The July Mailbag: Inspiring Supplies, Summer Doomscrolling, and Setting Boundaries (Ep. 525)

Tim: Welcome, everyone, to the July mailbag. We hope you had a wonderful Fourth of July and a great time celebrating the holiday. As always, Amanda Hein is here with me. Amanda, how are you?

Amanda: I am great, Tim. How are you?

Tim: Also doing great—and excited to answer questions. We have a great batch this month, so thank you to everyone who sent them in. Before we dive in, let’s do some introductions. Amanda, would you like to go first?

Amanda: Sure! My name is Amanda Heyn. I’m the Director of Community Engagement at The Art of Education University. I lead the team that creates all of our media content, the Art of Ed Community, and the Art Ed Now Conference—which is coming up very soon. I was an elementary art teacher before joining AOE, and I’m very happy to be here.

Tim: Awesome, thank you. My name is Tim Bogatz. For any new listeners, this is my podcast—we’ve been doing it for a very long time. Amanda and I do these mailbag episodes once a month. I was an elementary art teacher briefly and a high school art teacher for a long time, and I now host Art Ed Radio every week. As Amanda mentioned, the Art Ed Now Conference is basically my baby—it happens twice a year, and the next one is just weeks away. Amanda, I know you have some housekeeping items to cover before we dive into questions.

Amanda: I do! There is so much fun stuff happening in the Art of Ed Community. If you’re not already there, there are almost 10,000 people—so you’re a little late to the party, but we still want you! You can join for free at community.artofeducation.edu.

Here’s what’s coming up: On Thursday, July 9th at 6 p.m. Central, we have Art Club, where we learn a new skill and make some art with a special guest. Sarah Kryevski—better known as the Artroom Glitter Fairy on Instagram—is joining us to talk about discovering your artistic style. She’s doing a mural this summer and it is absolutely incredible.

Tim: She was just on the podcast last week, and it is always a joy to talk with her. If you need more Sarah in your life, come to Art Club—it will be a great experience.

Amanda: Truly, you just hang out with Sarah and you feel great. Our other big community event is Pop-Up Studio on Wednesday, July 22nd at 6 p.m. Central. The theme is “Tiny But Mighty,” and we have AOEU adjunct faculty and art teacher Katie Nasser joining us. We also want to extend a special invitation to our Studio Course students—if you’re working on coursework, come hang out and meet other students! And every Monday in July at noon Central, we have Mini Masterpiece Maker Mondays: 30 minutes of live-streamed art-making. If you’re participating in AOE’s Mini Masterpieces Instagram daily prompt challenge, Monday is a great time to work on your submission.

Tim: Absolutely. And if you love art making, I want to personally invite you to the Art Ed Now Conference. We have art-making opportunities on the kickoff Friday night, July 31st, and throughout the main event on Saturday, August 1st—including drawing, needle felting, and more. We would love to see you there.

I also need to mention that Oliver Jeffers is coming. If you’ve ever read The Day the Crayons Quit, Oliver Jeffers illustrated that—and he has written, illustrated, and created a tremendous amount of work beyond children’s literature. I had an absolutely wonderful time interviewing him for his presentation, and I cannot wait for you to hear it. You can find everything you need, including registration, at theartofeducation.edu/now.

All right, Amanda, any stories before we jump into questions?

Amanda: Yes! I have three short stories. Story number one: the garden news has been rough this spring, but we are officially turning it around. We ripped out the rose bush that had poison ivy grafted onto it, and now our yard is poison ivy-free. Shoutout to my husband Toby for handling that. My vegetable garden is thriving—it has been very rainy here, which I actually love—and my herb garden is doing so well that I’m picking fresh herbs every single day, which is genuinely enhancing my quality of life.

Story number two: I saw the perfect license plate this week. There was a tiny orange Fiat—custom orange paint—with the license plate CHESCRD. Cheese curd. I was driving with my kids to Trader Joe’s when I spotted it and said, “Oh my gosh, this is the perfect Wisconsin car.”

Tim: I have to admit, I did not pick up on that immediately.

Amanda: I saw your face—I had to help you out. You might have to be from Wisconsin to get it instantly. And it was orange. Anyway, it was perfect.

Story number three: we are getting very into scopes at our house. A few months ago, I was driving down a side road and spotted a giant telescope near someone’s yard. I knocked on the door and asked if it was free. The woman said, “Oh my God—I told Dan we needed to get this stuff out of the garage. We’ve had this telescope for six years and no one has ever used it.” So she gave it to me. We got it calibrated, and I have to say: we had a telescope before, but this is a telescope. It’s four feet long, twelve inches in diameter. Looking at the moon through it is extraordinary.

