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The Best Free Field Trip Clipart for Educational Materials

Introduction.

Welcome, teachers and educators! Are you on the hunt for the perfect visuals to brighten up your educational materials and school projects? Look no further! We’ve got just the thing – a treasure trove of free field trip clipart that’s bound to put smiles on your students’ faces. Whether it’s for worksheets, presentations, or class decorations, these delightful images capture the essence of learning adventures outside the classroom. From museums to parks, and science expeditions to historical sites, we’re here to make your educational journey a little more fun and a lot more visually appealing. Let’s dive in and discover how these free resources can transform your teaching materials!

Where to Find Free Field Trip Clipart

Websites offering free field trip clipart.

Many educational websites and digital libraries cater specifically to teachers and students, offering a treasure trove of free clipart perfect for school projects. Sites like Pixabay, Unsplash, and Teachers Pay Teachers provide an array of field trip-related images, from buses and maps to historical landmarks and science museums. Always make sure to filter your search for “free” options to access a wide variety of no-cost resources.

Tips for sourcing high-quality clipart

To ensure the clipart you select enhances your educational materials, aim for high-resolution images with transparent backgrounds, which allow for more versatility in your projects. Utilize advanced search filters on websites to narrow down your options for better quality pictures. Pay attention to the details in each clipart to make sure they accurately represent your field trip theme and resonate with the intended age group.

Licensing considerations

While many websites offer free clipart, it’s crucial to understand the licensing terms. Look for images that are marked for commercial use with no attribution required to avoid any legal issues. However, when in doubt, giving credit to the creator is always a good practice and sometimes, it’s a requirement depending on the license.

Types of Field Trip Clipart to Use

Bus and transportation clipart.

This category includes various modes of transportation commonly used during field trips, such as school buses, vans, and trains. Using these images can help set the scene for your educational materials, adding an element of excitement about the journey to the destination.

Destination and landmarks clipart

Whether it’s a museum, a historical site, or a science center, destination and landmarks clipart can help visually describe the purpose of the field trip. These images also provide a sneak peek of what students can expect to learn and explore, enhancing their anticipation and engagement.

Student and teacher clipart

Incorporating clipart featuring students and teachers can personalize your educational materials. These images can depict various activities during a field trip, such as exploring, learning, and interacting, which are essential components of the educational experience. Such visuals can foster a sense of inclusion and community among the students, making the field trip experience more relatable.

Best Practices for Using Field Trip Clipart

Ensuring accessibility for all learners

When selecting field trip clipart for your educational resources, it’s essential to consider the diverse needs of all students. Choose images that are clear, with simple backgrounds, and avoid using clipart that might be difficult for students with visual impairments to understand. Alt text descriptions are also beneficial, allowing those who use screen readers to access the content effectively.

Incorporating clipart in lesson plans

Field trip clipart can add a fun and engaging element to your lesson plans. When incorporating these images, align them with the lesson’s objectives to enhance understanding. For example, if you’re teaching a unit on ecosystems, including clipart related to the different places you can visit to observe these ecosystems helps solidify the learning objectives. Always make sure the clipart is relevant and adds value to the material being taught.

Creating visually appealing materials

The use of field trip clipart can transform dull and text-heavy educational materials into visually stimulating learning tools. Be mindful of the color schemes and the overall layout when incorporating clipart. Using too many colors or overcrowded layouts can be distracting. Aim for a balanced look by pairing clipart with short, concise texts. This not only makes your educational materials more appealing but also helps in retaining learners’ attention and improving their understanding of the subject matter.

Creative Ideas for Using Field Trip Clipart

Bringing educational materials to life doesn’t have to be a daunting task. With field trip clipart, teachers and students alike can create captivating content that enhances learning. Here are a few creative ways to incorporate these free images into your projects.

Creating interactive maps

Interactive maps are a fun and educational tool that can benefit greatly from field trip clipart. Imagine mapping out historical sites, nature reserves, or important landmarks for a class project. By adding clipart images of these places, students can visualize their virtual journey, making the learning process more engaging and memorable. This can be especially useful for visual learners or to spark interest in geography and history topics.

