhood in his neighborhood.
VA.4.H.2.1
Identify differences or similarities in artworks across time and cultures.
Jacob’s cultural and life experiences are different from ours in “Busy Daytona Beach”
Look at student collage examples, discuss layers they worked in. Look at your previous drawings and decide how you will cut apart the elements such as Buildings, Bridges, details like people walking, street vendors, cars, planes, helicopters, birds and wildlife. And how you will piece them together into one overlapping collage in layers
Discuss foreground, middle ground and background aspects
Instructions:
1.) Collect together your previous drawings of your Busy Daytona Beach Icons, and Daytona Beach Bridges along with your Watercolor sky background paper.
2.) Leaving your watercolor background paper alone, DO NOT CUT YOUR WATERCOLOR BACKGROUND PAPER, cut images apart from your previous drawings of Daytona Beach Icons and Bridges. Write your name on the backs of all of your pieces.
3.) Piece together how you want your collage to look on your sky background. Use glue (little amounts) to stick down your pieces in place. (You can make them 3D too). Keep Foreground, middle ground and background in mind as you work.
Dr. Rajni Shankar-Brown
Dr. Rajni Shankar-Brown
Stetson University Stetson University
EEducation ducation
Undergraduate and Graduate Undergraduate and Graduate
Expanding Our Palettes with Care: Colorful Perspectives and Possibilities
Rajni Shankar-Brown, PhD, MBA, M-MA, MA
Participating in the Museum of Art–DeLand’s 2024–2025 Creative Connections Teacher Institute has been a delightful gift. Now in my tenth year as an educatorscholar and artist in residence as a part of this program, I remain deeply honored to be part of this evolving and powerful initiative (formerly known as the Art of Reflection and Response Teacher Institute). This program has consistently offered space for growth, creativity, and authentic community—with care and intention—and at a time when such spaces are more vital than ever.
I am profoundly grateful to Martha Underriner (MOA-DeLand Curator of Education) for her thoughtful leadership, dedication, and time—as well as the warm tea/coffee that carried us through our early Saturday morning sessions. I am also thankful to marvelous Ginny Beth Joiner (owner of The Create Space DeLand) and Bryce Hammond (artist and VCS Art Curriculum Specialist) for sharing their vibrant talents and inspiration. In addition, I continue to extend my deepest and heartfelt thanks to visionary Pam Coffman who originally founded this institute and to the family of Dr. Evans C. Johnson, whose faithfulness and generous support make this experience possible. Their belief in the power of art and education continues to make a lasting difference in lives, schools, and communities
This year one of the Creative Connection themes I appreciated was that of self-care, anchored by the first note in our session norms, “Take care of yourself,” as this helped set the tone for a restorative and transformative experience. As we gathered, I often heard the wisdom of Audre Lorde sing in my heart—“Caring for myself is not self-indulgence. It is self-preservation, and that is an act of political warfare” During our Saturday gatherings, we were encouraged to pause, reflect, create, rest, and (re)energize—not just as professional educators and artists, but as humans. As we wrestled with the complexities and heaviness of current times – growing humanitarian issues, threats against public education, significant funding cuts to the arts, environmental degradation and distressing dismantling of national parks -- the museum became both sanctuary and studio. Creative Connections was a place to reconnect with ourselves and one another through creation and reflective dialogue, and to acknowledge our wide array of emotions including fears and hopes, pains and joys. And as educators and artists, it was a gift to show up authentically and remember we are human. It was especially meaningful to view and learn from different artists thanks to having access to the galleries during our sessions, artists such as Adolf Dehn. His works offered rich visual narratives of his travels and life experiences, which were also captured in moments. His art reminded us of the power of visual storytelling—not only to preserve memory, but to spark new ways of thinking and seeing. This perspective naturally extended into our own work as
educators, reinforcing how we can use diverse artistic lenses to engage students in meaningful dialogue and critical thinking.