But that’s only one end of the spectrum. That same week, my twelve-year-old watched a YouTube video about finding tardigrades—tiny microscopic organisms, also called water bears. He went outside, scraped some moss off a tree, and announced he was going to find one. We have a high-powered microscope, and sure enough—he found a tardigrade. We all got to see it. It’s just really fun to watch kids pursue their passions and then pull you into something amazing right along with them.

Tim: I love it. The science-nerd portion of our audience is absolutely thrilled right now.

Amanda: If I hadn’t become an art teacher, I would have taught science. So this all tracks.

Tim: And I never thought garden talk would be this popular, but people love it—so maybe science is next. For my part, I have two quick things that made me smile recently. First: I took my son to Chipotle. He got extra rice, extra chicken, a massive burrito, chips, and guacamole—devoured all of it. Seven minutes into the drive home, he headed straight to the refrigerator and made himself a second dinner. I said, “Buddy, your burrito had to be 2,000 calories.” He said, “I didn’t really get full.”

Amanda: I have two boys, ages thirteen and ten, and after every meal, without fail, they eat everything and then ask, “What else can I have?” I have no answer for them. I provided dinner. That is my contribution.

Tim: Thankfully, my kid knows how to cook, so he can handle that himself. The second thing: I stopped by my friend’s third-grade summer school class and taught an art lesson, and it brought me so much joy. We did neurographic art—just lines and colors, very chill. It has been a long time since I’ve worked with elementary students, and I had an absolute blast. I don’t need to teach three weeks of summer school, but for about an hour and a half? I’d do it every time.

All right—I think we are ready for these amazing questions. Amanda, do you want to kick us off?

Amanda: Yes! Let’s open the mailbag.

Tim: Our first question is from Jordan in Colorado. Jordan writes: “Hey Tim! I loved the interview with Austin Kleon—he talked about time, space, and materials as the formula for creativity. I want to buy some new supplies that would get me excited about creating again. Do you and Amanda have any recommendations for materials that are really fun to work with and would help spark some inspiration?”

Amanda: Is this person asking me to go pretend-shopping with someone else’s money? Because I would love that. Before I give specific suggestions, I want to encourage you to find a local art store and just wander around. Not a large chain—a small, independently-owned shop. You can discover really delightful things when you don’t have a shopping list.

The last time I went to my local art store, I picked up three neon watercolor pencils and some silver holographic embroidery floss. Do I know exactly what I’m going to do with them? Not yet. But did they bring me joy? Absolutely. And as a bonus, my twelve-year-old spotted some cardboard tubes in the back room—this is a kid who once made a full suit of armor out of cardboard—and he asked if he could have them. He walked out with six or seven giant ten-foot cardboard tubes and was the happiest person alive.

Tim: I love that. Random materials can be such a creativity spark. I’ll also say: I have a habit of freezing up when supplies feel too precious or too specific. If you can get into the mindset of creating without worrying about wasting something, that alone is huge.

Amanda: Totally. And on to specific suggestions! First: get metallic, neon, or specialty versions of supplies you already love. Do you like pastels? Buy three premium pastels. You don’t need a full set—just a few special ones that make you excited to pick them up.

Second: jelly plate printing. It’s experimental, accessible, and you can use acrylic paint and found objects—leaves from your garden, for example. There are so many techniques to explore with just that one set of materials.

Third: tempera paint sticks. I know they’re often marketed for kids, but they are so smooth and so satisfying. You can lay down base layers quickly, and some are even water-soluble.

Fourth: specialty markers. There’s a brand called Uni (among others) that makes really interesting options—markers with metallic cores and vibrant outlines, and color-changing markers where you can layer colors to create unexpected effects.

And finally: fabric dyeing. Batik, tie-dye, shibori—anything process-based and multi-step, where the experimentation is half the point.

Tim: I love all of those. I’d add collage to the list—it’s experimental, accessible, and fun. And on getting out of your comfort zone: if you usually do small, detailed drawings, grab some giant paper and large oil paint sticks or pastels. If you usually work big and loose, try fine-tip markers on small grid paper. Changing your format can be incredibly inspirational.

I’ll also say: if you want to splurge on quality, go for it. High-quality colored pencils—like Caran d’Ache—feel like drawing with butter. Sometimes a truly excellent tool just makes you want to keep creating.

