Haida Inspired Wall Plaques

Elements of Art

Forms: 3-dimensional shapes.
Line: mark with greater length that width.
Shape: closed line, geometric or organic.

Principles of Design

Pattern: uniform repetition of the elements: in this lesson shape & color.
Symmetry: both sides of a composition are the same, as in a mirror-image.
Unity: all elements fit together. 

Additional Vocabulary

Stylistic Conventions: the ‘rules’ dictated by the style, on use of color, shape and form.
Formlines: the special shapes repeated in this style: ovoids, U-forms & S forms.
Totems: symbolize characters in mythology or convey the experiences of ancestors.

Materials & Supplies 

Context (History and/or Artists)

The NW coastal tribes, Tlingit & Haida, use animal emblems as crests to identify different families’ characteristics. They paint or carve the image out of cedar to label blankets, boats, houses, & poles that marked their address. Strict rules (stylistic conventions) dictate how each animal is drawn, using ovoid shapes, u-form & s-form lines. The color black is the most important, used on main lines, red is secondary in importance. White or natural wood is used as a background color. Animals represent families.

The Beaver: artistic ability, builder, resourcefulness, determination.
The Bear: strength, solitude, motherhood, teaching, friendliness.
The Raven: creation and knowledge, bringer of the light.

Advanced Preparation

Using a wire cutter tool, cut cubes of clay the size of a navel orange, enough for each student. Wrap in plastic until time to use. 
Put clay tools (cutters, mats, rolling pins and straws) in the middle of each table group, or at a couple of central locations. 

At each seat or using an overhead projector, display photos of NW Coast animal faces of the beaver, bear and raven. These should be authentic style using ovoids and u-form lines, with black, red and white or wood.

Make clear plastic templates of totem animals (10 per animal)
1) Print out each animal template the size you want your students' animals to be.
2) Lay plastic over the image.
3) Using a black and red Sharpie, trace the image onto the plastic using the appropriate colors on the image.
4) These templates can be laid onto the clay slabs and traced with a dull pencil or blunt end of a skewer.

Tips & Tricks 

• Straws make the best holes because they remove clay cleanly. Poke holes 1/4” or more from the edges. They will crack if they are closer to the edge.
• Mask slabs can’t be thinner than a piece of bread. Thicker is better for this project since you will be modeling it slightly, keep it between 1/3 - 2/3”.
• Observe and limit access to sponges if necessary. Otherwise, students may over-water and waste time with the sponge.
• Check the slabs the next day and remove the paper towels so they will dry evenly.

Discussion Points

Our land has been populated for centuries by native tribes that evolved their own art, recognizable with its unique style. When all artists are expected to copy an agreed upon style, they are sticking to the stylistic conventions, or ‘rules’, of that style. The NW Coast tribes used certain animals as their identifying totems. Ancestors related to the same good qualities that the animals were known for.

Explain the qualities as listed above. Encourage students to think about which one fits their family the best.

Using color reproductions of Coastal art, point out the repeated ovoid shape & the U-form lines. Point out the grooves in the wood, and/or painted lines to make outlines and details.

Point out the repetitive use of red, black and white. Green was used for emphasis on small areas in some art.

Reflection Points (Assessment of Learning Objectives)

Students will reflect on totem characteristics to choose 1 of the 3 totem animals described and depict it in a clay plaque.
Students will use clay tools correctly to form a slab, trimmed to desired shape, with details modeled and attached or modeled with a tool, to resemble their chosen template.
Students will apply conventional colors.
Students will practice good craftsmanship.

Instructions for Lesson

Give students a background on this art style, using colored examples of traditional totem designs used on longhouses, Chilkat blankets, totem poles, canoes, etc. Another option is to read “Storm Boy,” by Paul Owen Lewis. with its thorough depiction of the Killer Whale totem. Demonstrate each step and then give students time to complete each step on their own, with guidance.

Day 1: Building the Masks

1. Group students around you & roll out a clay slab, applying even but light pressure in up-down, side-to-side directions until the slab is large enough for the animal template. While you’re rolling, give a brief description of your animal. Lay the other 2 templates out and describe their characteristics.
         
