PME2 Blog

Here is a link to my PME2 Blog https://pme2cr.blogspot.ie/

PME 2 - A little more experience, a little more wiser

My Teaching Statement

The Foundations of education are vitally important aspects of the professional development

of a teacher. Studying curriculum and assessment, history, sociology, psychology, and

philosophy form a corner stone of teacher education. They inform the teacher on how they

can resolve questions both given by staff and students, to understand their particular

school’s role in the local community and wider society, promoting all forms of literacy both

academic and social, make all lessons inclusive for students of all abilities, instead of having

a narrow educational focus. People have many reasons for becoming teachers, many

reasons are admirable such as developing student literacy, or love for a specific subject,

however, there can be a view in wider society that many people pick teaching, for the

shorter hours, and holidays. This is far from the truth from what I have witnessed in my own

teaching practise. Many teachers work incredibly hard to make lessons as exciting,

educational and inclusive as possible, they also focus on the wider school atmosphere

outside their classroom door, working on student well-being and communication in a non-

academic, instead holistic context. This is why a good understanding of the ethical and

professional identity of the teacher is vitally important. A teacher who believes that that are

both professional and ethical in their teaching practise, should be able to observe each

group, and each individual within that group, to tailor make a lesson suitable for that

particular class. Every class is vastly different to one another, as are the students

themselves. Therefore, it is important for teachers to be able to craft lessons that are not all

the same cookie cutter experience, but instead create something that caters for each

students individual need. This is by no means an easy task, but it is essential, for a ‘good’

teacher, one that fosters a creative and welcoming learning environment for all their pupils.

A teacher who recognises that the efforts of all pupils within the class need to be recognised

in order to aid student development. Recognition is a fundamental trait needed. Teachers

need to notice positive aspects in teenagers, and use it as the basis for the teacher pupil

relationship. Teachers must also recognise their students backgrounds, either family,

nationality, ethnic minorities and religious beliefs. This cannot be ignored, as it is a crucial

aspect of each student, and should always be taken into consideration when teaching

lessons. I believe that in order for myself, as teacher, to learn, I have to first critically

understand the professional, ethical and even moral role of myself as a teacher. In order, to

become a teacher who can understand how to encourage my classes to progress and learn

for themselves. In PME 1 all of this was new to me, and it was something I had to study myself, in order for myself to become comfortable with to use. However, in PME 2, I feel I have more experience to draw upon now, and feel much more comfortable in applying the various teaching methodologies I have studied in college. 

Well being

How Art aids student well being in the secondary school system

Art has for many years been perceived as a 'doss' subject. I, myself have witnessed this expression frequently, however, I have begun to notice that this attitude is changing, and that people are now understanding that Art has an important role to play in secondary schools. Art vastly aids, develops and helps students understand their own well being, and how they can develop it through Art.

       

Art can develop a students confidence, in ways no other subjects can offer! In the Art room, a variety of tasks, skills, techniques and opinions are welcomed. Difference and variety are welcomed with open arms, and are celebrated. Students feel more able to voice their opinions, as in Art class having an opinion, and expressing ones own opinions is developed. Students are asked to discuss topics of Art, as well critique their own work and classmates. This gives confidence to students, as they are allowed the time to develop these vital life skills, in the art room. For more information on this interesting topic, please follow this link The connection between Art and health

Art can tackle subjects or themes that are perceived as taboo or difficult. Subjects such as mental health, Sexual violence and bullying are all subjects that can be discussed and explored through Art. It can be a safe environment for a class to openly learn about and talk about such topics. Students can gain the right tools, and understand ways of emotionally dealing with such topics, through Art. Art can also be a source of healing for students, that is why it is so hugely important in the school curriculum. Here is an interesting article from the Huffington Post on this Art can be good for mental Health

Batik: A first experience of an ancient discipline

I was really excited at the prospect of attending the Batik workshops. Batik was a discipline, I had no previous experience whatsoever in. I was always intrigued with the type of Art, batik creates. However, I did not feel like I had the confidence to tackle it by myself, Therefore, I was delighted with the chance of being taught Batik by an Artist. 

Having now experienced the Batik process, I noticed many similarities between it and the process of printmaking in general. In both disciplines, an image cannot be totally copied from its original source, it has to be converted or altered to make it suitable for the process. Often, the image has to simplified, in respects to the level of detail or amount of colours in an image. Only then is it suitable to apply the process, either Batik in this case, or in my own previous experiences printmaking. If the image is not converted correctly, the resulting Print or Batik, will not be as successful as desired. Planning is essential!