Each session brought new opportunities to explore, create, and connect. From ekphrastic poetry to doodled collages, from printmaking to meditative journaling, from collaborative discussions to individual reflections, we were continually invited to experiment and express. One of the quick activities I enjoyed was having two minutes to play with Legos and make a duck from imagination and then seeing the wide variety of ducks we created using similar Lego blocks. These were more than creative exercises—they were acts of renewal and reminders to nourish creativity in ourselves and our students. For me, the exchange of stories and ideas with K–12 educators (across disciplines!) offer meaningful gifts, and the conversations that emerged over the past year were as enriching as the artworks that surrounded us Being part of Creative Connections is more than professional development—it is a journey of rediscovery. It reminds us why we teach and helps us see our work and our students through new, more compassionate lenses. For me, it has been a space where my roles as educator, artist, scholar, and activist intersect, deepen, and expand. As I reflect on my Creative Connections experiences over the past year, I carry forward not just new insights and tools, but a renewed sense of purpose and commitment to caring for myself. I was and am reminded, as Parker Palmer wisely said, that “self-care is never a selfish act—it is simply good stewardship of the only gift I have, the gift I was put on earth to offer others.” The Institute has sparked ripples of creative connections that will continue to grow as I teach and engage with diverse communities. I am deeply thankful for the opportunity to learn, share, and be transformed—and already excited for our time together next year!
Namaste, Rajni
Stories That Shape Us: Imagination, Empathy, and Creative Expression
Creative Connections Lesson plan designed by Rajni Shankar-Brown, PhD, MBA, MMA, MA, Professor and JBD Chair of Social Justice Education (email: rshankar@stetson.edu)
This interdisciplinary, arts-integrated lesson plan invites students to engage in deep self-reflection and creative expression as a pathway to understanding identity, empathy, and cultural diversity. Through a combination of personal storytelling, visual art, literature, and collaborative dialogue, students explore their lived experiences while engaging with symbolic and narrative techniques to better understand others’ perspectives.
Grounded in Dr. Rudine Sims Bishop’s framework of Windows, Mirrors, and Sliding Doors, the lesson fosters meaningful connections to diverse artistic and cultural voices—including Joy Harjo, bell hooks, Mira Nair, Yayoi Kusama, Jeffrey Gibson, Zora Neale Hurston, Kenojuak Ashevak, Chuck Close, Andrea Gibson, Keith Harring, Faith Ringgold, Wendy Red Star, and Maya Angelou. Utilizing a variety of expressive mediums such as journaling, collage, and drawing, students investigate the transformative power of storytelling to build empathy, honor intersectionality, and cultivate a more inclusive worldview
The overarching goal of this lesson is to create an experience that culminates in a reflective sharing process supported by literature, artistic exploration, and group discussion—encouraging students to see themselves and to see others (as well as our collective existence) with greater compassion, empathy, connection, and awareness
Learning Goals:
1. Explore and reflect on personal lived experiences through creative expression.
2. Demonstrate perspective-taking through symbolic and narrative techniques.
3. Connect reflections to diverse cultural and artistic voices
4. Practice reflective sharing using Dr. Rudine Sims Bishop’s framework: Windows, Mirrors, and Sliding Doors.
5. Recognize the power of storytelling as a tool for empathy, transformation, and intersectional identity-building.
Materials
1. Journals or writing paper
2. Drawing materials such as markers, pastels, colored pencils, watercolor paints, etc.
3. Large sheets of paper or poster board.
4. Scissors and glue sticks
5. Assortment of magazines (for collage).
6. Printouts or display of the quotations by diverse creative voices.
7. Post-It or sticky notes.
8. Literature including picture books such as Last Stop on Market Street by Matt de la Peña (author) and Christian Robinson (illustrator); We Are Water Protectors by Carole Lindstrom (Author) and Michaela Goade (Illustrator); Dreamers by Yuri Morales; Tar Beach and Cassie’s Word Quilt by Faith Ringgold; Priya Dreams of Marigolds & Masala by Meenal Patel; Julian is a Mermaid by Jessica Love; We Are Grateful: Otsaliheliga by Tracu Sorell (Author) and Frane Lessac (Illustrator); and Wangari Maathai: The Woman Who Planted Millions of Trees by Franck Prevot (Author) and Aurélia Fronty (Illustrator).