2. Rest the template carefully on the most even part of the slab, trace the image lightly, making sure to trace all the lines in the template, not just the outline.
3. Cut out with the wood skewer in a vertical (like a tree) position, all the way around the template, before removing.
4. Poke 2 hanger holes with the straw, reminding students not to get too close to the edge.
5. Dip your fingers in the slip and rub them around the edges to smooth out rough cuts. 
6. Using the dull wood tool, gently delineate the lines for eyes, nose, mouth and fill in, make marks or lightly carve spaces symmetrically.
7. With the clay you just trimmed off, roll a small thick piece the size of a small potato, roll it out and cut a beak, or tongue or teeth. Using the fork and the slip, scratch to attach a small ball the size of an olive. Using the back of the skewer and your pinky finger, press in 2 nostrils and shape the ‘nose’ if it’s a bear or a beaver. If it’s a raven keep it round but tap flat the top and bottom to thin it.
8. Check the size relationship of the teeth, tongue or beak then trim or roll bigger if needed.
9. Attach it with fork/slip: scratch to attach wherever both pieces will adhere. Don’t skimp on the slip but also don’t use too much water.
10. With a squeezed-out wet sponge wipe down any slip, smooth any areas drying too quickly. If there are bigger cracks, use the slip like spackle to fill them in.
11. With their non-writing hand, spread gently across the mask, flip it over & write names on the back, with the skewer, but not deep enough to crack it. If desired, adults may do this.
12. To dry, curve the mask slightly convex and lay over balled up paper towels. Adjust it to desired look.  
13. Once the masks are dry (approximately 2 weeks, once no longer damp or cold to the touch), brush off the cut edges with a damp paper towel before firing.

Day 2: Glazing the Masks (can be done in small groups or as a full class)

1. Demonstrate applying black glaze from a paper cup in dots, lines, outlines, eye and other major details. Stress the more background you leave white, the stronger the effect of the black and room for the red. 
2. Switch brushes and add additional details with red, either to fill in a shape or run parallel to the black lines as an accent. Be careful not to paint red too close to wet black glaze, which usually dries very quickly. 
3. A significant amount of white should be left as background.  This can be glazed clear by the students or the parents assisting.
4. Switch brushes and add a few additional details with teal, either to fill in a shape. Be careful not to paint too close to wet glaze, which usually dries very quickly.
5. Optional is to have a ‘station’ monitored by adults to bring the mask to paint it.
6. Using a damp towel or sponge clean all glaze from the backs of the mask before firing. Fire the masks a second time.
7. Raffia can be attached (for hanging) when the mask is completed.

References & Attributions

Lesson written by Cynthia Moring, edits and artwork by Juliette Ripley-Dunkelberger.
The Raven's Call blog; Art Class Curator blog; Canada's First Peoples website; Sealaska Heritage Curriculum; Northwest Coast Art wikipedia; Animal Totems downloadable PDFs. 

Notes for Educators

21st Century Thinking Skills
Goal setting, observing, making connections, visualizing, sequencing, classifying, determining main idea, fact and opinion. determining point of view, decision making, synthesizing.

Washington State Performance Standards 
(VA:Cr2.1.5) a. Experiment and develop skills in multiple art-making techniques and approaches through practice. This happens when skills previously learned in clay hand-building & painting are combined.
(VA:Cr2.2.5) a. Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. This happens when students use appropriate tools to do a precise job.
(VA:Cr2.3.5) a. Identify, describe, and visually document places and/or objects of personal significance. This happens when the significance of each totem animal is considered as a personal choice.
(VA:Cr3.1.5) a. Create artist statements using art vocabulary to describe personal choices in art-making.  This applies only if the students talk or write about their choice of animal totem and/or the process used. (See Arts Integration below)
(VA:Re7.2.5) a. Identify and analyze cultural associations suggested by visual imagery.  This happens when students learn which animals are associated with which character traits. (VA:Re9.1.5) a. Recognize differences in criteria used to evaluate works of art depending on styles, genres, and media as well as historical and cultural contexts.  This happens when students learn the ‘rules’ of making this style of art.

Arts Integration Opportunities
Writing: Students can write about their totem animal’s significance within the tribe’s culture, & why the student chose that totem animal.
Reading/Dance: “Storm Boy” by Paul Owen Lewis. Teach each other the family totem’s special dance as in the book.
Social Studies: Learn about the other totem animals’ characteristics & examine totem poles.

Please note:  These lesson plans are intended for non-profit use only. Use of these plans for commercial purposes should give attribution to the Issaquah Schools Foundation and be accompanied by a nominal donation at www.isfdn.org/donate. Thank you.

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