I designed a project that transforms a pencil drawing into a craft-based artwork. Rather than focusing on copying an image accurately, I wanted students to experience how a single idea can be translated into a different visual language through materials. The core of this project was observation, interpretation, and reconstruction.

The project began with a pencil drawing of a small animal. Using soft graphite, students explored subtle shading and texture, focusing on the quiet expression of a mouse peeking out from a dark space. Pencil drawing allows for quick emotional expression, but it also demands careful observation. Every detail—such as the direction of fur, the reflection in the eyes, and the rough surface surrounding the animal—had to be communicated using only lines and values.

In the next stage, I intentionally avoided having students recreate the drawing literally. Instead, I posed a question:
“What is the most important texture in this image?”
Through discussion, we identified the tree texture as a key element of the composition. The tree was not simply a background; it functioned as a protective space that enclosed and defined the mouse. Conveying this texture effectively became the main goal of the craft transformation.

For this reason, aluminum foil was chosen as the primary material. I selected aluminum foil specifically to help students understand and express the texture of tree bark more vividly. When foil is crumpled and reshaped by hand, it naturally creates irregular wrinkles and layered surfaces that closely resemble the rough, uneven quality of wood. This tactile process allowed the tree to be reborn in a more dynamic and three-dimensional form—something difficult to achieve with pencil alone.

Cotton was added to the dark background to suggest air, depth, and atmosphere, while a small object was used to construct the mouse itself, emphasizing its fragile presence within the larger structure. As the materials came together, the artwork took on a completely different character. While the pencil drawing felt quiet and introspective, the craft piece became more physical and spatial, highlighting structure and enclosure.

What impressed students most was the realization that the same image could evoke entirely different feelings depending on the materials used. As the medium changed, the story of the artwork changed as well. Through this process, students experienced firsthand that art is not merely about drawing skill, but about thinking, translating ideas, and expanding meaning through materials.
​
This project reinforced an important idea for both the students and myself: meaningful art education is not defined by the final product, but by the way students think, question, and reinterpret ideas through the creative process. The journey from pencil drawing to craft became a small but powerful experiment in visual transformation.

​Aluminum foil was used to represent the rough, irregular texture of tree bark.
By crumpling and reshaping the foil by hand, students could physically experience how texture forms.
The layered wrinkles of the foil helped recreate the rugged surface of wood more vividly.
Black construction paper was chosen to create a deep, quiet background.
Cotton was added to suggest air, softness, and surrounding space.

Faux-fur–covered wire was used to construct the mouse figure.
The wire allowed students to bend and shape the form with control and flexibility.
The soft fur covering helped express warmth and fragility within the structure.
​
This combination of soft and hard materials emphasized contrast in the composition.
Together, the materials translated a pencil drawing into a tactile, three-dimensional experience.

On snowy days, life here comes to a complete stop.
Schools close, and the roads are occupied only by snowplows moving steadily back and forth. Once the snow eases, we step outside with shovels to clear our driveways and sidewalks.

When I first came to the United States, I often wondered why houses were so large.
I thought smaller, more compact homes—like apartment living in Korea—might be more efficient.

After several winters, however, I understood the reason.
When it snows, we are confined indoors. We stock up on emergency food and prepare for what feels like a small survival game. Homes need space—enough room to walk around and stay active, and enough people inside to help each other endure long hours of isolation without boredom.

After years of these semi-forced winters indoors, you begin to develop your own strategies.
The question becomes: how can we endure this quiet, restricted time in a way that is enjoyable and meaningful?
This winter, my classes transitioned online, and I have been spending my days teaching students from home and preparing lessons. Even now, snow still blankets the outdoors, and the air remains bitterly cold—but as I focus on building effective lessons, time seems to disappear.

One unexpected advantage of online teaching is the ability to communicate details that are often difficult to show in an in-person classroom. For this reason, I intentionally simplified my materials. I wanted students to be able to follow along easily, using only what they already had at home.

Pencil drawing turned out to be the perfect medium.
With just an A4 sheet of paper, a pencil, an eraser, and a paper towel for blending, anyone can create a compelling drawing. The simplicity of these tools allows students to focus not on materials, but on observation and technique.
Another discovery emerged through these online lessons: they provide an excellent opportunity to teach proportion—the foundation of beauty in visual art. Portrait drawing, in particular, makes this concept clear.

Most people have experienced the frustration of trying to draw a portrait—especially of a famous person—only to find that something feels off. Even when the drawing looks accurate, it somehow lacks the intended likeness. Facial proportion, angles, and the placement of shadows vary subtly from person to person, and those small differences define individuality.

Portrait drawing trains the eye to observe carefully. It is not about copying a face, but about understanding it.
As I prepared my next lesson, I decided to introduce a more challenging concept: proportion. While it is not an easy topic, mastering it dramatically improves the quality of one’s drawings.