9. Supplemental reading materials (for middle and high school students) – TED Talk “The danger of a single story” by Chimamanda Ngozi Adichie 10. Projector and/or whiteboard (for group reflection)
Part A - Imagination Activation & Inspiration (15 minutes)
1. Introduce diverse voices stories, quotations, and written excerpts (nonfiction and fiction). Book examples: Literature including picture books such as Last Stop on Market Street by Matt de la Peña (author) and Christian Robinson (illustrator); We Are Water Protectors by Carole Lindstrom (Author) and Michaela Goade (Illustrator); Dreamers by Yuri Morales; Tar Beach and Cassie’s Word Quilt by Faith Ringgold; Priya Dreams of Marigolds & Masala by Meenal Patel; Julian is a Mermaid by Jessica Love; We Are Grateful: Otsaliheliga by Tracu Sorell (Author) and Frane Lessac (Illustrator); and Wangari Maathai: The Woman Who Planted Millions of Trees by Franck Prevot (Author) and Aurélia Fronty (Illustrator).
2. Briefly discuss each quotation and ask:
“What do you think this story symbolizes or quotation means?”
“What is this writer/illustrator/artist/poet trying to tell us about storytelling, art, and imagination?”
3. Have students reflect/respond; share in small groups and then whole class: Which quotation speaks to your heart right now and why?
*For younger students: Read aloud the story and discuss moments of empathy or connections (model think aloud also and invite student voice in different formats).
Part B - Lived Experience Collage/Storyboard (30 minutes)
1. Invite students to close their eyes and take part in a brief guided imagination walk:
“Picture a moment from your life where something meaningful happened. A moment of change, of kindness, of fear, of joy ”
“How would it feel to step into this moment? What would you hear, taste, smell, feel, or see?”
2. Students choose TWO creative forms to express their story or written piece:
Visual Art: Symbolic drawing or collage
Poetic Narrative: Brief story or poem told from a first-person or imagined perspective
Dialogue Sketch: Script between two people with contrasting viewpoints
Performance/Gesture Mapping: Movement-based representation of emotion and memory
*For younger students, select ONE form to express the story or written piece
3. Use one or more prompts:
“This is a moment I want to remember because…”
“If someone stepped into this memory, what would they feel?”
“This story matters because ”
4. Encourage metaphor, color symbolism, abstraction, or surrealism.
Connect back to the quotes for inspiration (e.g., Kusama’s line as dance; Brecht’s art as action).
Part C - Reflection & Sharing (20 minutes)
Introduce the “Windows, Mirrors, Sliding Doors” framework:
Window: A new perspective you’ve never lived.
Mirror: Something that reflects your own experience.
Sliding Door: A moment you could step into with imagination or empathy
In pairs or small groups:
Share their piece and describe which quote inspired them.
Listeners offer 1–2 words on sticky notes in response to each person’s piece (e.g., “vulnerability,” “hope,” “voice”).
Create a collective word collage as a visual summary of the group’s empathy and insight
Part D - Checks for Understanding (20 minutes)
Reflection Prompts (written and oral using Think, Ink, Pair, Share):
What surprised you about what you created?
How did your perspective shift?
What was challenging about imagining someone else’s experience?
Creative Work is assessed based on:
Depth of personal or imaginative insight
Use of symbolism/metaphor or narrative craft
Connection to one of the quotations, i.e., diverse voices
Engagement in process, not artistic perfection
Peer Feedback shows comprehension of:
Story resonance and empathy
Artistic/cultural interpretation
Part E – Extended Learning Activities for More Creative Connections
For secondary (middle and high school students), if time permits watch the TED Talk - The Danger of a Single Story by Chimamanda Ngozi Adichie. If there is not enough time, share as extended learning or during the next class as a bridge
For elementary students, if time permits watch the Sesame Street: The Emotion with Murray.