Step 1: Researching a Suitable theme/Image

I decided to focus on the landscape, and its ever changing seasons. How nothing stays the same on the landscape, it is ephemeral, changing all the time. I believed that this would be a suitable theme for my very first Batik! Eventually, I decided to focus on Springtime, especially on the flowers and trees with new buds and foliage.

Step 2: Deciding on my final image

The Batik process is quite different to anything I had previously experienced. I decided to make a simple design for my first attempt at Batik. As I feared anything too complicated would inhibit my learning on the discipline so early on. Therefore, I decided on this image as my final image. Although, I redrew the image, or converted it. Making the image details simpler, and suitable for the Batik Process.

Step 3: Experimenting with Waxes and Dyes

There are 2 types of wax used in batik. Paraffin wax used for the crackling effect it gives. It is a much more brittle wax, which allows the dye gain more random and texture effect on the fabric. Beeswax is also used. However, it is a much harder wax, used for blocking out larger areas, it will not crack, peel or break off, therefore it is useful to use for large areas of flat colour, it will preserve the selected colours during the dying process. 100% Cotton or 100% Linen are the best materials to use for Batik, as they are completely natural fabrics, which dyes excellently. Fabrics containing man made elements such as polyester do not take the dye as well, because of the amount of plastic contained in the fibres.

 An Example of Paraffin Wax

   An Example of Beeswax

Beeswax used in batik

The large white areas were created using Beeswax

Paraffin Wax used in batik

The crackling effect seen is create by the use of Paraffin wax

On this piece of linen, I tried some spot dying, where I applied the dye to the linen using a paintbrush. This techniques is suitable for areas of detail, as it allows a lot of control of where the colour goes. 

On this piece of cotton, I experimented with both beeswax and paraffin wax to see for myself, how they reacted side by side. 

Step 4: The Wax Process

Batik requires the Artist, to draw onto the material using Wax. Wax needs to be in a liquid form for this to be possible, therefore, it is melted in a wax pot, as pictured above. A canting is dipped in the liquid wax, it has a reservoir near the nib that allows for the wax to slowly flow onto the nib, allowing the  artist to draw with the wax! A sponge, stamps, paintbrush and many other tools can be used to gain various types of marks and textures with the wax. The wax must soak right through the material, or else it will not do its job of protecting the fabric from the ink. The material must be held tightly on a wooden frame, holding it tight with pins, this creates a suitable tension to allow the wax to soak through.

A batik frame

Step 5: The Dye Process

Dyes need to be mixed correctly, according to manufacturers guidelines, in a clean environment. The relevant health and safety concerns must be followed especially when mixing dyes. To achieve a light colour, fabric must be placed in the dye bath for a short time (5 mins) , and to achieve a dark colour (15 mins). This is the dip dye process. Therefore, the dye process requires careful timings. You must start with your lightest colour first, and dye this first and the cover it with wax, and dye again. The lightest colours can only be achieved at the start, as the repeated dying would darken the naked fabric, therefore darkest colours are created last. 

Step 6: The drying process

Leave the finished batik to dry naturally inside, hanging on a clothesline is best, as it allows the excess dye to drip off evenly, and not pool on certain areas of your image.

Step 7: Waxing off process

To reveal your final image. The wax must be taken off the image. The wax has to be ironed off, as it is now solid, the heat from the iron will melt it off. Lots of layers of paper have to be used to soak all the wax off the fabric. Once all the excess ink is melted off the final image can be revealed.

Observational Drawing and Painting

Observational Drawing and Painting

Observational Drawing

Drawing is a fundamental skill of Art. It is a core element of the discipline, and it is at the heart of every Artistic practice. Therefore, it is paramount it is taught effectively to pupils. It is at the core of the Junior and Leaving Certificate curriculums. It was the first workshop I participated in on this course. Even though I felt I already had a good education in my drawing practice. My knowledge was not sufficent enough for teaching to others. These drawings are examples of observational drawing workshops, where intense and close study of an object is required. Line, Proportion, Shading, tone, Foreshorting are all terms I understood, but a pupil would not necessairly. Therefore, it was probably one of the more important workshops to be taught to us. 