Designing informative brochures

Brochures are a classic way to present information in a concise and attractive manner. Whether you’re creating a guide for a museum visit or compiling facts about a national park, incorporating field trip clipart can transform your brochure from plain text to an engaging visual experience. Use these cliparts to highlight different sections, such as wildlife, attractions, or facilities, making your brochure both informative and visually appealing.

Developing engaging presentations

Presentations are a staple in educational settings, but they can sometimes feel lackluster. Enhance your next presentation with field trip clipart to keep your audience interested and engaged. These images can serve as visual cues that help illustrate your points or break up text-heavy slides. Whether you’re discussing a recent field trip experience or planning an upcoming excursion, adding relevant clipart can make your presentation stand out.

Utilizing field trip clipart in these creative ways not only enriches your educational materials but also makes the learning process more enjoyable for students.

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Field Trip Clipart

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In Pennsylvania, Biden has a field day razzing Trump on everything but his trial

As he kicked off a series of events in the crucial battleground state of Pennsylvania on Tuesday, President Joe Biden freely ripped into his nemesis. 

From his hometown, Scranton, Biden chided Donald Trump about his past tax plan for giving tax breaks to billionaires and his comments about Social Security . He joked about Trump’s personal financial predicament. He accused Trump of ballooning the federal debt, razzed him for suggesting that injecting bleach could battle Covid-19 and called him “ Donald Herbert Hoover Trump.” 

What Biden didn’t do is touch the lowest-hanging fruit of all — the fact that at the same time, Trump was sitting in a New York City courtroom , the first president or former president in history to stand criminal trial. 

As eventful as the trial commencement has been and as salacious as the details of Trump’s case are — involving paying off a porn star to evade political reprisal — Biden didn’t budge from his longtime practice of steering clear of any specific talk about Trump’s legal predicaments. Though he has nibbled around the edges from time to time, Biden doesn’t delve into the indictments Trump faces even, it seems, when a criminal trial is actually underway.  

At the same time, Biden’s campaign was having a field day with memes coming out of the trial, ribbing Trump for possibly having nodded off in court . It also put out a news release this week titled: “After Stormy Abortion Ban Coverage, Trump Poll Memo Attempts to Hush Panic.” 

It tried to capture the onslaught of rough media Trump faced after last week’s Arizona Supreme Court decision that cleared the way for a near-total ban on abortion in the state, while playing off of porn star Stormy Daniels and “hush money,” the oft-repeated shorthand for the charges he faces.

The campaign seemed to relish poking fun at Trump, calling him “Sleepy Don,” turning the tables on his onetime nickname for Biden, “Sleepy Joe.” But beyond that, the campaign, like Biden, evaded actual commentary on the charges themselves. The White House did the same. Asked whether Biden was being briefed or was watching Trump’s courtroom happenings, White House press secretary Karine Jean-Pierre shifted and laid out Biden’s itinerary in Pennsylvania. 

“The president is going to Pennsylvania today, and he’s going to do a three-stop tour,” she said before the event. “He’s going to focus on how he’s continuing to help the American people.”

There is an inherent danger for Biden in getting too close to the criticism of Trump’s indictments. Trump has repeatedly told his supporters that the array of court charges he faces is akin to election interference and accused Biden of persecuting him. Celebrating criminal charges against Trump could play into that narrative. 

A Biden campaign official said the recent references to Daniels were a creative way to get out a broader message about abortion. As for picking at Trump for falling asleep, the official said that’s consistent with the campaign’s highlighting Trump’s gaffes and that, in this case, it was too good to pass up. 

“It’s smart of the president to continue doing what he’s doing, which is talk about his positive vision for the American people,” said Brandon Weathersby, a spokesman for American Bridge 21st Century, the key opposition research group for Biden.

His group, in the meantime, is rapidly responding to the trial, highlighting “chaos” surrounding Trump. 

“With Donald Trump being in court just the last few days, we’ve seen a lot of chaos. He’s intimidating jurors. He’s getting reprimanded by the judge. He’s going on rants on social media," Weathersby said, pointing to the split screen with Biden, who was out campaigning and laying out his platform. “Right now he’s doing the job. He looks like a president.” 

