Theme: Bringing Art
to Life in Schoolyards
Teaching Art in a Garden
Oasis
An
Interview with Lynn Titleman Rizzotto
The
angle of a petal
. . . the shape chewed into a leaf by an insect . . . a mosaic
of sunflowers drenched in gold, red, and burgundy hues. These
are the types of natural features that veteran artist and teacher
Lynn Rizzotto uses to inspire students to closely observe their
world, learn the elements of art, and find their unique
creative voices.
Lynn's enticing home garden in eastern Massachusetts is the
centerpiece of her Children's Creativity Workshops – after-school,
weekend, and summer art classes for youngsters ages 5 to 14.
Committed to nurturing a lifelong interest in art, Lynn gives
her budding artists guidance and tools to make their own creative
decisions and to relish the process at least as much as the
product. As her garden grows, so do her students' abilities
to observe details, think flexibly, and solve problems. And
with that, confidence and self-esteem readily flourish.
Impressed with Lynn's passion for children, art, and gardens,
and her penchant for engaging youngsters' hearts, hands, and
minds in the creative process, we conducted the following interview.
We hope her teaching strategies and advice inspire you as they
did our Kidsgardening staff. Read on.
KG: Why do you find a garden oasis to be a good context
for teaching art?
Lynn: A garden is a relaxing and calming environment
for children.
Besides supplying the basic elements of art, it is a place where
they can slow down, reflect, and get in touch with themselves.
As they hear bees and birds or feel the sun, their bodies relax
in ways that make them more receptive. They can really concentrate
around nature. That's important, because before kids (or adults)
can draw — they have to learn to see — to take things
apart with their minds.
On Teaching Kids to "See"
KG: Tell me more about your concept of teaching kids
to see. How do you approach that in the garden?
Lynn: When I've studied art, I've always been reminded,
"Don't draw what you know, draw what you see!" It's too easy
for students to work from memory or what they think something
looks like. But once they've really looked closely —
and have some basic art knowledge — there's more substance
to their work.
Sometimes
we walk around without sketch books or paints and just talk
about what we see. Things are constantly in flux in a garden.
It's exciting to teach in that environment because what we experience
can change in a moment. The basic elements may be the same,
but the way we see them changes. The way the wind blows . .
. a toad's visit . . . I use all of these things. Some days
we might just look at the shape or pattern an insect chewed
in a leaf. They make connections to the rhythms of nature and
its unpredictability. Over time, there are bigger transformations.
So as we journey, we always talk about changes. Students get
excited by new discoveries. When the easels and paints come
out, they can't wait to capture what they've found.
KG: Do you use specific strategies or exercises to get
students to look at things from different perspectives?
Lynn: Yes. In fact, I designed parts of the garden with
this type of exercise in mind. Here's one example: I created
a section of spring flowers with lupines in the center and a
semi-circle of chives around the outside. Each child, little
magnifying glass in hand, gets down on hands and knees to focus
on just one little chive bud. We then look at nearby buds in
different stages of opening. When we back up a bit more, we
can see the lupines and, in the distance, a field of yellow
buttercups — a wave of different colors, heights, and textures.
In another area, I intersperse blue cornflowers (bachelor's
buttons) with masses of red poppies, which I use to teach a
lesson on cool and warm colors.
Teaching Basic Elements of
Art 
KG: How do you use garden components to help your students
grasp core art concepts, such as line, form, and color?
Lynn: Before pencils or paints touch paper, we build
a common vocabulary through observations and exercises. We start
with line and shape. I might set up a kind of treasure hunt
by having the children stand in different spots in the garden
and find particular shapes — hearts or triangles. Next,
I ask them to describe the differences between items they've
found. For instance, the triangles might have scalloped or smooth
edges or lines that are straight, curved, or wiggly. I have
them look for and describe vein patterns. Once they've looked
closely, students interpret what they've seen by doing sketches.
Each week I build on what they've explored and introduce new
elements. I might have the children find and describe all different
kinds of greens in the garden. They discover that some are pale,
some have blue in them, and others seem to contain purple. Then
we ask, "How many different kinds of greens can we paint?" Some
days we look at textures and the directions of texture. Other
times we notice how the weather changes things. If it's been
windy or rainy, we notice how flowers respond. Do they all droop
the same way? What shapes do raindrops make on leaves?
I find that the more we explore and inquire about basic elements,
the stronger the art is that results. For instance, a student
who has noticed and examined the bristly leaf of a coneflower
is more likely to think about how to represent that texture
in a clay project.
KG:
What about well-known artists? Do you ever use the garden as
a context for learning about different artists or styles?
Lynn: I have a class for older students called The Artist
in the Garden. I show examples of garden-inspired art, such
as Georgia O'Keefe's poppies or Van Gogh's sunflowers, and have
the kids create something using a particular artist's style.
For instance, after we explore Monet's works and his style of
applying paint in dabs (pointillism), students might try capturing
a field of purple violets using that technique. Looking at accomplished
artists also helps students realize that creating art is a continuum
that never has to stop. They learn that our life experiences
will give us even more to bring to our art.
Life Lessons in the Art Garden
KG: How does your style of teaching support children's
personal growth?
Lynn: It's important to me that students begin 
to
develop their own points of view — to let their voices
be heard — and realize that there is not just one way to
solve a problem or reach an answer. So I encourage children
to arrange elements in different ways to create different versions.