Interview a classmate or friend, and create a visual expression of the story or meaningful moments in the story shared by your classmate or friend, and share how this story shaped them and/or their journey, and now influences you!
*See Appendix A for Examples of Quotations
A
Examples of Quotations for Secondary Students
Note: use quotations from children’s books for elementary level.
Joy Harjo
“The earth does not belong to us; we belong to the earth.”— Joy Harjo, in an interview discussing environmental stewardship and Indigenous perspectives
bell hooks
“The function of art is to do more than tell it like it is—it’s to imagine what is possible.”— bell hooks, from her writings on the transformative power of art.
Mira Nair
“No words action—was the lesson my mother taught me: as artists, we have the privilege of holding a mirror to the world, to engage, to question, to bring beauty to a complex universe.”— Mira Nair, reflecting on the role of artists in society
Faith Ringgold
“Anyone can fly. All you need is somewhere to go that you can't get to any other way The next thing you know, you're flying among the stars”
Yayoi Kusama
“Polka dots can't stay alone. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environments.”— Yayoi Kusama, expressing her philosophy through her art
Zora Neale Hurston
“There are years that ask questions and years that answer.”— Zora Neale Hurston, from her novel Their Eyes Were Watching God, reflecting on the passage of time and personal growth.
“If you are silent about your pain, they will kill you and say you enjoyed it ”
Kenojuak Ashevak
“I want to show the beauty of the world as I see it.”— Kenojuak Ashevak, expressing her artistic vision and connection to nature.
Chuck Close
“Every idea occurs while you are working. If you are sitting around waiting for inspiration, you could sit there forever.”— Chuck Close, emphasizing the importance of the creative process.
Andrea Gibson
“Art is the only way to run away without leaving home ” Andrea Gibson, highlighting the escapism and introspection found in art.
Keith Harring
“Art is nothing if you don’t reach people.” Keith Haring, underscoring the social purpose of art
Maya Angelou
“Great art belongs to all people, all the time indeed it is made for the people by the people.”
Maya Angelou, from her book Even the Stars Look Lonesome, celebrating the universality of art
“We delight in the beauty of the butterfly, but rarely admit the changes it has gone through to achieve that beauty.” Maya Angelou
Teaching: Creative Revolution in Motion
By Rising Lotus, aka. Dr. Rajni Shankar-Brown
Teach not the rote, but the roaring a mind on fire will not be stilled. Jubilant hearts ignite like stars; let them blaze, not merely glow
Let chalk strike like lightning, syllabi pulse with revolutionary rhythm. The state may try to cage the sky, but we teach. We sing. We refuse to be machines
Children are not test scores. They are symphonies rising with the sun, questions wrapped in skin and wonder, freedom learning to spell its name. We are not factory-molded soldiers
We are educators crafting resistance, not compliance. We teach toward gravity, bending the arc toward justice, toward a world where every child belongs.
Justice enters like a whisper passed hand to hand in hushed corridors— and sometimes like a shout, marching on feet blistered by silence. To love is to rise boldly, to hold out our palms like mirrors, to demand together: Invest in people In public schools
Let teachers teach. Let students live and learn.
Teaching is joy, creative revolution in motion. Learning is rebellion
Not a break, but a breaking— of rusted gears, of systems that wound. In our laughter, there is resistance. In play, the blueprint for futures unimagined. Even in ashes, we dance, claiming power through creative connection
Educators are not quiet, weak hands; we are beautiful thunder reshaping the world.
