Ah, Autumn! The days start to cool, the nights get a little longer, and around here the ink gets flowing. I have traditionally taken on Inktober every year; that’s annual October challenge to illustrate and ink one drawing everyday, responding to prompts. I admit, I’ve had a mixed experience with Inktober over the years; some years have been more successful than others, some years I feel inspired and invigorated, other years are a little bit more of let’s say a struggle. The practice is always incredibly valuable in helping me build skill and maintain habits.
This year, I’m branching away from the office Inktober TM prompts and taking on #spellstober22, a list made by Australian artist, Spells (or, Liz, according to their Tumblr). I saw a friend of mine post this list on her Instagram page, and these prompts really got me excited, so I decided (against my better judgement of what my daily schedule can actually handle) to take on Inktober Spellstober this year!
I’m really loving my illustrations so far. The list is so well crafted, that I’m starting to see a story emerge from just the images. Characters with lives and a world they inhabit with dramas and intrigue.
I’ll post my images up on Instagram first, and then eventually update them here on the homepage all through October, and then they’ll live on this post for the rest of ever.
Multiple times a year I get ambitious and want to take on an art challenge like MerMay or Inktober, or #The100DayProject. And just as often I struggle and fail to complete the challenege. With a bit of a shoulder shrug, I accept this about me: I tend to take on too much and can’t complete all the things I want to do. Hard pill to swallow, and also a chance to practice some self-love/ self-acceptance.
Buuuuttttttt, I do REALLY want to do these challenges. I see the value in them: establishing a practice, being consistent and developing skill. These are important to me and aligned with my value of being a constant learner and artist. I think, maybe I can have it all, but on terms that make sense for my life…
And so, I present my own version of #The100DayProject (which typically is working on a project daily for 100 days):
The Daily-ish Comic Habit, 2022!
I will create one comic panel + one short diary entry for each day for 100 days (although those days might not be consecutive).
This project is in pursuit of 3 goals:
To establish a typical habit of drawing everyday-ish
SMART-ish Goal: more days drawing than not drawing, 4 out of every 7 days… ish
To develop a consistent style of line and inkwork for comics and illustrations
SMART Goal: each drawing will be penciled and then inked using only felt tip pens and markers in black and gray, focusing the work on line rather than color
To re-establish a journaling habit and focus on the experience of living and not just being busy…
SMART Goal: each entry will be about events of my day and reflections about that day and WILL NOT INCLUDE the words WORK or BUSY
My Daily-ish Comic Habit will be posted on Instagram whenever I remember to do that, and I’ll keep this post updated with each entry, as well as thoughts about establishing and keeping a habit and what I notice about my practice and goals. If I can stretch it out long enough, maybe this habit will help me practice other drawing challenges through the year!
Feel like establishing your own daily-ish habit? Tell me about it in the comments!
In Summer 2021, I got to work with some creative minds at The Arts Center in Corvallis, OR, in a Monsters Maker 4-day camp for kids.
In this camp, students created their own creatures using illustration, image references, sculpting and making considerations for where and how the creatures might live and what physical adaptations the creatures would need to survive. This camp ignited so much creativity and inventiveness among the students and encouraged sharing ideas, inspiring each other and joining their imaginations. While our focus was mainly on using the sculpting tools and being creative with our stories about our creatures, this camp can be adapted to meet more rigorous science and biology standards for early education.
In this post, I’ll share my camp outline and some of the resources and discussion we used in this camp. This outline can be adapted to different ages, contexts and physical abilities.
Set up & Goals
Schedule: 4 days, 1.5 hours per day (6 hours total) In-person
Ages: 6 – 13 years old (1st – 6th grade) Note: since this was designed as a summer camp, I kept the ages pretty broad to accomodate families. As a school program, I would offer this for narrower age ranges (1st & 2nd grade, 3rd & 4th, etc.) and make changes to my discussion points and objectives for different age groups. Keeping the ages broad meant that my focus was more on the skills of art-making rather than being specific to science learning, although there’s lots of room for adaptation and change with this outline!