On Tuesday, against a backdrop that read “Tax Fairness for All Americans” Biden, 24 hours after Tax Day, laid out a tax plan he said would benefit the middle class and working-class people. It would expand the child tax credit, he said, and add a minimum tax for billionaires. At the same time, he vowed he wouldn’t raise taxes on anyone making less than $400,000 a year. 

But he was far from sparing about Trump, seeming to take joy in a string of snarky comments.  

He bashed Trump, saying he cut taxes only for the wealthy. 

“I have to say if Trump’s stock in Truth Social, his company, drops any lower, he might do better under my tax plan than his,” Biden joked to the Scranton crowd. 

He had the supporters clapping and laughing at another point when he told a story about being confronted by someone who complained about not feeling the benefits of the economy. He was, however, setting up a joke at Trump’s expense. 

“Just the other day a defeated-looking guy came up to me and asked if I could help. He was drowning in debt,” Biden said. Then he delivered the punchline: “I said, ‘I’m sorry, Donald, but I can’t help you.’”

It was a line Biden had used in private events but hadn't said publicly before.

Biden is to spend the next two days traversing Pennsylvania in a series of events, including in Pittsburgh and Philadelphia.

Natasha Korecki is a senior national political reporter for NBC News.

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Trina Robbins, Creator and Historian of Comic Books, Dies at 85

Obsessed with comics from a young age, she was a pioneer in a male-dominated field and later documented the contributions of other women.

By Gavin Edwards

Trina Robbins, who as an artist, writer and editor of comics was a pioneering woman in a male-dominated field, and who as a historian specialized in books about female cartoonists, died on Wednesday in San Francisco. She was 85.

Her death, in a hospital, was confirmed by her longtime partner, the superhero comics inker Steve Leialoha , who said she had recently suffered a stroke.

In 1970, Ms. Robbins was one of the creators of It Ain’t Me Babe, the first comic book made exclusively by women. In 1985, she was the first woman to draw a full issue of Wonder Woman, and a full run on a Wonder Woman series, after four decades of male hegemony. And in 1994, she was a founder of Friends of Lulu, an advocacy group for female comic-book creators and readers.

Before she devoted her life to comics and to the women who make them, Ms. Robbins was an accomplished clothes designer and seamstress in the 1960s, outfitting music stars like Donovan and David Crosby. She became a notable figure in the hippie communities of New York City and San Francisco, and in Los Angeles she caught the eye of Joni Mitchell.

The first verse of Ms. Mitchell’s song “Ladies of the Canyon,” featured on her 1970 album of the same name, is a portrait of Ms. Robbins:

Trina wears her wampum beads She fills her drawing book with line Sewing lace on widow’s weeds And filigree on leaf and vine.

Trina Perlson was born on Aug. 17, 1938, in Brooklyn, the younger of two daughters of Jewish immigrants from what was then Russia but is now Belarus. Her father, Max Bear Perlson, worked as a tailor until Parkinson’s disease forced him to retire; her mother, Elizabeth (Rosenman) Perlson, was a second-grade teacher.

At a young age, Trina became obsessed with comic strips and comic books, gravitating to female characters like Brenda Starr, Patsy Walker and Millie the Model . A particular favorite was the fashion plate Katy Keene , who inspired Trina to make dresses for her own paper dolls.

She also drew comics: In her 2017 memoir, “Last Girl Standing,” Ms. Robbins wrote, “My wonderful mother brought home from school an endless supply of 8½” by 11” Board of Education paper and No. 2 pencils, from which I would chew off the erasers.”

When she began high school, her mother told her that it was time to abandon comics, and Trina complied, shifting her obsession to science fiction. In her senior year, she wrote and costumed a sci-fi play called “Twenty Years Later.”

After one year at Queens College, she moved to Los Angeles, where she posed nude for pinup magazines in the erroneous belief that doing so would lead to a movie career. In 1962, she married Paul Jay Robbins, a magazine editor; they divorced in 1966. During that time she “locked herself in a room with an electric sewing machine,” she was quoted as saying in “Dirty Pictures,” Brian Doherty’s 2022 book about underground comics; she was soon making dresses, which she sold at craft and Renaissance fairs.

