| In Fine Art I teach Landscape Painting, Water | | | | familiar with the students parents or guardian. I |
| Colors, and Pen & Ink Drawing. In Architectural | | | | have made it a policy to call the parents of each |
| Drafting I teach Working Drawings, Technical | | | | of my students the first week of school. I cannot |
| Illustrations, and Architectural Renderings. | | | | over state how important that this action is. With |
| It has been both an honor and blessing to have | | | | it comes a bridge of understanding that deepens |
| the opportunity to teach art to students at inner | | | | as time passes. You will find that your greatest |
| city schools. For the past three years I have | | | | advocate and support comes from your student's |
| taught Fine Art and Architectural Drafting at Lane | | | | parents. Do not be afraid to call them they want |
| Tech College Prep and King College Prep High | | | | to hear from you. Most of the time they are |
| Schools, part of the Chicago Public Schools (CPS), | | | | stunned that a teach will call them! It is a pleasant |
| in Chicago, Illinois. | | | | surprise. This takes a lot of time but it is worth it. |
| The ethnic make up for Lane Tech (all figures are | | | | 3. Write plans that are modular and flexible. This is |
| approximate) is in the range of 40% White, 40% | | | | imperative in today's classroom. What I mean by |
| Hispanic, 10% Asian, and 10% Black and other | | | | modular is this: Have a clear objective in mind |
| ethnic backgrounds. The figures for King College | | | | from the outset as to what you are going to |
| Prep is 90% Black, 5% Asian, and 5% other | | | | teach as well as what the student are going to |
| ethnic backgrounds. | | | | learn! This is where most teachers fail. Take into |
| The first question that has been posed to me is | | | | account the propensity of your students. If you |
| the following: | | | | do that you have the key to successful teaching |
| How do you adjust the lesson plans for the | | | | and the joy of watching students advance both |
| students at each school? | | | | academically and socially. Be sure to have many |
| My response is that I adjust my curricula for each | | | | variations on your lesson plan modules so that |
| class according to its needs. When you are dealing | | | | you can dove tale it to the need of a student |
| with High School students you are working with a | | | | with a special need. If you plan modules into your |
| complex group of young adults. Not only are the | | | | lessons you will find it very easy to teach to the |
| students different in their ethnic background they | | | | student and to keep track of their progress. |
| are also different because they are being merged | | | | The three points that I have listed above are |
| into a large and complex social system that has | | | | what I have stated as the three most essential |
| tremendous impact on each one of them both | | | | things that need to be done to teach affectively. |
| personally and academically. | | | | This is not to say that this is all that is to be done. |
| There are three things that have to be done to | | | | Certainly you need to know your subject matter, |
| teach effectively. | | | | get along with your colleagues and administrators |
| 1. First and foremost get to know your students. | | | | as well as work with members from the |
| Take the time to become acquainted with them | | | | community. The rewards are rich when you but in |
| and more importantly as you listen to them listen | | | | the time and focus on the above mention points. |
| for what is being said "between the lines". The | | | | In my case I am a teacher of Art and |
| students will tell you what they want you to | | | | Architectural Drafting two very different |
| know, however, there is much that you can and | | | | disciplines. Art synthesizes many subjects and |
| need to learn about them that is not clearly | | | | brings them together. Architectural Drafting does |
| brought to you by them. Often times students | | | | this to a point; however, it is more analytical |
| have many pressing needs that they want to | | | | seeking to break things down before putting |
| share with you but lack the security to bring | | | | together. |
| these things out. Let them know that you are | | | | When I start to teach the students drawing the |
| there for support and guidance. It should be noted | | | | first thing that I tell them to do is draw bad |
| that you can never under any circumstances be | | | | pictures from the objects I have put before |
| their "friend". Your relationship to the students | | | | them. In fact I tell them that I take off points if |
| must always to be proper, polite, and respectful | | | | you do good work! Why? Because the students |
| never intimate or inappropriate. You will fine that | | | | need to put aside all their preconceptions of what |
| showing love, care, and respect to your students | | | | to create and instead develop a relationship with |
| will come back to you ten-fold. If you have their | | | | the paper and pencil, good drawings will come in |
| respect you have everything. 2. Second, become | | | | time. |