Camp overview/ learning objectives: Students will:
Discuss habitats and physical adaptations of animals to exist in those habitats
Share their ideas with and respond to the ideas of their peers
Practice drawing skills with shapes and details
Work with polymer clay and special tools to create unique objects
Write about their creations as characters, developing a world for their character to occupy
Share their work and respond to the work of others
Materials & Equipment:
Drawing and coloring materials
Waterproof pens – (Micron 12)
Polymer clay (oven bake)
Polymer clay glaze
Aluminum foil (full roll)
Adult only use: Toaster oven, safely plugged in and placed in well-ventilated area
Optional: findings for jewelry, key chains to turn figures into toys
Adult only use: Epoxy glue for broken pieces
Environmental Set up:
Tables and chairs for each student to sit or stand comfortably & safely while working and interacting with others
Access to bathroom/ hand washing stations
Materials and tools for each student (clay, clay tools, paper, drawing tools)
Table for educator to demonstrate, visible by all students, or the ability to walk around, if needed
Extra supplies nearby
Toaster oven easily monitored by adults, in a well-ventilated area, safely plugged in
Space for cooling sculptures after they are removed from the oven
Introductions & Agreements
In all of my classes/ residencies/ camps, I’ll start off with student introductions and an overview of the class. For youth classes, I’ll also work on agreements for the class, which I’ll write up and have available to look at and review for each of the class sessions.
Student Introductions: Say your name, pronouns, and choose one place to live: the boreal forest, the rainforest, the ocean, a city, the desert, the savanna, the tundra, or somewhere else (tell us)
Bonus (to engage student experience and ability): What is something you could teach the rest of us?
Class Agreements: (These agreements help set the tone for the class, and are a useful place to return to when things start to feel “off track” in a way that might leave some students behind.)
Try – some things we do might be new/uncomfortable/ difficult or even seem boring, and our job is to try our best as much as we can!
Non-judgemental language – When we look at each other’s artwork and share our own, let’s avoid words like “Good” “Bad” or “Like” and let’s think about what we can ask the artist about their work, what their work reminds us of, and if it’s our art, what we might want to change or try that’s different.
Share – Be willing to share your work so we can learn from each other and get new ideas!
Experiment – Try something different when you can, be curious about the materials, tools, and find different ways to use them or create something new!
Observations & Discussion
In this first day of the class, we looked at examples of ecosystems in our opening, starting off the conversation with an idea that we’ll be creating creatures that would exist in an environment they were adapted for (even if the creature and the environment were both imaginary). We look at examples of boreal forest, rainforest, ocean, cities, deserts, savanna and tundras and ask observational questions:
What do you notice about this environment?
What do you think a creature would need to live in this environment?
What else are you curious about this environment?
We also looked at examples of real-life animals and imaginary creatures. I brought a set of reference images for the class to look over and started our discussion again, this time encouraging students to use their sketchbooks to sketch out physical elements (ears, tails, horns, wings, etc.) from the animals that they were interested in or curious to explore more. Students were invited to pick an animal from the pictures on their desks (the students had different collections of images) and talk about their creature:
What is something you notice about this creature?
Where do you think this creature could live, and what physical elements do you think help it to be adapted to its environment?
I try to dive in immediately with art-making, since that’s really the hook of the class: students want to MAKE!
When students are working on drawing, it’s my goal as an arts educator to preserve the organic impulse to create immediately. I encourage students to look again at the references I’ve provided them, along with any of the sketches or doodles they’ve made so far. After 10 – 15 minutes of leaving space for students to explore, I’ll begin to make suggestions for approaching drawing practice, while also still preserving room for students to follow their own paths.
Start with basic shapes: using a reference as an example, I demonstrate how to find the most basic shape that’s similar to the biggest parts of the reference. For example, I’ll show an image of a bunny and how the body of the bunny is round like a circle, and start by drawing that, making adjustments with my pencil and eraser as I go. As I go over the different parts of the bunny, I’ll find more shapes and add those on top to make a bunny shape.
Next, I’ll start adding details like eyes and noses, and remind students that this is where we can get creative with different features and think about where our bunny-creature might live (add wings for an aerial bunny? a flexible tail for a tree-dwelling bunny? big scooping claws for an underground bunny?). This is a fun moment to invite students up to the demonstration drawing to add their own elements and talk about how this changes where the creature might live or what it might be able to do.
