Peter Max’s story begins in Germany where he was born in 1937. He and his family fled the Nazis in 1938 and moved to Shanghai, China, where they lived for the next ten years. Max was incredibly artistic from the moment he was born, enamored by color and constantly searching for ways to draw on everything (to the detriment of his mother). For Peter, color was paired with sound – an intense synesthesia. The ripple of crayons on a steamer trunk was the first memorable experience for the artist where he truly realized his love for sound and color. Today, there are few works by Max created in silence.
Early in his life, Max fell in love with three things: comic books, movies, and jazz – all uniquely American. In China, Max’s lessons were taught in English, so when he saw his first American movie after school at the cinema and picked up his first comic book, he was able to understand them. Max’s early love for comic books hugely affected his style. The foreshortening of lines, bold colors, and the heavy black outline of the characters stayed with him.
He and his family traveled through Tibet, southern Africa, India, Italy, and Israel, exposing the young Peter to more cultures and languages than many see in a lifetime. While in Tibet, Max was struck by the monks in meditation. They were carrying their walking sticks and chanting by the waterfall at sunset—an image that Max wouldn’t forget and one that often appears in his art.. Before he left China, the pillars of Max’s style had been constructed. His love for color, spirituality, graphic lines, and music formed the foundation on which he would create his future artwork.
In 1948, they moved again, this time to Haifa, Israel. Peter learned fluent Hebrew and began delving more seriously into his art. Becoming a distraction from his classes, his parents tried to structure his creativity by enrolling him in art lessons with a Viennese Expressionist after school. Professor Hünik enlightened Peter, changing the way he thought about color. He became the professor’s protégé for the next two years and began defining himself as a colorist. When he needed more assistance with his drafting, he turned to comic books, following their foreshortened lines and vivid style.
There was another book that heavily influenced his style, though, and it was less than conventional. One summer, Max began reading the encyclopedia, beginning with the letter “A”. He got no further than astronomy. He was enamored by the subject, so much that he begged his parents to study academically. They found a way for him to audit classes at Technion, a scientific university in Haifa, where he began his thirst for space. Later in life, this deep interest in the cosmos would turn into a spiritual quest as much as it was scientific.
Before moving to America, the Max family traveled to Paris for nine months in 1953 where Peter spent time studying at the Louvre. While Max had demonstrated his interest in sweeping color and lines, almost nearing abstraction, his interest at the Louvre was actually in works by the 19th century artist, Adolphe-William Bouguereau. His nearly photo-realistic paintings were inspirational to Max, who wanted to focus more on his draftsmanship. Bouguereau was his ideal mentor to allow him to further develop his technique, but Max soon learned that while he was capable of painting in such a naturalistic style, it took much more time and patience.
His family eventually settled in Brooklyn, where Max graduated high school then studied under the realist Frank J. Reilly at the Art Students League. He spent nearly all his time at the Art Students League, taking every class possible for the next five years. He learned drafting and anatomy from Reilly, finely honing the technique he once admired of Bouguereau. Max discovered, however, that by painting so photo-realistically, he was closing off his imagination, limiting his options. Pushing toward abstraction, color fielding, and many of the styles in vogue, Max eventually found a place as a “Neo-Fauvist” and a “Neo-Expressionist,” allowing his creative spirit to blossom.
In 1961, fresh out of school, Max started a graphic design studio with friends, finding almost overnight success in the design industry. Throughout the sixties, Max developed his signature “psychedelic” style (his ongoing fusion of eastern yogi philosophy, astronomy, comic books, studies in color, and music) expressed through posters, advertising, and his graphic works. The look he achieved was sought-after by companies across the country and agencies, magazines, and national publications placed Max at the center of the youth movement. The story behind his poster for the Central Park “Be In” on Easter of 1967 was even adapted for the Academy Award-winning director Milos Forman’s film, “Hair.” Max was at the center of a cultural revolution, magnified by his unique graphic style. He was featured on The Tonight Show and on the cover of LIFE Magazine. His posters were on the walls of every college dorm-room, and he had become an iconic artist and designer.
In 1968, while working on a film in Paris, Max met Swami Satchidananda. That moment was life-changing for the artist. Introducing him to yoga and a deeper understanding of Eastern spirituality, Max invited the swami to stay with him in the United States, helping him establish the Integral Yoga Institute, spreading the teachings of yoga throughout America’s youth. With more than 70 branches in each state today, plus 21 other nations, Max helped introduce yoga to a greater portion of the world, enlightening young and creative minds.