Tim: Our next question is from Sam in Ohio. Sam writes: “I’m ready to start my first job in the fall teaching elementary art, and I’m so excited! I’ve listened to so many episodes of the podcast—they’ve been so helpful. I have a lot of advice for the classroom, but would love to know if you have any advice for outside the classroom—dealing with administrators, things to help my career, or work-life balance. What advice do you have for new teachers just starting their careers?”

Amanda: Such a great question—and thank you for listening! I’ll break this down into your three categories.

Admin: When you have an issue—and you will have an issue, because something always comes up in the first year—go to your principal solution-oriented. Don’t just bring a problem; bring ideas. “I think I can handle it this way—what do you think?” or “I’ve thought through these three approaches—which do you recommend?” That shows your administrator that you’ve already reflected and aren’t asking them to do all the thinking for you. It goes a very long way.

My second piece of admin advice: treat observations as opportunities. No one expects a first-year teacher to nail every observation. Your administrator is there to help you grow. If you can be proactive—”I’m really working on this right now; can you watch for it and give me feedback?”—you’ll come across as reflective and growth-oriented, which positions you well.

Tim: And I’d add: early on, ask your principal what they care about. What is their vision for the school? For the art program? If you can align your goals with theirs, that relationship becomes so much easier to navigate.

Amanda: Go to the teacher’s lounge. I know that’s unpopular advice, but as a first-year teacher, get out of your room. It might be a destitute wasteland—that’s fine, give it one try. But you might also find wonderful people who become long-term colleagues and friends.

Tim: This is advice from a hardcore introvert. It feels easier to stay in your room, but long-term, it’s not good for you. Give it a shot.

Amanda: Same—I’m an introvert, and I went to the teacher’s lounge almost every day. You need the change of scenery, and sometimes there are snacks. Also, if there are after-school happy hours or staff events, try to make them when you have the capacity. Even a short appearance can go a long way toward building relationships. And of course: join the Art of Ed Community. You’ll have a friend in your pocket at all times.

Tim: It’s also a great sounding board. If you’re struggling with something, chances are someone else in the community has been there too. And for teachers who are the only art teacher in their building, it’s an invaluable connection.

Amanda: First—you have permission to say no. You can say a flat no. You can say, “I can do this instead.” You will probably say yes to something you regret; we all do. Just know it’s okay.

Tim: At the Art Ed Now Conference, Erin Sponaugle is presenting a session specifically about setting boundaries. She talks about using “I don’t” language—”I don’t do that without advance notice,” “I don’t do that without the proper supplies.” There are a lot of people right now telling you it is okay to say no.

Amanda: You also don’t have to join every committee. Even if you want to change the world, you don’t have to do it your first year. When you are asked to take on extra tasks, pick the most impactful ones—probably the ones your principal is asking for.

If you want to do a big project like an art show—and honestly, you don’t have to do one your first year—backwards-plan it into manageable steps so you’re not doing everything in March. We are trying to avoid eighty-hour work weeks. And finally: give yourself a lot of grace. You’re going to do so many things differently after your first year. It’s okay to mess up. Don’t ruminate on it. Leave it at school.

Tim: All great advice. The work will never be fully done—and that’s okay. Set a cutoff time. Protect your personal time. And one last thing nobody told me when I started: if you want to earn your master’s degree, do it early. Almost every district pays more for a master’s degree, and the sooner you have it, the more you earn over the course of your career. It’s the advice I wish someone had given me.

Tim: Our next question is from Kelsey in Georgia. Kelsey writes: “Every summer I tell myself I’m going to build a whole new unit, but by August I’ve barely started. Looks like I’m headed that way again this summer. LOL. How do you actually make progress on big curriculum projects over the summer when your brain just wants to decompress?”

Kelsey, first I want to ask: do you actually need to build a big curriculum project this summer? If your district is not paying you to write curriculum over the summer, you may not need to. That said, if you want to, let’s talk about how.

Amanda: Treat it like any other task and put it on your calendar. Block off a dedicated chunk of time—I’d suggest two full days rather than an hour a day over several weeks. Curriculum writing requires deep thinking. You need to be able to wrestle with ideas without constantly stopping and starting. Set a little reward for yourself afterward for extra motivation.

I’d also suggest going somewhere else to work. Get into your school if you can. If that’s too distracting, try a coffee shop or a library study room. And honestly? If your district doesn’t pay you for this, consider building it during a slower stretch of the school year—or use two Saturdays—rather than interrupting your mental break over the summer.