Obsersevational Painting

The Fundamentals of colour mixing, composition and most importantly observation were shown to us in this workshop.  We were shown how to set up a still life, and draw thumbnail sketches, to see which still life layout would be most successful.Once, that was completed a large scale drawing was begun. In this picture below you can see some of my original sketch and the first two layers of paint applied to this still life painting.

 In the image below, where much more detail can clearly be seen in the painting. It is about at the half way stage of the work. Observing and mixing the colours was a very difficult task, as I found the changing light, from different days, difficult to control in my painting. However, it was an excellent workshop in painting, as I did not have that much previous knowledge about colour mixing. Warm and cold colours, could clearly be seen, and I found the best tool to help aid in my colour mixing, was the colour wheel. Yes it is a simple tool, but the simplest are often the best!

School Art Week

School Art Week

Many schools have a Science, Maths, French or Irish week, However, Art week is much rarer! Luckily, the school where I am on placement, is fortunate enough to have a school Art week, that involves all staff, pupils and the wider artistic community of the local area. Art week was set up to highlight, all the different career opportunities, that can lead from a career in the visual arts, for the pupils who often ask; What job opportunities can they get from studying Art?. People working in the local artistic sector are brought into the schools to show them their own unique avenue of the sector, and how they make a living from Art. Graphic designers, Ceramicists, Painters, Fashion Designers, Print makers, Photographers and Book maker, were all introduced to the Art pupils over the course of one week! Each Professional gave a demonstration of an aspect of their career, and made a mini project with the teachers assistance in class. They also gave a presentation about their career, and answered any possible questions, pupils may have had! It was a unique opportunity for the pupils, as normally many of them would never have had the opportunity to meet such individuals or perhaps ask a question. 

    A graphic designer visited one of my classes, and the class, myself, and the graphic designer, were given the task by the Principal to create some new Art suitable to hang in the canteen. The graphic designer presented a string project idea to the class. Over the course of our classes together that week, everyone collaborated together. It was wonderful to see the class interact with the graphic designer. I think it made Art seem like a much more serious alternative career wise! 

  Large MDF boards were used for the project. Pupils marked out each letter, and designated pupils were supervised hammering in the nails. Pupils voted for what colours they wanted to use, and the whole class under the direction of the graphic designer applied the string in whatever pattern they liked. The graphic designer used this project to demonstrate to the class, the variety of the career and how a degree in visual communications is applied in real life. Pupils got a taster of the career, as they were talked through each step and shown previous examples of work, Many of which some examples were already familiar to the class! 

Participating in Art week, on my placement, is something I defiantly gained a lot of experience from, and it is something I would defiantly introduce to another school.

Relief Printmaking

Relief Printmaking

Most likely my favourite workshop I attended during semester 1 of the PME. This workshop solely focused on Relief printmaking; Lino printing to be exact. As I myself as a printmaker, who works solely using lino printing, I was intrigued to see how the format would be simplified and changed to correspond with a secondary school format. As a printmaker, I use various toxic chemicals and inks, in the process, before I completed this workshop, I was unsure how I could adapt this for the classroom.

Step 1

We were instructed to pick an image that was bold, and that contained good contrast, making it suitable for lino print. As this is a graphic medium, it sometimes can be more difficult to pick up subtle details. I choose an image of a landscape I had taken myself previously. I felt it had the key criteria required. It was a bold image, that had an equal amount of positive and negative space. This is my chosen image.

Step 2

A photocopy in black and white of the image, was next used to simply highlight areas of contrast. Wherever was black on the photocopy would print, and wherever was white would not print. The idea is very simple! We were encouraged to draw over the photocopies with white chalk or black markers, depending on what areas of the image we felt we needed to change. This was a good exercise as it simply showed the ability of lino print.

Step 3

Designs were next drawn directly onto the surface of the lino. Areas that were to be not carved, I coloured in completed using a black marker, areas to be carved, I left a blank. Planning is crucial with lino print, as once you start carving, you cannot afford to make a mistake as the whole block will be ruined. Therefore, this planning stage in the classroom really has to be closely observed and explained by the teacher in class.