For most of the 1970s, Max shut down his graphic workshop. Intensely focused on his getting back to the paint, he took himself off the radar for almost 18 years, only spending time painting. Park West Gallery has enjoyed a relationship with Peter Max since the 1970s and is the artist’s largest and longest-running dealer in the world. Throughout the ‘70s, even while retreating somewhat from the spotlight, Max stayed busy, the subject of an exhibition at the De Young Museum in San Francisco called “The World of Peter Max.” He was also commissioned by the U.S. Post Office to make the first ever environmental 10 cent stamp, commemorating the 1974 World’s Fair in Spokane, Washington. In 1976, he worked with Lee Iacocca of Chrysler to save the Statue of Liberty, creating a series that generated enough funding to restore the desperately worn landmark.
His style changed during this 18 year retreat, adapting his technique to the paint rather than a graphic medium. His palette became softer and more diverse and his strokes became broader and more textured. Thematically, he began to develop new imagery, like The Dega Man, Zero Megalopolis, and The Umbrella Man. American icons, especially the Statue of Liberty, appeared over and over in his works and, by the time he returned to the public scene in the ‘80s, Max’s style has transformed into something dramatic and almost politically charged. He re-opened his studio, creating a 40,000 square foot space for administration, painting, production, and gallery tours, just across the street from Lincoln Center in Manhattan. From that point on, Peter Max has stayed in the public eye, using his art to express his creativity while raising awareness on environmental and humanitarian issues.
In his global causes, Max is a passionate environmentalist and defender of human and animal rights. He has done paintings and projects for Presidents Ford, Carter, Reagan, Bush, and Clinton. In 1994, Max created a “Peace Accord” painting for the White House to commemorate the historic signing.
Max has completed his fourth Grammy Award poster, redesigned NBC’s symbolic peacock, was appointed as the official artist for five Super Bowls, the World Cup USA, Woodstock, the U.S. Tennis Open, and the NHL all-star game. Recently, he created six poster images in response to the September 11th attacks. Proceeds from the sale of these works were donated to the September 11th, Twin Towers, and Survivors Relief Funds. In October 2002, Max created 356 portrait paintings of the firefighters who perished in the September 11th terrorist attacks. Each painting was presented to the surviving families of the firefighters at a ceremony at Madison Square Garden. Also in 2002, Harry N. Abrams, Inc. published a new hardcover book, “The Art of Peter Max,” written by Charles Riley III, Ph. D.
Today, Max has evolved from a visionary pop artist of the 1960s to a master of neo-expressionism. His vibrant and colorful works have become a lasting part of contemporary American culture.
- · Draw with a pencil a stick figure similar to Stik, the artist’s stick figure
- · No mouth, hands, or feet
- · Use 12×18 Colored Construction Paper. Paint the “Stik” figure white like his work.
- · Outline your stick figure when it dries with a BLACK oil pastel / paint or Marker. Yes, you can use hair dryer to dry quicker.
- · Put on drying rack
- · Clean up paint
- I lead with this lesson on Street Art and follow up with a Graffiti lesson using our Character Education words
I just love the rich watercolor in the background. For full details on how to create this lesson see link below.
http://2soulsisters.blogspot.com/2017/03/how-to-draw-3d-valentine-hearts.html Have posted on this earlier this month. The lesson was such a success that I wanted to share all of the hearts that I could on the blog for everyone to see!
I hope you feel inspired by these hearts because I know I was =) 1969
We are still coming up with a brand: What if we called them “eM” bracelets… for eMpathy and Marauders? It also spells “me” backwards which could translate as putting others before yourself. Let me keep thinking!!
How did the Maclay Visual Arts Team approach this idea? We took some time to brainstorm and prepare. We wanted an idea that would encompass the whole school and others in our community. Doing this at the same time as we try to build excitement for our new ceramics class in the Upper School. Below is our proposal.