We then value and consider everyone's work. Within this supportive
setting, they begin to feel freer to share how they feel. They
realize that there are no wrong answers when dealing with art
— that things are not black and white. These are also important
life lessons.
My students also develop the confidence to try different things
because I reinforce that what they're doing is worth doing.
When someone asks, "Is this good?" I never answer, because that
is too limiting. I encourage them to talk about what they did
and didn't like, which is sometimes a more valuable lesson than
if they "got it" the first time around. They become more process
than product oriented. I reinforce that there's no such thing
as a mistake when dealing with creativity. They learn to be
kind to themselves and patient as they explore and experiment.
This surely overlaps other things in their lives.
KG: Are there other important life skills or lessons
that seem to flourish in your garden?
Lynn: My students are always asking "Why?" and "How?"
I encourage them to ask these questions and I model that curiosity
myself. Over time, they develop into confident learners who
are not afraid to routinely inquire and to rework and mold an
idea. As they get close to the garden and see how much I enjoy
it and like working in it, they also begin to value what's important
about being on the Earth and taking care of it — making
a little place more beautiful. It's big — developing an
ethic of taking care of where they'll be.
We also consider the concept of change and cycles in relation
to both plants and people. One day we talked about the sunflowers
bending over at end of day, noticing that they didn't look as
fresh and vibrant at that point or at the end of their cycles.
This prompted a discussion of how to find beauty in all the
stages. I shared some of Van Gogh's sunflower art that depicts
flowers that have gone to seed and we talked about their resemblance
to elders who are sometimes bent over. We considered the value
and beauty of those flowers that give back to birds and to us
over their lives, and we compared them to the wisdom we get
from older people.
Planting
with Art Lessons in Mind
KG: When you design areas of your garden in preparation
for art classes, what kinds of plants and elements do you incorporate?
Lynn: Because I have children who have been with me
for some time and others who haven't been here before, I make
sure to mix perennials and annuals so there's always something
new. A lot of kids have never seen root veggies pulled up, so
I make sure to have some radishes or other root crops. We dust
one off and talk about the root type and shape, noticing how
it joins with the leaf. I also plant a lot of herbs, such as
basil and mint, so children can experience the sensation of
touching, smelling, and tasting.
I also always look for different heights and color combinations.
For instance, to teach contrast I make sure to have something
light against something dark, a reddish leaf next to green leaves,
or different types of greens close together. As I mentioned
before, I try to plant something that is good to look at close
up and something higher behind that so students can step back
and take in more.
KG: Can you share an example of a specific plant that
you find engages your young artists?
Lynn: Morning glories offer many lessons and are easy
to grow. Because they are fully opened by 9:00 each morning
and nearly closed by 11:00, a child can observe this mini-miracle
during a class. We also watch over time as the vines start to
climb up a pole, hook on, and delicately spiral around. (The
twining tendrils on sweet peas are also wonderful to observe.)
I have students use pencils to draw closeups of the vine in
their sketch books, looking from different angles and showing
how it hooks on to the pole, what a flower looks like before
it opens, and the shape inside the open flower. (I don't tell
students there's a star inside. If they draw it, I know they've
really looked!) Another week, we might do paintings of the whole
trellis. Students' observational skills get fine-tuned through
these exercises. They really look for changes in growth.
Featured Project: Pressed
Leaf and Flower Collages
NGA: Do you have a garden-inspired project to share
that uses media other than pencils and paints?
Lynn:
One thing fun to do is pressed leaf and flower collages. I gather
and press a variety of leaves and flowers year-round, including
those with unusual features, such as leaves that have been skeletonized
by insects. I try to gather things that hold their color well,
such as buttercups; lilies of the valley; and leaves of violets,
oxalis (wood sorrel), and nasturtium. The class then builds
pictures with the leaves and flowers, taking something they
know and using them in new and creative ways. For instance,
a clover leaf might become a hat for an elf or a bride might
wear queen Anne's lace for a veil. Crazy critters with leafy
torsos emerge as students plan, tackle problems, and use elements
out of context to make unique compositions. It's very empowering.
(Look What I Did With a Leaf, by Morteza E. Sohi, provides
some great examples.) 
I also like doing basic leaf prints because they allow students
to see the magnificent designs nature makes. You want to find
leaves that have strong vein patterns and aren't hairy, such
as violets or rose of Sharon. I have students spread tempera
(poster) paints on the side of the leaf with prominent veins,
and than put a piece of newsprint on top. I find that low-quality
paper, such as newsprint or copy paper, are the most interesting.
As they press down, the students can feel the vein patterns
through the paper. By the time they get to the third print,
there is less paint on the leaf, so it better reveals nature's
design.
Cultivating Success
KG: Do you have any parting advice for classroom teachers
who are not art specialists but want to integrate more art education
in the garden and schoolyard?
Lynn: Set it up so every child can have success. If
you have a child who's hesitant to make a mark on paper, set
it up so he or she can trace something instead. Or allow them
to touch and describe something. Remember, there's not one way
to do a piece of work. When children have a chance to make personal,
creative statements about how they feel, it nourishes and validates
their place in the world. They build self-esteem and begin to
find their own voices.
To learn more about Lynn's work and teaching philosophy,
enter her delightful Web site — childrenscreativity.com
— and click on Children's Creativity Workshops.You'll also
find beautiful photos of student work in the site's Young Artists'
Galley.
Photography by Rick Rizzotto, Lynn's husband and fellow artist.
(All photos are copyright protected.)
Author: Eve Pranis
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© 2007
National Gardening Association