Step 4

The different lino carving gouges were shown to us. This was really helpful, as many pupils tend not to vary their use of gouges, therefore a print can look boring. Lecturers gave us a demonstration about the carving process. They showed us the V and U gouges in the various sizes. Telling us V size was more useful for thin lines and detail, whereas U was more useful, for carving away large areas and for creating interesting textures on the block. The correct manner to hold a lino cutter was shown to us, and we were told to 'always carve away from ourselves'. Bench's were supplied, and it was stressed that safety in the classroom is paramount, especially when using lino print. 

Step 5

The carving stage commenced. Lecturers did not interfere too much in our actual carving. But they were especially watchful of safety. Constantly reminding us, about the danger of the sharpness of the lino cutters. I really took this into consideration, as in a classroom environment, an accident could escalate quite quickly. They kept emphasising the dangers, and to always be mindful of a pupil injuring themselves with the lino cutter. A bench hook must always be used when carving, to eliminate as much risk as possible.

Step 6

Next stage in the lino process, is the printing stage. As most schools, are not fortunate enough to have a printmaking workshop, an alternative means must be used. Also, toxic chemicals associated with printmaking cannot be used, therefore everything used is water based and non-toxic. We were given a demonstration in classroom printing, which to me, was especially interesting, as I was unsure how to approach this aspect of the applying the discipline. They explained to us that planning is everything when it comes to this. To be prepared and have the room, clearly set up in designated zones, for example; inking up; hand printing; drying racks. Having these zones eliminates some of the mess and chaos that can quickly overcome a classroom. It also aids the teacher, keep the momentum of the lesson going, as pupils get involved in the process, as it is clearly shown to them.

Step 7

Lecturers reminded us to always evaluate a lesson at the end, especially at the end of a discipline, to cement pupils learning. It is also used to highlight successful and unsuccessful work, and can be used to start a class discussion about what they have leaned in the printmaking process.

My Reflections

 12/9/2016

First Years (Double Class 9.30am)

This group of first years are partaking in a taster of Art for six weeks. Every six weeks students rotate optional subjects  first year.

               They are at construction stage of their mask making project. Each student is at the same level, and I have noticed that my co-operating teacher has taken great care to keep the class progressing at an even pace together. Even though they are a class of mixed abilities. The teacher at the start of the lesson went and spoke to each pupil individually about how their mask was progressing. I was also included in this and my co-operating teacher took great care in asking my opinion on helping the students.

              They were warned especially about the hot tap in the classroom, as they were first years, and unused to the classroom. She repeated this warning time and time again. More care was taken possibly because they are so young, I found this interesting.

12/9/2016

Transition Years (Single Class 11.05am)

     This class is very diverse, containing nationalities such as Japanese, Australian, Spanish, Jamaican and Irish. Instead of trying to gloss over the diversity, the teacher seems to have instead chosen to embrace the multi-culturalism of the class with a suitable project.

        It is interesting to see how they are allowed to assit the teacher in choosing the project. It also gives the pupils a sense of responsibility in the class. She does not mind them like the first year class. They instead have discussions and brainstorms in groups, which they then presented to both the class and teacher to vote on together.

                                                                            16/9/2016

First Years (Single Class 11.05am)

           Class continued on making their masks today. Over half the class were onto the painting stage, of their masks, whilst the rest of the class were still finishing off the plaster of Paris elements of the masks.

       My co-operating teacher I noticed was very quick to identify which children were at a different stage. She straightaway separated the two groups; plaster of Paris and painting, into two different sides of the classroom. This kept the room cleaner, and it was also an effective use of materials. It was also much safer because they were not dragging and spilling water across the classroom. It also served to keep the class concentrated at the task in hand. It was an effective way to manage a single class.

                                                                              19/9/2016

First Years (Double Class 9.30am)

    The majority of the students today were ready to paint with their masks. Each student was asked to show their colour ideas to the teacher, and she asked them what colours they required. It also seemed to me to turn into a lesson about colour mixing applied in a fun manner. The children were learning about colour mixing and colour theory without even realising it. It was a very clever way, that the teacher incorporated the aspect of technical skill into her lesson. The children seemed to be really stimulated by being allowed the freedom to pick and mix whatever colours they wanted. I noticed the teacher did not spoon feed the children, and tell them exactly what colours to mix to make a 'green'. Instead, she let them make the mistakes themselves, and from that they really learned an invaluable lesson in colour mixing.