Proposing Committee: Maclay Visual Arts Teachers
Kim Daniel, Cathy Hicks, Kyle Maurey and Katilyn Dressel
In the area of innovation, the committee values proposals that establish new programs which will open up new avenues of learning and experience to our students: The Maclay Visual Arts Department wants to become a POSITIVE INSTIGATOR! We often associate the word “instigator” with someone “causing problems” when in reality instigators are simply those who rebel against the “status quo” that has been established or in this case allowed to persist or exist. Our society and country was founded on such enthusiastic instigators for change and if you feel as strongly about the improvement of the moral fabric of our society / “Maclay Culture” – that is why we want to become an instigator for positive change within our school community on and off of our campus. This small act of kindness might evolve into something much bigger. This may lead to larger initiatives down the road and instigating a change within our school, our area and our community. We want to promote opportunities for demonstrating Empathy.
- We want K-12 art students to make 2 clay bracelets (1 to keep and 1 to donate) *Demonstrating Empathy
- Would like to incorporate Random Acts of Kindness and the Character Education words / program to help build empathy in our students. As we lead by example, we want the bracelets to be donated to different programs. (Words can be on bracelet or card) Example ideas listed below:
- · Nurses that work with Alzheimer’s and dementia patients
- · Parents of children at Shands (maybe work with Dance Marathon)
- · Employees at nursing homes
- · Police Officer (wives)
- · Basically people who make a difference in our community
- · TMH NICU
- · *Each grade can have the power to choose where theirs goes / or group up based on choice. This will give the students more ownership in the process. Plus they might have thought of something that we didn’t.
- · We are open to suggestions on where to donate the bracelets. This can be an evolving process as the needs of our school community might deter where we donate and reach out.
- We feel like this is taking an idea that is old like a “friendship” bracelet and giving it a face lift to help mentor our students on the 6 pillars of Character Education: Trustworthiness, Respect, Responsibility, Fairness, Caring, and Citizenship. As we create in class, these are topics that will be relevant on why we are doing this particular project.
- We will have an art student design a card that the bracelet will be attached to.
- We would like to deliver 25 to each venue that we see fit
- Card design will have a specific #hashtag and a Maclay Visual Arts Logo. #maclaycares
Address the purpose of the project, project goals, implementation, and management.
· Project: Making a clay bracelet to donate for a community crafts project
· Project Goal: To grow our ceramics program and raise awareness of empathy on campus
· Implementation: During Art class. We can tap into Advisory meeting and US grade level meetings. We can create a power point to show kids, faculty and board our intentions
· Management: Make sure an art teacher is at each event to help facilitate the process.
Describe how your project will promote one or more of these priorities.
The positive effects of kindness are experienced in the brain of everyone who witnessed the act, improving their mood and making them significantly more likely to “pay it forward.” This means one good deed in a crowded area can create a domino effect and improve the day of dozens of people! At the same time, we will be discussing Character Education in our classrooms.
Character Education Words:Honor, Leadership, Gratefulness, Kindness, Compassion, Responsibility, Determination, Courage, Confidence, Enthusiasm
- We spoke with Guidance Department on our idea and are willing to collaborate with them on this endeavor.
- We are willing to work with other clubs on campus in this effort to create a Positive Instigation Movement.
- ***Goal: Spending time looking for ways to express unconditional love towards other human beings by being creative, and imagining how crafting that connection with other souls will make you and them feel. As Elvis put it – “Walk a mile in my shoes before you criticize and abuse.” We want to promote opportunities for demonstrating Empathy.
Include a brief description of the desired outcomes.
- · Our overall theme for the Visual Arts in 2017-2018 can be Positive Instigators through the Arts
- · Generate Positive Energy throughout the community on and off campus
- · Lead by example
- · Reach out to others on campus, Guidance, Anchor Club, Key Clubs
- · We will be implementing our 3 Pillars of Education on campus: Visual arts being involved, teaching each individual kid and helping them be accountable citizens.
- · We will work together in vertical and horizontal alignment with our curriculums
- · Grow our ceramics program
When you participate in a random act of kindness, what you are doing, in essence, is giving and receiving love… Unconditional love, no strings attached, no feeling of obligation. When you are giving, you acknowledge the goodness in your life and the spiritual presence that is always at work, encouraging you to continue to connect with others, to give love and compassion without need of reward or recognition.
Random acts of kindness are feedback loops of positive energy creation. Helping others not only raises your vibration, but also, the vibrations of those you help and that of the entire human collective. Creating something unexpected and wonderful in someone else’s life, no matter how small, sets into motion a dramatic shift in a positive direction that can profoundly change lives. You can never really know how deep of an impact you’ve made in someone’s life…what you consider a little bit of kindness may just turn a person’s life completely around and give them hope for the future. The universe responds to these shifts by bringing more and more abundance to you, them, and everyone on the planet. Changing another’s reality through your actions has a ripple effect which changes the world.