They fear our questions, our refusal to obey in silence. They tremble when we organize, when creativity becomes our shield. Each lesson a lantern, lifted high. Silence has a price. So we speak, and sow, planting multigenerational gardens of hope that outlast toxic policies
Together, we press back; against curricula scripted in boardrooms, against budgets that starve and betray souls. Sculpt our classrooms as sacred space, where breath meets thought, where minds awaken and spirits rise. We do not build walls here. We paint paths, expand tables, build bridges with our stories. Hands in clay, hearts on fire, we teach; Teach humanity into being, with endless love
"Teachers and Students are Human" created by Dr. Rajni Shankar-Brown.
8 x 11 mixed-media collage I created on recycled paper, weaving together torn images of my beaded artwork, photography, and pain=ng, layered with ink-pressed text. This piece serves as a hear@elt reminder to honor the diverse stories within educa=onal spaces and to infuse learning with empathy, humanity, and love.
Jenny Sejansky Jenny Sejansky
DeLand High School DeLand High School
TTheater heater
99th-12th th-12th
This course celebrates my fifth year in the Institute! I loved every minute of it Unfortunately, I was unable to attend the November meeting due to having been called away to our annual Thespian Assessments in Longwood. I also missed the March meeting due to a family emergency. I feel that I lost a lot of time, but neither incident could be avoided.
I learned so much from The Institute! I am including pictures of the two drawings I made! I can’t draw to save my life! I couldn’t draw a straight line with a ruler! But I was inspired to create two different images. One is actually framed and hanging on my wall at home. The other is in the front sleeve of my Institute Binder. I am so proud of those, as I am not a visual artist of any kind.
Another thing the institute inspired me to try was stage lighting. I can’t say that I am great at it by any means, but I was fortunate enough to have students around me who knew how to program and save the lighting design I came up with for Can You Dig It. I sat in the booth with them and told them what I wanted. What colors, how long to change from color to color, when they should blink, when they should either fade or abruptly black out. As a director and actress, I have never really tried my hand at lighting design or scene design.
It was revealing to see how color and the time you can take to go from cue to cue really affects the mood and the presentation of a scene on stage. Lighting is an essential element in production and performance. I used to think lighting was just there to enhance the story and scenery. I learned through this process that lighting is essential in telling the story. The actors responded to the lighting and really focused on their surroundings. This was helpful in getting stronger performances out of them. How did the institute help inspire this? Talking about trying new things to help us with what we do already. Looking at how artists use color in their artwork to bring about the story they are telling with their brushes. To see how color is used to trap emotion and bring about the feelings of the viewer on canvas. I realized it takes more than just staging to tell a story. I will go into more detail about this in the lesson plan description.
The second inspiration came in the form of scene design. Again, designing anything requires art skills I simply do not have. It also requires Math skills, which I also do not have! Again, I was surrounded by incredibly talented people who have BOTH skills and helped me design the set for Time Stands Still, my show at Shoestring Theatre. I told them what I wanted, and they secured the design and built it for me. I usually do set painting. By that, I mean spreading paint on the flats. That’s it. This time, I actually painted the entire set. I selected the colors (pale gray, black and powder blue). I painted the island counter, the kitchen cabinet, counters, doors and wall shelves. It took a lot of time and work to get it all done. At first, nobody cared for my
color combination. They said it was drab and bland. Then the cast took over and started grabbing all the kitchen supplies, the vases, books, etc. They also brought in furniture pieces that made the set look like the NYC apartment it is supposed to be. I threw in an area rug and added photos on the walls and before we knew it, we had a gorgeous set. Those who had complained about it
at the beginning stated how much they really liked how it turned out. This was a stretch for me, as I normally leave these things to the painters and artists. This time, I joined them and started trusting my creative eye! Again, thoughts from the Institute at play!
The two exhibits that stand out to me are the Wildlife Photographs by Thomas Mangelsen and the Adolph Kern exhibit before his. Those two exhibits had a profound effect on me. The clarity and the reality of those photos made me speechless. Upon walking into the gallery and being greeted by the close-up of a gorilla who seemed to be saying hello to me was awe-inspiring. Talk about art inspiring action!