For this lesson, I chose Audrey Hepburn as my subject.
I have always enjoyed drawing her face—not because it is conventionally perfect, but because its imperfections create remarkable harmony. Her beauty cannot be reduced to symmetry or ideal ratios. Even modern cosmetic surgery would struggle to replicate the elegance and charm she possessed naturally.
This led me to a new question: how can beginners learn to draw such a face accurately and with confidence?

That question became the foundation of this new lesson.
Rather than simply copying an image, students learn how to analyze proportion and observe relationships within the face—learning how a portrait becomes convincing, not just recognizable.
​
I hope this online class becomes a meaningful experience for my students.
Even as snow freezes the world outside, we continue to learn, to draw, and to explore what beauty truly means—quietly, from inside our homes.

I have personally experienced that online classes can be just as effective as in-person instruction. Even when students were located in different states across the U.S., their focus, dedication, and sincerity made meaningful learning possible. This experience reminded me that what truly determines the quality of a class is not the physical space, but the structure of the lesson and the learner’s commitment.

Because of this, I have come to believe that I should proactively prepare a variety of online course formats alongside the in-person classes I currently teach. In recent years, there have been increasing instances where classes have become difficult to conduct due to weather conditions. Climate-related disruptions are no longer rare exceptions; they are becoming a reality that educators must anticipate and plan for.
In the past, I was not particularly positive about online instruction—especially in the field of art. I believed that art education needed shared physical space, the ability to observe subtle movements, and the energy that comes from working together in the same room. However, over time, I began experimenting with different teaching tools and instructional methods. Through careful planning, reflection, and trial and error, I eventually discovered more effective ways to teach art online. Reaching that point felt like a meaningful personal achievement as an educator.

One of the most surprising strengths of online classes is that they naturally create an environment where concentration is unavoidable. The limited frame of the screen reduces distractions, allowing students to focus more deeply on the teacher’s demonstrations and explanations. In art classes especially, the instructor can draw step by step from beginning to end while clearly explaining each decision. At the same time, students’ work can be monitored throughout the process, making it possible to provide feedback and guidance in real time. Rather than being a one-directional lecture, the class becomes a shared journey.

As a result, I have developed a strong sense of trust in the online teaching process. It is no longer merely a substitute for in-person instruction, but a complete and effective educational format in its own right. On days when the wind is strong and temperatures drop sharply, instead of going out, I often stay home and devote time to developing new course content. These moments have become opportunities not just for preparation, but for clarifying my long-term direction as an educator.

This is why I now clearly see the importance of hybrid art education, which integrates both online and offline learning. Rather than treating them as opposing methods, I believe their strengths should complement one another. In-person classes offer sensory experience and immediacy, while online classes provide structure, focus, and flexibility. When combined, they open up broader possibilities for art education.

The field of art education can no longer rely solely on traditional approaches. It must evolve in response to changes in technology, environment, and students’ lived realities. The in-person teaching experience I have accumulated over the years, together with the online systems I have recently developed, now represent a major professional milestone for me. Moving forward, I plan to continue developing hybrid course content that brings these strengths together, offering students a stable, thoughtful, and deeply engaging art education.

This transition is still ongoing, but one thing is clear: education must continue, and art must find a way forward under any circumstances. Preparing that path in advance is the work I believe I am doing now.

​This year, while preparing for our Christmas card project, I wanted to introduce something more than a traditional art activity. I wanted students to experience the joy of combining creativity with scientific discovery. That idea led me to a simple yet powerful tool: LED circuit stickers, conductive tape, and a coin battery. With these materials, students can design their own plus–minus circuit pathways and light up the artwork they create.

The moment their homemade circuit closes and a tiny LED turns on, students feel a rush of excitement. Their artwork suddenly becomes alive, and they instantly understand that they made this happen. Some even try adding a second light, curious to see what will change. It is a beautiful example of hands-on STEAM learning, where art and science meet naturally.
​
These circuit kits are easy to find on Amazon, inexpensive, and perfect for introducing basic electronics without any soldering or specialized equipment. The LEDs come in sticker form, and the conductive tape adheres cleanly to paper, making it possible for students to build functional circuits right on their cards.

Is It Safe to Put Scotch Tape on the LED or the Battery?

​1. Taping Over the LED:
Safe

 Placing clear Scotch tape on top of the LED is completely safe.

• The front surface of the LED is insulated, so tape will not cause a short circuit.
• Tape can help keep the LED securely in place and protect the artwork.

​Taping over the LED is perfectly fine.

2. Taping Over the Battery: Partially

Safe

It is okay to use small pieces of tape to secure the battery in place, but you should not cover the entire battery.

Safe

• Taping the battery on one side only.
• Using small strips of tape to keep the battery from shifting.
• Leaving at least one surface of the battery open for proper contact.

Unsafe

• Completely wrapping the battery in tape.
• Covering both the positive (+) and negative (–) sides.
• Allowing tape to trap conductive materials around the battery, which increases the chance of a short circuit.