Performing random acts of kindness makes you an example of what is possible. You become an inspiration, opening the awareness of others to their own potential. Most of us want our lives to inspire love in others. So for instance, when our children witness us doing good in the world, they are taught gratitude, compassion, love, and unity. Generations of individuals can learn from this that happiness is a choice, but you have to be open to it and take action to help spread it around. The world is evolving in such a way that requires each of us to take responsibility to create and grow positive energy any way we can. We are transforming the old ways into newer, lighter, more loving ways of being and living. The most important thing is to send your love out into the world no matter what form it takes.
- Language Arts: Define empathy as a class. Then ask students to identify characters in stories, novels, or plays that demonstrated empathy or could be described as empathic. Compare and contrast empathic levels across characters or thematic units.
- STEM classes: Introduce the design-thinking model for approaching a problem. Ask students to identify the “user” of the problem or product. Then, ask them to empathize with that user by identifying their thoughts, feelings, values, and worries. (See this resource and this one for a start!)
- Public Speaking: Any time you require a presentation, ask students to spend time empathizing with their audience. Who are they? What interests them? Then, ask students to use their skill of empathizing with the audience as they strategize the presentation, and develop the introductory hook to connect the topic to the audience.
- Behavior Management: When introducing behavioral expectations to students at the beginning of the year, define empathy and ask students to role-play different scenarios that can occur in the classroom. Ask them to brainstorm how empathy could change or shape those hypothetical scenarios to sustain a culture of caring, respect, and significance in the classroom.
- Read stories from the perspective of characters similar to your students. Ask your students to share their favorite literature, whether it aligns to the current curriculum, or not. This can remind teachers of the thoughts, perspectives, and worries influencing students every day. Middle and high school teachers: Read Young Adult literature. Elementary teachers: Read the books your students love from the classroom library. Be intentional about choosing diverse literature that reflects the diversity of your classroom.
- Follow a student schedule for a day. Or, if administration isn’t supportive of this, simply ask a student to list all the assignments they’ve completed before arriving in your classroom and what his or her schedule looks like after school. We must keep in mind that this applies to all students. Students in 2nd grade can be overwhelmed just as readily as high school students. Read what one adult learned when she dared to take this challenge.
- Survey students frequently. These surveys can use technology or not. Post-it notes and exit slips can be as informative as their digitized counterparts, Padlet and Google Forms. One of the most powerful questions a teacher can ask a student is this: “What’s one thing teachers should know about students?” or “What’s the most important thing I should know about you?” Either question can provide data to drive instruction with an empathic mindset. Whether we use high-tech or low-tech, other questions to survey students may include: What are your passions? What brings you anxiety in school? Whom do you admire? Teachers, keep these answers on file to reference when having a particularly trying time with students. Keep these answers private (unless the answers wander into mandated reporter territory), but reference them to help adopt a mindset of empathy for students. Here’s an example of a Google Forms survey for high school students at the beginning of the year.
We are currenlty in the process of branding out innovative grant.
We will post again for you to see how all of this will unfold.
As of now, we are in the process of branding, and working on our logo and hashtag
Our name is Maclay Artlets
Check out our planning stages on Pinterest
For just one hour
If we could find a way to get inside
Each other’s mind
Instead of your ego
I believe you’d be, I believe you’d be surprised to see
That you’ve been blind
Walk a mile in my shoes
Yeah, before you abuse, criticize, and accuse
Walk a mile in my shoes…..
Purpose: To create and give these bracelets is a beautiful and simple reminder that you are loved and we care. (Character Education Implementation)
Have you ever watched this video? Oh my….love that these boys stood up for what was right!
This one I just had to share…It will make you laugh. As a 26 year veteran teacher, I laughed really hard at this video. Sarcasm at it’s best! If you want to watch the original “You Are The BBQ Sauce” video see my post link above.
Cassie, if you are reading this…we are trying to get our act together and make a Soul Sister Road trip to Art Scouts this summer! to be continued…. 1969
- Frida Kahlo was born Magdalena Carmen Frieda Kahlo y Calderón. The name Frieda comes from the German word Friede, which means peace. She dropped the e from her name around 1935, and subsequently became known as Frida.