I thoroughly enjoyed the Institute and look forward to returning next year!
Lesson Plan Description Used in Class: Can You Dig It!
The plan for this unit came out of necessity. The students wanted to do a musical, but we did not have a Music Director. Our Choir Director is extremely busy and was unable to work with us. It would be the second year without a musical and the students were disappointed about it.
I have several students who are members of the Choir and are planning to study IB Music. We had already created two original reviews in the past that were successful, why not create another one?
I presented the idea to the kids. At first, they were not too happy about having to do the writing and planning themselves. But I was able to show them what an opportunity it was for them to select ten or twelve songs they love from their favorite musicals and then create a storyline to connect each song. This was a whole class activity. Once they started brainstorming, the fun began. We went through several story ideas, but none of them really stuck. They had a love story they decided felt too much like a Hallmark Movie. They had a silly story about a ghost but that didn’t pan out. To my surprise, one student suggested we use some of the Theatrical genres they’d learned about in Theatre I and II. They started playing with the idea of a Greek Tragic Hero, but with an Absurd Theatre twist. They started combining some of the concepts of Commedia dell 'Arte with Musical Theatre tricks. After about a week of planning, the idea for a story that takes place within a TV Variety Show aka SNL, was born. They had an evil, maniacal Host who controls the cast with drugged coffee. Nobody is aware of what is happening to them until an audience member is selected to join them on stage during one of the live shows. This character turns out to be Emmett, our hero. Emmet falls in love with the show’s star performer, Val. It doesn’t take long for Emmet to realize something is not right, as he’s the only one who doesn’t drink the coffee. The story reveals how the Host tries to stop Emmet and Val from having a relationship and that’s when things get figured out. They really came up with a great, strange story with a wild twist at the end that worked around the songs they selected.
As for the music direction, a student took on the challenge. The choreography was also done by a student. The lights I discussed earlier were designed by me with the help of students who knew the technology, including running sound and mics. Before we knew it, we had a show
They did it all with a little help and guidance from me. I staged them and put everything together; they did the rest! It turned out to be more than any of us ever imagined.
The influence the Institute had on me and this production has already been discussed in my reflection. But I made a connection between one of the IB Theatre components and this class. We work with an acronym known as TEAM: Tension, Emotion, Atmosphere and Meaning. When acting or directing a play or scenes within a play text, we look for these elements and work to incorporate each component into whatever we are working on. While walking around the gallery looking at images of either paintings or photographs, one thing popped into my head. TEAM does not only work for the stage, but it also works in Visual Art, as well. So much of the Artwork we looked at in both the downtown and the original Museum Galleries had every element we use to create stage pictures and to tell stories. The tension in many of the pieces we looked at was so obvious. The painting created in black, white and gray depicting the helmets and faces of Soldiers during WWII stands out to me now. The artist captured the looks of so many of the fallen soldiers. They were looking right back at us, and it captured the strong anti-war sentiment of the whole piece. Once tension is created, emotion follows. It was hard for me to look away, as those eyes in the painting had already touched my soul. The atmosphere created by brush strokes suggested a cold, unwelcoming vibration that clearly stated, “We’re watching you looking at us.” This was uncomfortable but understandable. Finally, the MEANING of the painting was quite loud: War is not worth the lives it takes for purposes that have nothing to do with the humans who are trapped fighting it. We must honor our soldiers and the sacrifices they made to us and to each other on the battlefield.
I made sure the students were using every element of TEAM while focusing on the writing of their play. They did as much as they could with it. I didn’t tell them how I used them to create TEAM in their show, as I didn’t want them getting too heady about performing. But I used what they gave me to work with and staged and lit the story combining each part of the concept. Visual stage pictures work much the same way as art on a canvas or on film. The more I learn about Art, the more I try to use it in my direction and teaching. As stated before, I look forward to another year of growth!