Transition Year ( Single Class 11.05am)

        The class were still continuing with their multi-culturalism project. They all divided into their assigned groups, and continued to work on their finalised designs for the clay tiles. The class seemed to be harder to get to focus on the task at hand. The teacher believed that the research and preparation element of the project, had possibly made them a bit restless. To curb this disillusionment in the class, she decided to engage them, with examples from the next stage of the project. The class has never worked in clay or ceramics before. As the school, only got a kiln this year, it is completely new to the school. Therefore, the students are not really aware of all the possibilities available to them.

Transition Year ( Double Class 8.50am)

The Class today moved into the construction stage of their clay tile project. As none of the pupils had any other previous experience with ceramics. My co-operating teacher dedicated the first class completely to giving them a step by step demonstration of the whole process. I felt this was a good idea, as ceramics is a complicated process, and it would have been unfair not to show all the techniques used in the clay tile project. 

       The pupils seemed excited at the prospect of using a completely new technique to them and the school. My co-operating teacher was well prepared for this demonstration, and had all the visual aids, representing each step of the process. I felt this was an excellent idea, as it is difficult to explain the firing process, for example to the pupils, as they were completely new to it. However, having the visual aids allowed the pupils to easily learn the new techniques and terms. It also allowed them to visualise what they themselves needed to aim for.

30/9/2016

First Year ( Single Class 11.05am)

t The majority of the pupils in the class are now almost completely finished painting their masks. As this is only a single class, my co-operating teacher decided to use it too demonstrate the next project the class will undertake. Using examples, this time of previous first years work, which I believe gives the pupils good confidence and belief in what they themselves can achieve, when they see the work of a child their own age. My co-operating teacher cleverly managed her use of time in this single class. Whilst the pupils were putting the finishing touches to their masks. She was also explaining to them what the next project was. I felt it was an effective way to use the class time wisely. The pupils did not grow restless as they were busy with an activity. However, they were not so busy with this activity, that they could not also focus on what their teacher was showing them.

 3/10/2016

First Years ( Double class 9.30am)

All pupils have now completed the mask project, and are now on the 3D tile project. Pupils were asked to draw out their design to scale onto tracing paper, and then transfer to a wooden block. None of the class had difficulty with this aspect; as it had been clearly explained to them in previous classes. the pupils showed more difficulty in using the spectrum clay. As this was a completely new material to them. It is also some what difficult to apply onto wood. It was probably the first time these pupils had been challenged as much with a difficult material. It was interesting to see how my co-operating teacher motivated them, to be not confined with the limits of the materials difficulty to use. But, to instead persevere and complete a finished base design successfully in a double class.

3/10/2016

Transition year ( single class 11.05am)

As there  was smaller class numbers today than usual. The pupils were split into three groups and given a design each to draw out to a larger scale for the clay tile project. This I felt was a difficult task for the pupils to work together accurately, drawing their design to a larger scale. It helped having the pupils in groups of three, as they did not become so overwhelmed with the difficulty of the task at hand. It was also a good lesson in drawing large scale and working as a group. The pupils were encouraged to interpret and rescale the design as accurately as possible, by the co-operating teacher. I felt this was good, as it is a real example of artists are required to work in reality. By separating the pupils and creating the three separate groups of three pupils, the pupils were able to manage the difficult task, within the single class. They had also gotten a lot of work completed quickly. It was an efficient way of using a lesson when class numbers are low, and the class cannot go too far ahead of those absent.

6/10/2016

Transition year (double class 8.50am)

As the large scale clay tile plans were still being drawn up to larger scale, by the three groups. The rest of the class could not proceed to make their tiles as they were waiting for the others to finish completing the designs. As these pupils had nothing really else they could not do at this stage of the project; my co-operating teacher decided to get the pupils who were not doing anything to make posters to decorate the school assembly hall for maths week. The class were very unmotivated and listless. The co-operating teacher I noticed tried many different ways to motivate them. However, as hard she tried her effort did not seem to get them much more motivated at the task at hand. It was interesting to see this situation and think about how I would try to motivate them.

7/10/2016

First year (single class 11.05am)

Today the pupils were continuing their spectrum clay project. I noticed the pupils kept complaining about the difficulty of moulding the clay into the shapes they required. I noticed my co-operating teacher kept trying to continually motivate the pupils who seemed to be slowest using the clay. And she used the work of pupils who had a successful technique, as an example, describing and asking the successful pupils what method they used. This seemed to really help and motivate the rest of the class. It was a good example of peer learning amongst the class.

