Printmaking Unit Art 30 – 60 Minute Lessons Dillison A ...laurengrover.weebly.com/uploads/2/3/3/5/23353378/printmaking_unit_plan.pdfArt 30 – 60 Minute Lessons Dillison A. Malinsky

Printmaking Unit

Art 30 – 60 Minute Lessons

Dillison A. Malinsky

Spring Semester 2004

Brooks Composite High School

Rationale:

We are surrounded by visual information. From architecture to advertising billboards, painting to graffiti,

multi-media installation to MTV, we are submerged in visual culture. Through this information a dialogue is

achieved between our environment and ourselves. Not always clear, we engage with our surroundings, defining

others and ourselves by what we visually encounter. How can students actively participate within this visual

information/understanding? How as art educators can we assist students to critique and engage with this visual

information? This particular art unit focuses attention on both the conceptual based approach of artists as well as the

technical (visual) aspects of the works artists create.

Fostering an appreciation and new insights into art and its impact on society, printmaking can be examined

from many different facets. This particular unit was designed to explore and experiment with various printmaking

techniques within the Senior High Art curriculum (Art 30). Primarily this unit reflects a skill-based approach to

instruction but also incorporates thematic elements throughout. Historically the method of printmaking can be traced

back to 8th

century Japan to works depicting everyday life and human interactions as well as the dissemination of

information and instruction. Contemporary artistic practices still incorporate the process of printmaking within

works of art and not only document the everyday lives of individuals but also use the medium of printmaking to

critique deeper social issues and the medium/process itself.

Throughout this unit the Elements of Art and the Principles of Design will be discussed in relation to

artworks of established artists and student works. The conceptual processes that guide these works and the revealing

o f medium within printmaking (in particular – the woodcut) will add to the students’ encounters with the process of

printmaking. In addition to the visual components of artworks students will develop a visual vocabulary through

their participation in group critiques and individually written reflections. As a final component of this unit students

will create a series of multiples and assist and participate in a student exhibition, which will be documented –

through digital photography – and added to the students’ portfolio.

The idea of the multiple and the mechanical reproduction can further be explored to reveal technique and

the evolution of process within the history of the print. Students will have the opportunity to discuss (The Great

Bateman Debate) a variety of issues pertaining to the idea of the print, such as “what constitutes an original print?”

Additionally, students will have the opportunity to examine a variety of artists ranging from the historical study to

the contemporary application of the print through class presentations and open discussions.

Printmaking remains an influential medium of communication and expression. Students will have the

opportunity to experiment with a variety of processes and techniques – collagraphs, monoprints and woodcuts -

further broadening their artistic encounters/understanding with art. Each lesson builds upon the previous lesson to

further strengthen student understanding. Students will also form their own visual messages from the techniques

acquired within this unit study enabling them to participate within their social/visual environments in addition to the

visual surroundings of the classroom/school environment.

As a final note: this particular printmaking unit can be expanded to incorporate the art of papermaking and

the creation of book works.

Printmaking Unit





Lesson Summary:

Lesson 1: Introduction to printmaking techniques

Lesson 1 will introduce printmaking techniques and processes. A PowerPoint presentation will highlight

the evolving process of printmaking and contribute to the students’ encounters with art. A variety of artist will be

identified within the presentation: artist ranging from Albrecht Dürer to contemporary artists such as Jim Dine will

be featured. Techniques such as monoprints, collagraphs, intaglio, relief prints – woodcuts and linocuts, and

lithography will be presented. In addition to the PowerPoint presentation students will have the opportunity to

visually examine some prints (from the student teachers portfolio) that incorporate these techniques as well as a

variety of tools and papers used during printing. The Great Bateman Debate- a group debate - will also further

students understanding of what constitutes an original print. To end the class a handout – referencing the variety of

printmaking techniques - will be provided for the students.

Lesson 2: Monoprint Introduction

For Lesson 2 students will be formally introduced to the process of monoprint technique. An oral/visual

demonstration will start lesson and familiarize students with this particular technique. The focus of texture and mark

making techniques will guide the lesson. Teacher will begin class by having students participate in a visual

demonstration of technique. (Remember: Everything you use creates a mark. The monoprint technique can be

both an additive process – paint image on plate – subtractive process - draw into image and remove ink – or a

combination of the two.) Students will have the opportunity to experiment with this process for the remainder of

the class.

Lesson 3: Monoprint continuation

Previously the class was introduced in Lesson 2 to a variety of artists and a variety of printmaking

techniques. Today’s lesson will continue the focus on the monoprint. Materials will have been set out for the class to

start their works. If there are not enough resources – students will work together and share these resources. Have

students gather for a brief meeting – check if there is any questions from the previous class – if no questions arise

allow students to continue with their prints. Remind students: that they must have at least one monoprint pulled for

next class – focus remains are mark making techniques and texture.