Tim: I always thought of summer as a time for collecting ideas and fall as a time for actually building them out. Use Pinterest or a notes app. Write things down. Let ideas marinate. You don’t have to start from scratch in September if you’ve been gathering inspiration all summer.

Amanda: Also ask yourself: is there a strong why behind this new unit? If the answer is, “I feel like I should,” that may not be enough. If the answer is, “My students have been asking about this topic and I think I can do something really exciting for them,” that’s a much more motivating reason to dig in.

And if you do want resources: AOEU offers a graduate-level course called Designing Your Art Curriculum that will guide you through the entire process. If your district has purchased Flex Curriculum, you may already have access to pre-built curriculums. And in PRO Learning, we have two great packs: “Bringing New Life to Old Lessons” and “Designing Art Curriculum Units.”

Tim: Both of those Pro Packs are excellent. And I took the Designing Your Art Curriculum course myself—I loved it. It helps you think deeply about your program and come out with units that are genuinely ready to use in your classroom.

Tim: Our next question is from Will in Wisconsin. Will asks: “Every year I send my students home with a summer sketchbook challenge, and every year maybe three kids actually do it. Is something like that even worth assigning? And how do you keep students connected to art when they’re away from school?”

Amanda: Hot take: I think what kids do over the summer is their own business. Would I love for them to keep making art? Yes. Is it worth my mental energy to worry about it? No. Summer is a break—for students and for teachers. It is not your job to keep students connected to art when they’re away from school. You can do your best during the school year, instill a love of creating, build sketchbook habits—but whether they continue those practices is out of your hands once they leave in June.

If putting together a summer sketchbook challenge is fun for you, wonderful. If it feels like extra work and only three kids do it anyway, you have full permission to let it go.

Tim: And I’ll give you the same permission—because fifteen years ago, this could have been me writing in this question. I used to stress about this constantly. One summer, I had a student come back with a stunning 36-by-48-inch painting of a fruit stand at a farmer’s market. She said one of my assignments had inspired it. Wonderful. And at the other end of the spectrum, another student had filled an entire sketchbook over the summer with her own work—ignoring my prompts entirely because she thought they were, and I quote, “kind of dumb.” And honestly? That was fine too.

The point is: meet kids where they are. If you enjoy putting together the challenge and it’s meaningful to even a couple of students, it’s worth it. But make it optional—don’t require it.

Amanda: And just because students aren’t doing your specific challenge doesn’t mean they’re not being creative. They might be baking, traveling, crafting, visiting museums—all sorts of creative things. All of that counts.

Tim: Absolutely. We talk about this on the podcast all the time—those small, everyday acts of creativity matter. We should appreciate them in our students too.

Tim: Our final question is from Priya in California. Priya writes: “I’ve been following a lot of artists on social media this summer, and it’s actually making me feel worse about my own work—like I’m comparing myself constantly. I know the answer to this, but I want to hear someone else talk about it. Do you think social media is ultimately good or bad for art teachers?”

Amanda: My answer is: yes. Both. It is good and it is bad, and here’s how I navigate it. I have two Instagram accounts. One is personal and private—I follow actual friends, news, and personal interests. The other is my work account, where I follow art teachers, artists, and educators. Having that separation is important. When I want to be in “work mode” and look for inspiration, I go to that account. When I want to scroll without it becoming a work experience, I use my personal account. You might consider creating a dedicated account for art teacher content—follow educators there, train your algorithm, and dip into it only when you’re specifically looking for that kind of inspiration.

Tim: That’s honestly perfect advice. I’d also say: before you open the app, ask yourself what you’re looking for. Are you looking for inspiration? Connection? Validation? Or just a mindless scroll to decompress? Being clear about your goal helps you reflect on what you’re actually getting—and makes it easier to put the phone down when you’re not getting it or when it starts making you feel bad.

Amanda: And one more thing: come to the AOEU Community. It’s genuinely different from social media. Nobody is there to gain followers or curate a polished image. People are there for real connection, real advice, and real support. You’ll find project ideas, inspiration, honest conversations—without the feeling that everyone else’s work is so much better than yours. It’s authentic, and that makes all the difference.

Tim: Authenticity is really the word. Real talk, real classrooms, real experiences. There’s plenty to celebrate and inspire you there—without leaving you feeling like you can’t measure up.

Thank you again to everyone who sent in questions this month—this was a wonderful batch. And Amanda, thank you for all your wisdom and advice.

Amanda: Of course. Thanks for having me. See you all next month!