Students use their sketchbooks throughout the camp, referring back to doodles as they create with clay.
Polymer Clay Practice
On the first day, I try to also get clay into kids’ hands as soon as possible so they can start to experience this medium and imagine ways to use it right away. I’ll encourage them to explore the medium first, share any observations or questions about it with each other and also share some guidelines. These guidelines will be repeated throughout the entire camp, so I try not to take up too much space at first by trying to say everything all at once.
The clay starts out hard when it comes from the package
Artists can warm it up and soften the clay with their hands by kneading it and smooshing it or using the roller (clay tool) to smooth it out. This is conditioning the clay
When we make something we want to keep, we’ll bake the clay in the oven. The clay will harden in the oven and stay that shape forever! But until we bake the clay, we can still change things about the creatures and objects we make.
Recommendations, Tool use
Use a small amount at a time
Figures can’t be too big or they won’t bake well – try to keep them to about palm-size
Don’t see the color you want? Try mixing colors together!
Like drawing, shape simple forms (balls, pyramids, cubes)
Use tools to attach with scoring
Use tools to smooth out finger prints
If clay feels sticky, allow it to cool on your foil
Things to consider with polymer clay: too thick, the clay might not cure evenly, too thin, the clay might be brittle and break easily when handling it
Details can be carved into the clay and then painted after being baked
Marbling colors is also a cool way to get effects
Wash hands before and after clay use
Polymer clay is not appropriate for food use
One of the first projects I’ll demonstrate to the students is to make figures using balls and snakes: by creating large or small clay balls and pressing them together (this is a way to make the body shape of some creatures), or creating a long thing clay snake that can be coiled or twisted for cool effects (like making tails or horns).
I also demonstrate tool use to create details and to join pieces of clay together by first scoring the clay in the spots where they will be joined. This will prevent the pieces from falling apart after baking.
Sometimes that falling apart happens, anyway, and so having a small tube of epoxy glue to mend broken pieces was very useful.
For baking times, I follow the directions for the materials I use, making sure to bake in my toaster oven that’s specifically for polymer clay pieces (I got mine cheap off of a community board), and kept in a well-ventilated area. I also make sure to keep the students aware of the bake and cool down times so that they know they can look at their pieces but they won’t be able to touch them until they’re fully cooled.
Some students wanted to make necklaces and keychains with their clay pieces, so I helped them prep their pieces before baking by adding holes for jump rings that we could attach after baking.
While students create and have their pieces baked, I encourage them to write and draw their creature’s environment:
Where does it live
What does it eat
What does it usually surround itself with (treasure, tools, other creatures…)
Students can illustrate their scenes on cards that we fold to create backdrops for their creatures. I also encourage students to create character cards about their creatures, which includes information about the creature:
What’s its special abilities?
What is it afraid of?
What makes this creature unique?
As a special element of the class, I also created stickers for the students using their drawings and my die-cut machine at home.
Outcomes, Further Exploration & Adaptations
As the week went on, the students became more familiar with the tools and materials and created some amazing pieces. The depth of detail and imagination that went into their creations was truly impressive. This camp could have been adapted into a deeper exploration into ecosystems in which the students’ creations lived and worked alongside each other.
Accessibility adaptations to consider:
The motor skills of the student: for some students a softer clay like paper clay may be more accessible. Paperclay is definitely different from polymer clay, and it can be wetted with water to make it softer, as well as baked in the oven. The use of cookie cutters or molds to help shape clay is a great way to also increase accessibility, where students can use those to get started and then add details on top.
The smell and tactile feel of the clay should be considered and may be offensive to sensitive students.
This was such a fun camp in the summer, and it’s an outline I’m continuing to develop for my other residencies and classes for kids. If you’re an educator or artist and plan to use some of these ideas, tell me about it! I’d love to hear about any changes you make or challenges you come up with in your experience!
This camp was made by The Atelierista and shared openly to make arts education accessible to everyone! Educators, artists and students are encouraged to use this description to explore and learn more about creativity and art-making. If you like this and want to support The Atelierista (and get updates and exclusive content access), check out the Patreon page and consider becoming a member!