- Of her 143 paintings, 55 are self-portraits and 88 are not
She underwent 35 operations as a result of the bus accident she had in her youth
- She frequently included the symbolic monkey. In Mexican mythology, monkeys are symbols of lust, but Kahlo portrayed them as tender and protective symbols.
- The Louvre bought one of her paintings, The Frame. This was the first work by a 20th century Mexican artist ever purchased by the internationally renowned museum.
- Frida Kahlo’s ‘Roots’ holds the auction record for a Latin American piece of art.
- The 1943 work sold for US$ 5.6 million in 2006.
- Diego was 20 years older than Frida.
- Frida was injured in a bus accident at age 15, she died at age 47.
- Frida lived 4 years in the United States, including time here in San Francisco, CA
Check out these Youtube clips below for even more information on Friday!
We are getting ready for our Celebration of the Arts at Maclay on 3/24/2017. Our featured artist study this year is Peter Max. Below is a link to our Celebration.
We have based these colorful portraits off of Peter Max. We have done lessons on him before in other blog post. See below:
For this lesson, we printed out a few photos of our Division Heads then cut them out and glued them down onto 12×18 colored construction paper. Had the kids embellish some details on the xerox copy but mainly focused on the blending of all of the color in the background. Can’t wait to get them in a slide show to share!
Many details of our event have been posted and shared. I will do a follow up post with our fun activities, schedule and booth names, but for now here is a taste of just what our Fine Art Department has going on as of right now.
I do like that we have a logo and a brand for our event. We will only change out the colors each year to update with our theme. Can’t wait to share more….
But for now, enjoy 1969
We let the greenware get bone dry.
Fired in kiln from 04 slow to bisque.
Glazed the bisque and fired from 06.
It is pretty therapeutic for all involved. Our classroom teachers and staff like to get in on the learning fun. Have ever invited your administration to your classroom to make the project you were introducing to you class? If not, you should!
Great article in the link above!
In recent years, as budget concerns reduced art programs in schools (in particular elementary schools), there has been a great deal of research about the importance of art in child development. From my own experience as an artist and ceramic teacher, I believe that few art mediums kindle growth and skills in children in the way that clay does. At Lakeside Pottery Ceramic School and Studio in Stamford CT, I have taught children (ages 6 to 15) for the last several years. During that time, I have witnessed firsthand how invaluable the experience of working with clay is for sensory development, motor skills, self esteem, and self expression, problem solving skills, discipline, and pride. Clay also has a uniquely therapeutic quality that I have seen settle and calm children; it retains their attention for hours.
SENSORY DEVELOPMENT AND MOTOR SKILLS
There is no better moment for me than witnessing a child’s joy as they sit at the potter’s wheel for the first time and place their wet hands on slowly spinning clay! Clay, and its necessity to be touched, is at once familiar to children. The sensory experiences they encounter in our pottery studio are numerous and as they experience the texture and feel of the clay, the students express what they are sensing with uninhibited enthusiasm; “It’s cold, it’s wet and squishy, and it’s so heavy!” Clay asks to be poked, pinched, twisted and rolled and as they handle it, children develop both fine and major motor skills and realize that they have an effect on the clay as it responds to their manipulation. Children visually inspect the clay’s surface and color, they smell it and they laugh at the sounds it makes when it’s wet. For many, it’s perhaps the first time they’ve been encouraged to get wet and dirty in a classroom environment and there is an instinctive and uplifting response to the freedom they feel. Even when the finished product is ready to take home, the children hold and cradle their work, smoothing their fingers over the now colorfully glazed surface as they turn it around and around for inspection.
ESTEEM AND EXPRESSION
From my experience as an art teacher, I believe that clay is a unique art medium because it is highly responsive to touch and very forgiving. As soon as children are given clay, they immediately begin to mold and shape it. They become aware that they are in charge and have influence over the medium as it is quick to respond to their fingers. The feeling that they are in command of the clay gives the students the confidence to attempt any project which opens the door to greater self expression and imagination. Clay also allows a child to learn to repair mistakes and therefore not be afraid to make them. Making mistakes is essential for self improvement but can be difficult and even an obstacle for some children. The forgiving quality of clay, and therefore the ability to readily fix mistakes, gives the child a sense of control over their project’s success which improves self esteem and self expression as they realize that mistakes aren’t going to stop their progress. For example, during a class, a boy had been working on his project, a toothbrush holder that looked like a baseball player, for over two hours. All of a sudden he accidentally pierced a hole right through the side of the project while decorating. He looked up at us devastated. But as I showed him how to take a piece of clay and fill in the damaged area, he suddenly took the clay from my hand and stated, “I can do it myself!” He repaired his piece and went on decorating with fervor.