Thank you!
MARCH 5, 6, 7 @ 7PM
AN ORIGINAL MUSICAL REVUE WRITTEN BY KATE BUDZINSKI, SOPHIA TEPPER, AND BRADYN DARROW
$5 FOR STUDENTS
$10 FOR ADULTS
Image from Can You Dig It?
Nicole Steele Nicole Steele
Starke Elementary Starke Elementary
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KK-5th -5th
My participation in the Creative Connections Teacher Institute has helped me to grow not only professionally, but also personally. When you transition from a grade level classroom teacher to a special area teacher, you don’t realize the isolation that comes along with it. You can’t peek next door and see how the lesson went, or discuss techniques during planning, you are on your own island hoping you’re doing everything right for your students.
The Teacher Institute allowed me to meet with like-minded educators that were in the same or similar field as myself. We were able to bounce ideas off each other, discuss ways to improve, strengthen our own skills, and learn a lot about ourselves as educators.
After the first meeting, I knew right away that there was no judgement, and we were all there to better ourselves. I no longer had those doubts if I was a good enough art teacher. I learned that art is such a broad topic, and everyone has their own area of art they are good at.
As for my professional growth, I have tried to instill in my students that art is so broad and to explore all aspects until you find what you are good at. Art isn’t all about how well you can draw or if you are the best painter. Art is about creating something that inspires you and impacts yourself and others. So, as I continue my art career, I would like to expose my students to as many different forms of art and see what impacts them. What imprint can they leave on others? What imprint can I leave on my students?
April 2025
Transfer image (positive imprint)
Grades: 2nd
Lesson/Objective: Students will learn how to transfer an image on paper with crayon, oil pastel, or pencil.
1. Prepare the image: You can use a print, a drawing, or even a photocopy of the image you want to transfer.
2. "Carbon" the image:
Take an oil pastel (soft graphite pencil or crayon) and rub it vigorously on the back of the image, ensuring the entire area where the image is on the front side is covered with graphite
3. Position the image:
Place the graphite-coated image onto the paper where you want to transfer the image and secure it with tape if necessary.
4. Trace the image:
Use a pencil or pen to trace over the original image on the front side, applying enough pressure to transfer the graphite onto the paper below
5. Remove the image:
Carefully lift the image and you should see a faint outline of the image on the paper.
6. Now choose how to finish your artwork with your image: 2nd grade: watercolor their submarines, cut them out, and glue onto their Kwik Stix painted water background.
Reflection: This lesson was modified from the imprint lesson with Adolf Dehn on trace monotype a form of printmaking.
Jayda-Ann Bailey
Tiffany Warren Tiffany Warren
Champion Elementary Champion Elementary
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PPK-5th K-5th
This year with the Creative Connections Teacher Institute, we have explored a lot of concepts, artists, and ways to use art to better understand the perspectives and thoughts of others as they create. We met the first Saturday of each month for several months, and had hours of very enriching and engaging discussion, activities to inspire the creative mind we all have, and professional learning. We paired making art, with written art, and viewing art. It was a very special time, I believe for all. I really enjoyed the Creative Teacher Institute, because it allows a space for individuals in education to see through multiple lenses- elementary, middle, high school, and collegiate levels, and even social work. I really enjoyed every class, and left with great take aways from the presentations, each time.
The most impactful for me, and relating it to what I am doing in the classroom this year, was viewing the work of Thomas D. Mangelson. We had the opportunity to look at his photography, have rich discussion, and then at the end of the day we were able to meet him. It was amazing for me, because this was the first time I had attended an event where you could meet the artist and get to know who the maker was behind the amazing work we viewed. Hearing Mr. Mangelson speak about his work as a photographer travelling around the world, really brought a lot to mind. It made me reflect on what we have been learning about primarily this year in my art classroom.
