#classof09fanart #classof09 class of 09 do u mean white girl toxic yuri simulator
G H D H S H K B G W E G S S X H X P G F D N G H O N F K F F Z N K P K U B N O I G Q I C B L O Q Q L K I I T P Y I O D D W N K T Z Q X W B K W D I W G N T F M B L E I L U Q M V B A O A N X N B G G L B Y C D D Z H M A T O W L G U A O N R L...
My first year in Middle School was T.O.U.G.H. I've talked about my journey some in my classroom management post over on my blog. When it came to student accountability, I had the idea that by removing any responsibility from the students when it came to things like being prepared for class, I would eliminate distractions and encourage them to just pay attention. I told them that I didn't want them to worry about whether or not they had a pencil or paper. I just wanted them to be present in class. Many of my kids were from low income families, so I thought this would show them I cared about them. Rookie Mistake. It backfired. BIG TIME. Instead of viewing me as someone who cared about them, they viewed me as someone who was a pushover and... quite honestly... stupid. From Day 1 I set the tone that my students were in charge. I was never able to regain control once they realized they had no accountability. The next year, I knew things needed to change. I became strict, without being mean. My students needed boundaries and expectations and it honestly took me a few years to find a good combination of what worked. Student Accountability {What Worked For Me} Homework (including projects and makeup work) was due every morning BEFORE T.A. (or homeroom, whichever you call it). I had a cart outside of my room that had a slot for each class. 8th grade was contained on the same floor that was shaped like a circle. Regardless of where there lockers or T.A.'s were located, they had plenty of time and accessibility to walk by my door and drop in their homework. They didn't have to speak to me or even stop. Just drop it in and keep walking. I did this for three reasons. First, it ensured their homework was done AT HOME (or at least on the bus on the way to school) and not at lunch, in T.A., in the hall before my class, etc. Secondly, I had my planning periods during the first block of the day. I was able to check their homework before they even got to my room. I could hand it back, already checked, and go over the skills for that day. Lastly, it sent a message to my students that I was serious about homework. Pencils - I NEVER lent out pencils to my students. I gave them about two weeks at the beginning of the school year to learn this before I really enforced it. My students were not required to carry textbooks for my class since we had enough for there to be a class set and a set for them to keep home all year. They only had to show up with their binder, pencil and calculator. If they came without a pencil, I would not give them one. They could ask a friend, or find one on the floor from the previous class. At first my students thought I was horrible for this. I explained to them that I wanted them to learn to think. They knew, that every.single.day they would be coming to my room at the exact same time. I wanted them to stop and think before they walked into my room to see if they had everything. After the first few weeks, it worked really well. I rarely had students who were unprepared. Non Disruptive Behavior - Addressing poor behavior in class is tough in middle school. If you are disrespectful to them or call them out in front of the class, they might bite back. They are more worried about saving face than listening to you. If a student was doing something that wasn't disruptive, I would make a note of it and email their parents without telling the student. This did two things - it let the student know that (1) I'm watching and (2) I'm not letting it go. At the end of class, I would say, "Three of you will be getting emails home today." And not tell them who it was. The following days, those three were pretty much spectacular. Disruptive Behavior - If the behavior causes a disruption, I would move them to a single desk that was directly next to mine and far removed from anyone else. This desk was actually pushed directly up on the wall where my projector screen was. Taking notes from this desk was VERY uncomfortable. Another reason students usually tried to stay out of it. Cell Phones - I was VERY good at taking cell phones. I would say I caught them a good 90% of the time. Our school policy was to take phones, write a referral and immediately give it to the grade level administrator. I followed this policy EVERY single time. No matter the student. No matter their reason. The teachers who would just tell the students to put the phones away or take them and give them back, were not sending a message. I told my students that they needed to understand that they were in my class to learn. Not check Facebook, not text their mom. To learn. Student accountability differs by grade. My 8th graders had all of the expectations as above. They were growing up and could handle all of my rules. They're the ones who needed the strongest rules anyway. My 6th grade intervention students were a little different. They had different needs and were only required to bring a pencil. Since they had no homework, their interactive notebooks simply stayed in my class. I would keep a box of golf pencils on my desk for my intervention students (all grades) to use if they forgot one. The KEY to Middle School Student accountability is to actually hold them accountable. You want to build relationships with your students and you want to have that mutual respect, but you have to give them a reason to respect you. Many teachers think it's "mean" to require the things I required of my students. But, it worked. My discipline problems were low, my student achievement was high. Whether they thrived on the structure or just finally gave up arguing over the pencils, it worked.