Clay is different from other art mediums in that it requires an understanding of the three dimensional world. In our programs, we often encourage the children to work on spinning decorating wheels or to get up from their seats and walk to the other side of the table so they can see their creation from all sides. They begin to understand shape, form, and perspective, and therefore get a first lesson in geometry. The child learns to really look and see the world around them and discovers their place in that world. They gain knowledge of planning methods and problem solving as they map out their three dimensional project. Where should the door go on my square castle? How tall can I make the tree before it gets unsteady? Should my dog’s tail go out straight or curl up over his head? If my rabbit’s head is too big for its body will it fall over? We encourage the children to think on their own and help with the planning experience. For example, when we make a cylinder we start with a flat rectangular piece of slab clay which the students decorate and design as it lies on the table. As they are working we ask them how we could use this flat rectangle to make a standing vase. It’s wonderful to see them understand how to roll it into a cylinder and we always have a few children who forecast the next step by saying, “We need a bottom!”
“While there are rules and procedures that need to be followed when working with clay, I find that children are very good about understanding guidelines and respecting procedures. Through this understanding they learn something that is very important: discipline yields success. The methods I teach are simple, (e.g. don’t allow a piece of clay to be too thick, or a skinny tail should be connected to the body for support). I explain why the techniques are important (if the clay is too thick it won’t dry properly or if the tail is too skinny and doesn’t connect to the body it might break off because it is too weak) and the children grasp the concepts easily learning basic physics. The most important rule is “slipping and scoring.” This is used anytime two pieces of clay are joined together and if it’s overlooked, pieces may fall off or crack during the firing process. I’ll often hear one child remind another to “slip and score,” and they like to call out the rule as I am giving instructions. I give the children adult pottery tools to work with and they understand the responsibility they are being given and are careful. Throughout the entire period of using specific techniques and real tools, they are conscientious and thorough as they follow the process step by step. I am always thrilled when they remind me of other rules they have learned, such as when they say “Patty, don’t forget to poke a hole in my cat’s head, it’s hollow and the air needs to get out or it will crack!”
Our children’s after school programs are two hours long and our summer camp classes run for three hours. I have many parents who express concern that their child might not be able to stay on task for that long, however the opposite is always true. While I have worked with students in other art mediums, something magical happens when children work with clay. Whether it is the sensory response to the clay, the ability to be in charge of the medium or, perhaps, the ability to express and articulate their emotions through their physical prodding or smoothing of the clay, all children, even those with high activity levels, become engaged and engrossed in their work. The class of twelve children is composed and quiet and the hours melt away. The children don’t experience frustration or disappointment because the clay is flexible and compliant. While I am unaware of research in this area I can attest to the calming and healing results as I have seen them at the studio time and again.
PRIDE AND SELF WORTH
At Lakeside Pottery, we all teach ceramics with the philosophy that the process is more important than the product. I place emphasis on the discovery and joy of creating, however, there is an excitement for children as they make their mug or pencil holder and announce that it’s for their grandmother’s coffee or for their dad’s desk. The functional and durable nature of the finished stoneware clay gives children a feeling of significance and pride. I will often give the students the option of putting glass chips in the bottom of their bowls or plates as part of the glazing process. When I explain that though it is beautiful, it might make the piece not safe for food, many children say no to the glass because it is important for their bowl to be used as a center piece at their table. All forms of art are important for children to experience, yet it does seem that the long-lasting nature of the children’s finished clay piece adds a special value for them. We often ask parents what artistic creation their mother has kept on her shelf for years, and they all answer that it is the pottery they made in grade school.
It is always fulfilling for me to introduce clay to children and watch its unique qualities contribute to their development in so many ways. Knowing how valuable clay is to children’s achievements and because it is discouraging to see limits put on our children’s school art programs, Lakeside Pottery has helped schools start clay curriculums; worked with children with special needs, trained teachers to work with clay, assisted in purchasing and setting up equipment, and helped plan and design school studios. We have shared the clay experience both in outreach programs in schools and children’s workshops within our studio with the belief that clay is an essential element for nurturing children’s growth.