Ms. Robbins befriended members of the Byrds and the Doors and moved between the coasts. In New York City, she opened a clothing boutique on East Fourth Street in Manhattan called Broccoli, a name inspired by a claim she had made, while high, that she could communicate with vegetables.

When she read the alternative newspaper The East Village Other, she was captivated by its surreal comic strips and realized that the doodles she had been making could be comics, too. As a lark, she illustrated, in Aubrey Beardsley style, a one-panel cartoon about a teenage hippie named Suzi Slumgoddess and slipped it under the door of the paper’s office. To her surprise, it was printed, launching her career as an underground cartoonist.

Ms. Robbins became a regular contributor to The East Village Other, making comic strips that doubled as advertisements for Broccoli. She often rendered her characters like the dolls that had captivated her as a child, and her strips mined the contrast between that innocent style and taboo-breaking subject matter. When the paper published a comics tabloid called Gothic Blimp Works in 1969, she contributed a strip about having sex with a lion.

Her comics about sex were often playful — the two-page strip “One Man’s Fantasy,” for example, was about a man captured by a group of attractive women, who force him to make a tuna fish sandwich. But she found that many male cartoonists were threatened by any hint of feminism.

Ms. Robbins was repulsed by the dark material in Robert Crumb’s comics and the way the underground scene followed his lead. “Rape and humiliation — and later, torturing and murdering women — didn’t seem funny to me,” she wrote in her memoir. “The guys told me I had no sense of humor.”

Ms. Robbins was responsible for the first publication of some notable cartoonists in The East Village Other, including Vaughn Bode and Justin Green , but she took particular pride in the women’s anthologies she edited and co-edited, and in their explicitly feminist content: It Ain’t Me Babe Comix, Wimmen’s Comix and the erotic Wet Satin.

She also designed the famously skimpy outfit for Vampirella , a female vampire who appeared in black-and-white comics beginning in 1969 — although her design was not as skimpy as the costume later became. “The costume I originally designed for Vampi was sexy, but not bordering on obscene,” Ms. Robbins told the Fanbase Press website in 2015. “I will not sign a contemporary Vampirella comic. I explain, that is not the costume I designed.”

Along with Mr. Leialoha, her partner since 1977, she is survived by Casey Robbins, her daughter with her fellow cartoonist Kim Deitch; a granddaughter; and her sister, Harriet Nadel.

After the underground comics scene declined, Ms. Robbins took on more mainstream work. When DC Comics approached her to work on Wonder Woman, she chose to draw the character in a classic Golden Age style.

She also wrote and drew Meet Misty , a 1985-86 mini-series for Marvel Comics, aimed at girls, about a teenage soap opera actress who was the niece of Millie the Model. Although the series generated fan mail, it didn’t sell well enough to have its six-issue run extended; Ms. Robbins believed that male comic-shop owners had ordered as few copies as possible. She then wrote and drew a similar title for Eclipse Comics, California Girls, which lasted eight issues in 1987 and 1988.

She also wrote more than a dozen prose books, including “Pretty in Ink: North American Women Cartoonists 1896-2013” (2013) and “Flapper Queens: Women Cartoonists of the Jazz Age” (2020).

“Trina didn’t just support women,” Shary Flenniken , who created the “Trots and Bonnie” strip for National Lampoon, said in an interview; “she unearthed the history of all these women cartoonists who had never been talked about.”

While Ms. Robbins was happy to have male readers, she knew all too well that the comics industry was full of men making comics for other men, and her goal was to reach a female audience.

“Any time there was talk about integrating the industry more or getting comics to girls, that was Trina’s crusade,” the comics journalist and editor Heidi MacDonald told Vulture.com in 2018. “She didn’t want to be alone, didn’t want to be the only woman in the room.”

An earlier version of this obituary misstated Ms. Robbins’s age. She was 85, not 84. (As the obituary correctly notes, she was born on Aug. 17, 1938.)

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