Personally, it led to really thinking about all that goes into a work of art, and then the courage to share that work with others. It made me further appreciate my students and the courage they have for putting their work out there for others to see. Viewing the work and having the class, opened up the opportunity for sharing of ideas with colleagues and peers, and reflecting on the multiple perspectives that can be viewed within each piece. Mangelson, his work, and our discussions heavily inspired my lesson largely.
This year at my school, our theme in art has been Florida, with a focus on the flora and fauna of our state. We have spent a lot of time learning about the different species, concerns (pollution), and what we can do with art to support their protection and to discuss the concerns we have. With this we have done tons of art projects reflecting what we have learned. The lesson below is one that I have completed in ways with all grade levels. We have created clay sculptures of animals and/or living things in Florida, that we want to bring awareness to. For 4th grade specifically, they were given free choice in deciding the subject they wanted to focus on-as long as it was a Florida animal of some type. They had to be able to create the animal, add texture, and then follow up with the next class with painting it. They ended the project writing artist statements to reflect on their work. Their work all has varied so much, and I love that because it allows that student autonomy in what they are creating, so no one is the same as the next. In our reflections together each class also seemed pleased with their projects, and learned something from the experience.
Lesson Plan: Creating Florida Animals with Model Magic
Grade Level: 4th GradeLesson Duration: 2 class periodsObjective: Students will learn about Florida’s native wildlife and create a 3D model of a Florida animal using Model Magic. They will develop sculpting techniques and an appreciation for local biodiversity.
Begin with a short discussion about Florida’s diverse wildlife. Show images of animals that are native to Florida, such as the Florida panther, alligator, manatee, and sea turtle.
Ask students if they have seen any of these animals before and discuss their habitats and characteristics.
Explain that they will be using Model Magic to sculpt a Florida animal of their personal choice.
2. Demonstration (10 minutes)
Show students basic sculpting techniques: rolling, pinching, flattening, and adding texture.
Model how to form a basic animal shape using simple forms (e.g., spheres and cylinders).
Show how to add details like eyes, scales, or fur using toothpicks or sculpting tools.
Demonstrate how to combine colors to create different shades.
3. Student Work Time (30 minutes)
Students will choose a Florida animal to sculpt. They will begin by shaping the body, then add details like legs, fins, tails, or textures.
Walk around the room to assist students and provide encouragement. Encourage them to blend colors and add small details for a more realistic look.
4. Sharing & Clean-Up (10 minutes)
Students will display their creations and briefly share what they learned about their chosen animal.
Discuss the importance of protecting Florida’s wildlife and habitats. Clean up workstations and store sculptures in a safe place to dry.
Assessment:
Participation in discussion and sculpting process.
Creativity and effort in sculpting and detailing the animal.
Ability to describe key characteristics of their chosen animal. Students will complete an artist statement to reflect their process in creating.
Extensions:
Have students write a short paragraph about their animal’s habitat and diet
Display the sculptures in a class gallery or showcase for parents.
Connect to science lessons about ecosystems and conservation.
Accommodations and Modifications:
For Visually Impaired Students:
Provide tactile reference materials such as raised-line drawings or textured animal models
Allow students to explore real or 3D-printed models of Florida animals for better understanding.
Use verbal descriptions and guided hand-over-hand instruction to support sculpting.
For Students with Limited Mobility:
Provide adaptive sculpting tools with larger handles or different grips for ease of use.
Allow students to use alternative methods such as pressing clay into molds or working with a partner.
Offer extra time and support for sculpting and painting tasks.
Florida Standards for Visual Arts:
VA.4.O.1.1: Use the elements of art and principles of design to create works of art
VA.4.S.1.2: Explore and use media, technology, and processes safely to create art.
VA.4.S.2.1: Organize the structural elements of art to achieve artistic goals.
VA.4.C.1.2: Describe observations and reflections about artwork.
VA.4.H.1.1: Describe historical and cultural influences that have inspired artists to produce works of art
VA.4.F.3.1: Create artwork that communicates an awareness of self, family, or community.