Covering the battery completely can

• block electrical contact,
• cause overheating if a hidden short circuit occurs,
• and make the circuit unreliable.
  
  

 Secure the battery with small pieces of tape, but do NOT tape over the entire battery.

The Magic Moment: “My circuit makes the light turn on!”The process begins with students planning their artwork. They decide where the light will shine: a glowing moon, a sparkling Christmas tree, a lantern held by Santa, or a star in the night sky. This step alone prompts creative problem-solving, as students imagine how light can enhance their visual storytelling.

Next comes the scientific portion: they lay out the conductive tape to form a complete circuit, connecting the positive and negative sides of the LED to the coin battery. This simple task allows them to understand how electricity flows, how polarity matters, and why the circuit must be closed.

When the light turns on for the first time, the classroom atmosphere changes instantly. Students laugh, cheer, and proudly show their glowing cards to one another. Many choose to experiment further:
“Will it work if I add another LED?”
“Why is one light dimmer when two are connected?”
“What happens if I change the pathway?”
Suddenly, their artwork becomes an experiment—and they become young engineers.

Safety Considerations: Using Lithium Coin Batteries ResponsiblyThese projects use CR2032 lithium coin batteries, which are very small and pose a choking hazard. For that reason, this activity is most appropriate for older elementary or middle school students, not younger children.

Before starting, I explain several safety guidelines:

1. Never put the battery near the mouth.
2. Store unused batteries safely until needed.
3. Secure all circuit components with tape to prevent loose pieces.
4. Remove the battery after class if the project will be transported.

Learning to handle materials safely is an important part of the educational experience.

Educational Value: More Than a Craft ProjectThis activity is not just an art project—it is a complete STEAM lesson offering multiple layers of learning:

1. Basic Circuit Understanding
   Students learn polarity, closed circuits, and the cause-and-effect relationship of electrical flow.
2. Creative Problem-Solving
   When lights fail to turn on, students diagnose their own mistakes, such as misplaced tape or reversed polarity.
3. Expanded Artistic Expression
   Light becomes a design element, encouraging students to think beyond traditional drawing.
4. Hands-on STEAM Integration
   Science, technology, engineering, art, and mathematics converge naturally in a single activity.
5. High Sense of Accomplishment
   The combination of creation and functionality gives students a deep feeling of ownership and pride.

A Small Light That Inspires Big ImaginationThrough this Christmas card project, I was reminded once again how much children enjoy discovering new possibilities. When their moon glows or their winter landscape lights up, they look amazed—not just at the card, but at themselves. They realize that they created something beautiful and functional.
​
If you are looking for a meaningful holiday art activity, I highly recommend incorporating LED circuit kits. They transform a simple greeting card into an unforgettable learning experience where imagination sparks, curiosity grows, and tiny lights shine brightly in students’ hands.
​

Safety Warning: Avoid Short Circuits

​When building the circuit, make sure the conductive tape does not touch both sides of the coin battery at the same time.
If the positive (+) side and the negative (–) side are connected directly by tape, it creates a short circuit, which can cause the battery to overheat.
Always check the student’s work at the end to ensure the conductive paths are separated and properly connected through the LED, not directly to each other.

One of my students, Yejin, recently submitted her artwork to the Scholastic Art & Writing Awards. After studying figure poses through pencil drawing and gaining confidence in her foundational skills, she expanded her practice beyond simple exercises and transformed her ideas into a fully realized original piece. What Jaycee wishes to express through this artwork is the meaning of “roots.” For her, roots are not merely a visual motif but a symbol of identity—an exploration of who she is, where she comes from, and what values she hopes to carry forward. Roots represent the connection between past and present, the grounding force that sustains a person through uncertainty, and the quiet strength found in knowing one’s origins. Through this piece, Jaycee gives shape to the inner journey of a young artist discovering herself, revealing the subtlety, vulnerability, and beauty of that process.

I am deeply grateful to Yejin for creating such a thoughtful and beautiful work despite her demanding schedule. Teaching students often feels like witnessing the discovery of an entirely new continent; each student carries their own world of talent, curiosity, and potential waiting to be uncovered. Over time, I see them grow from mastering basic skills to developing advanced techniques and expanding into their own creative voice. Watching them build confidence, form a positive sense of identity, and step into their artistic capabilities is one of the greatest rewards of being an educator. It is a privilege to accompany them as they transform their artistic practice and, in many ways, themselves.
​
The Scholastic Art & Writing Awards provide an extraordinary platform for this kind of growth. The competition invites young artists to present their work to a broader audience and helps them understand the value of their own artistic voice. Its rigorous and respected judging process motivates students to push their limits and engage more thoughtfully with their creative choices. Moreover, the experience encourages them to reflect deeply on what art means in their lives, leading to more mature and meaningful work. Scholastic serves not just as a contest, but as fertile ground where young creators can take their first bold steps toward their artistic futures.