Here's a detail of an Erik Thor Sandberg painting
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
#classof09fanart #classof09 class of 09 do u mean white girl toxic yuri simulator
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
Where does style come from? Frederick Taubes (who was a real smart guy) wrote that an artist's personal style "seems to stem from geography, climate, diet and other factors." Some people speculate that "other factors" might include eye disease. Others suggest that that stylistic distortions might be an artist's way of covering up for technical weaknesses. For example, illustrator Seymour Chwast, who draws with a flat, simplified style, stated that he avoids pictures "that require craftsmanship and a drawing ability that I do not have." Illustrator Edward Sorel, famous for drawing with loose swirls, said “I have never had the confidence that I could draw.... To me, a person with drawing skill is a guy who can sit down to a piece of paper and draw upon his familiarity with the body and with gesture, and do whatever he wants to do...” But ahhh, when an artist possesses the skill to "do whatever he wants to do,” and uses that skill to develop a personal style out of strength rather than weakness, the result can be a joy to behold. It becomes a full throated expression of the artist's personal reaction to the world's forms and colors. Which brings me to Carter Goodrich. Goodrich is one of those artists with the formidable drawing skill to do whatever he wants. The following Forbes cover from 1989, an illustration of Europeans courting the Russian bear... ...shows that Goodrich not only understands anatomy, facial expressions and body language (what Sorel called "gesture") but also that he has that rare and wonderful ability to spin his knowledge into all kinds of imaginative scenarios. Does he need to take a revealing human facial expression and posture, put them on a huge shaggy bear and dress her up in a fancy gown (complete with ursine cleavage)? Not a problem. Note the marvelous spread of her haunches-- a masterful touch, one that would escape a less imaginative artist. Unlike many artists with great technical skill, Goodrich never seems to have been tempted to waste his abilities on hard realism. Instead, he knew to follow his imagination and his powers of observation into a distinctive personal style. His wide faces, exaggerated bodies and distinctive palette have made his work instantly recognizable to readers of the New Yorker: More of Goodrich's delicious style is displayed in this illustration from The Emperor's New Clothes: Weird hairdos and faces, extravagant gestures and bizarre fabrics all given credibility by excellent drawing. Goodrich is such a master of visual story telling, he is free to take liberties with accuracy: In the following detail, note how Goodrich conveys speed with just the direction of those pencil strokes in the shadow of the hockey player, or how the white trail of that one skate dramatizes the ominous, searching approach, or how Goodrich directs our attention to that puck by engineering the highest contrast spot in the picture (a dense black shape framed in a white window) or how effectively he uses that foreshortened purple hockey stick to establish the spatial relationship with the goalie. Brilliant. Contrast how the lines under the player show directional speed while the lines surrounding the puck-- both horizontal and vertical-- do not. You wouldn't notice such tiny touches in the printed version, yet their effect would be unmistakeable. With such a rich assortment of tools at his disposal, Goodrich doesn't need to worry about drawing that front skate accurately in order to be understood. He has the freedom to play games with the foot (exaggerate it or draw it like a tiny stump) with no risk of confusing anyone. Similarly, he can disconnect that pelvis and make the skater look like a sack of bowling balls hurtling down the ice. The audience still gets it because Goodrich maintains such exquisite control over the image in other respects. You can't just take such liberties; if your style is genuine you have to earn them. Goodrich has not only earned his freedom, he knows how to put it to good use.
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
#classof09fanart #classof09 class of 09 do u mean white girl toxic yuri simulator
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
Where does style come from? Frederick Taubes (who was a real smart guy) wrote that an artist's personal style "seems to stem from geography, climate, diet and other factors." Some people speculate that "other factors" might include eye disease. Others suggest that that stylistic distortions might be an artist's way of covering up for technical weaknesses. For example, illustrator Seymour Chwast, who draws with a flat, simplified style, stated that he avoids pictures "that require craftsmanship and a drawing ability that I do not have." Illustrator Edward Sorel, famous for drawing with loose swirls, said “I have never had the confidence that I could draw.... To me, a person with drawing skill is a guy who can sit down to a piece of paper and draw upon his familiarity with the body and with gesture, and do whatever he wants to do...” But ahhh, when an artist possesses the skill to "do whatever he wants to do,” and uses that skill to develop a personal style out of strength rather than weakness, the result can be a joy to behold. It becomes a full throated expression of the artist's personal reaction to the world's forms and colors. Which brings me to Carter Goodrich. Goodrich is one of those artists with the formidable drawing skill to do whatever he wants. The following Forbes cover from 1989, an illustration of Europeans courting the Russian bear... ...shows that Goodrich not only understands anatomy, facial expressions and body language (what Sorel called "gesture") but also that he has that rare and wonderful ability to spin his knowledge into all kinds of imaginative scenarios. Does he need to take a revealing human facial expression and posture, put them on a huge shaggy bear and dress her up in a fancy gown (complete with ursine cleavage)? Not a problem. Note the marvelous spread of her haunches-- a masterful touch, one that would escape a less imaginative artist. Unlike many artists with great technical skill, Goodrich never seems to have been tempted to waste his abilities on hard realism. Instead, he knew to follow his imagination and his powers of observation into a distinctive personal style. His wide faces, exaggerated bodies and distinctive palette have made his work instantly recognizable to readers of the New Yorker: More of Goodrich's delicious style is displayed in this illustration from The Emperor's New Clothes: Weird hairdos and faces, extravagant gestures and bizarre fabrics all given credibility by excellent drawing. Goodrich is such a master of visual story telling, he is free to take liberties with accuracy: In the following detail, note how Goodrich conveys speed with just the direction of those pencil strokes in the shadow of the hockey player, or how the white trail of that one skate dramatizes the ominous, searching approach, or how Goodrich directs our attention to that puck by engineering the highest contrast spot in the picture (a dense black shape framed in a white window) or how effectively he uses that foreshortened purple hockey stick to establish the spatial relationship with the goalie. Brilliant. Contrast how the lines under the player show directional speed while the lines surrounding the puck-- both horizontal and vertical-- do not. You wouldn't notice such tiny touches in the printed version, yet their effect would be unmistakeable. With such a rich assortment of tools at his disposal, Goodrich doesn't need to worry about drawing that front skate accurately in order to be understood. He has the freedom to play games with the foot (exaggerate it or draw it like a tiny stump) with no risk of confusing anyone. Similarly, he can disconnect that pelvis and make the skater look like a sack of bowling balls hurtling down the ice. The audience still gets it because Goodrich maintains such exquisite control over the image in other respects. You can't just take such liberties; if your style is genuine you have to earn them. Goodrich has not only earned his freedom, he knows how to put it to good use.