 10/10/2016

First year (double class 9.30am)

The class had all proceeded to the next stage of their project. The next stage required them to become more picky about the way they applied the materials as if not applied correctly, the tiles could have a clumsy looking appearance. Some of the more impatient pupils started to rush this part of the process. My co-operating teacher was quick to spot this amongst her class. She made the pupils who rushed their work, re-do in the correct manner, what she had originally demonstrated to them. This served as a good way of stopping this problem of rushing in any future lessons with this class. It thought them to take their time and too not worry about always being the first to complete a task. It was a good demonstration especially to first year pupils, who really seem to suffer with this idea; that first to finish is always the best! It was a good lesson for the pupils; as they seemed to learn that in this instance finishing first did not necessarily mean they had made the best project.

10/10/2016

Transition year ( single class 11.05am)

As the scaling up of the clay tile designs was still being completed by about half the class working  in pairs. The other half of the class were still completing their posters for the schools maths week that is taking place the following week. They were tasked with creating eye catching posters to decorate the schools assembly hall. My co-operating teacher used this poster task to teach them about the fundamentals of graphic design. Graphic design is a fundamental core of the art curriculum. However, it can be difficult to explain verbally, as it contains many technical terms. It was a much better idea to teach graphic design as a project. As the pupils did not even realise they were learning a key part of design. My co-operating teacher decided to use a PowerPoint presentation which contained plenty of examples. She cleverly used recognisable and famous logos as examples. This really seemed to excite the pupils learning about something that was familiar and recognisable to them.

20/10/2016

Transition year (8.50am Double class)

Class today had reached the glazing stage of the sample tiles clay tile project. My co-operating teacher decided to give a glazing demonstration, as none of the pupils had any previous experience in ceramics. She also had to point out the relevant health and safety precautions to do with ceramics. What seemed surprising to pupils was that the glazes were a different colour after firing. I noticed that this particular lesson had its equipment carefully set up. Each glaze was clearly labelled with the colour once fired and an example of a fired tile was also left behind each pot. It worked very well as a simple visual tool, as the tiles each showed firings after 1, 2, or 3 layers of glaze. This was a useful teaching aid, as my co-operating teacher could easily refer to it, and all pupils seemed to grasp this idea quickly. Throughout the lesson, I noticed pupils consulting these tiles themselves. It was interesting to see this self direction.

11/11/2016
First year (11.05am single class)

Today as this was only a single class. I was very conscious of time management. To aid the pupils I had everything prepared that they would need to help them focus on their own masks for this lesson. I feel this was the best plan for this particular class, instead of having pupils wasting valuable time on getting out materials, they could instead start straight away on construction of their masks. Many pupils seemed to benefit from this and many of them actually finished the newspaper construction stage of their mask as well. I feel this plan worked effectively and will try to keep it up for single lessons. It is especially useful technique as the first years are unfamiliar with the art room as well. And therefore would be slower just finding where everything actually is in the classroom an storeroom.

14/11/2016
First year ( 9.30am double class)

Today the class were continuing on the construction of their masks. Many pupils moved from newspaper stage to plaster of Paris stage quicker than I  had anticipated. Three classes and many had already completed forming the faces of the mask. I found this difficult to judge how to guess how much time pupils would take constructing their masks. How do I learn to judge time management? Some pupils however were quite slow and were unable to move onto the next stage or solve a problem. They constantly required my help. However, I did not want to over help or take over the task as in the end, the pupils would not learn anything. Also, I found that by helping one pupil for too long, that the rest of the class could end up being neglected by me being too focused on one or two pupils. As the situation turned into several pupils asking me what to do next.

14/11/2016

Transition year (11.05am)

Today, the class were quite boisterous. I found it difficult to give them instructions and to make them listen. I found that half the class were listening to me and the other half were not. Basically, I found I was speaking over them, trying to compete almost with the boisterous class. However, once I eventually got all the pupils onto task they worked very well. I was impressed especially with their level of speed and technical skill on this project. As this for the majority of the pupils is their first experience with ceramics! Managing classroom resources is generally not a problem. However, today it was. Between 18 pupils, I had two clay extruders and nearly every pupil at some stage needed to use this tool. I decided to divide the two clay exctuders between the two sides of the room. It was the best way I could divide the resources I felt! Dividing the clay exctuders seemed to help as more pupils got access to the tools, and completed nearly all of the clay tiles today.