Lesson 4: Monoprint and Collage

For Lesson 4 the teacher will start with a PowerPoint presentation that explores artists who have used the

elements of collage in their works. The slide presentation will present images from: Cubism (1907-1925) -

Futurism (1909-1915) - Constructivism (1913-1930) - Dadaism (1916-1925) - Surrealism (1924-1945) - and

Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists

and Dadaist artist such as Max Ernst will be shown. Teacher will direct focus on the juxtapositioning of images and

the altering of meaning within a work of art. Text as graphics will also be discussed in relation to the work of

Russian Constructivist artists. An evaluation criterion (a collaborative mark between student and teacher) will also

be handed out to the class to guide student inquiry during their experimentation with monoprint and collage

techniques.

Lesson 5: Critique of Monoprint and collage prints

Lesson 5 marks the end of the first printmaking module. The teacher will guide the first group critique

through a series of questions. Students will have the opportunity to critique their own works as well as the works of

their peers. Establishing an environment of mutual respect must begin lesson in order to provide a comfortable

atmosphere for the group critique. Students will end the lesson by handing in artwork with evaluation criteria

attached.

Lesson 6: Collagraph printmaking – no ink

Lesson 6 marks the beginning of the collagraphic module. The word collagraph is derived from the Greek

colla, meaning, “glue,” and graphos, “to write.” The process is a constructive one – objects are added to the surface

of the plate – as opposed to the subtractive process of most intaglio techniques. Students will be completing one

collagraph without ink (to create an embossed effect) and one with ink. To start this lesson students will view both

the ink and no ink collagraph techniques taken from the teacher’s portfolio. From here students will be instructed on

how to build up the surface of a collagraphic plate. Teacher will pose questions to the students regarding the visual

message the student would like to suggest within their work.

Lesson 7: Collagraph printmaking – continued

Lesson 7 continues from the previous classes construction of the collagraphic plate. Today’s lesson will

focus on the printing process – using the printing press to pull prints created from a collagraphic plate. Teacher will

both orally and visually walk students through the required procedure of pulling prints from a printing press –

including the tearing of rag paper and the soaking of paper. Students will be encouraged to work in pairs to assist

each other in the printing process. Directions on how to properly use the printing press will be addressed in order to

avoid any equipment damage. Evaluation criteria will also be provided for the student for both of the collagraphic

prints – no ink and ink.

Lesson 8: Collagraph printmaking - ink

Lesson 8 continues to build on the previous collagraphic lessons. Students will have been shown the proper

technique when tearing their paper, soaking of paper, and using the printing press. Students will immediately begin

preparing for pulling prints using the press. Teacher will circulate through the room – assisting students who require

help. Students will be encouraged to assist other students during the printing process. Students who have completed

their prints may continue their individual research by examining the printmaking books supplied in class.

Lesson 9: Collagraph printmaking – continued

Lesson 9 will be one of the final lessons within the collagraphic-printing lesson – this lesson will have

students working on finishing their prints (non-ink) and completing an inked version of their print utilizing printing

ink. First have students tear paper for prints and set into basin for soaking. Students will then gather around for a

brief mini-lesson/demonstration of printing using printing ink. Teacher will need to stress the importance of

maintaining a clean work environment to ensure that ink will not be transferred to other surfaces – in addition, ink

must not be transferred to the printing blankets as this will ruin the blankets and possibly stain other prints. Students

will have the opportunity to experiment with the inking process for the remainder of the class.

Lesson 10: Collagraph printmaking – final day

This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged

to use their class time to complete both the non-inked and inked prints for their portfolio. Teacher will circulate

throughout the class assisting students and holding individual critiques of works that have been completed. Students

that have both prints completed will have the opportunity to browse through printmaking sources and plan for the

next printing technique: woodcut relief prints. If time permits students may sketch print ideas in their sketchbooks.

Lesson 11: Group Critique – Collagraph(s)

For Lesson 11 – the second group critique within the printmaking unit - students will be introduced to the

four steps involved in the visual critique: Description, Analysis, Interpretation, and Judgment. In the area of

analysis students may need to be reminded of the elements of art and principles of design when considering a visual

work: Elements of Art – Line, Colour, Texture, Shape, Form, Space, Value & Principles of Design –

Harmony, Unity, Emphasis, Variety, Proportion, Balance, Rhythm/Pattern, and Movement. In addition to the

classroom handout - these elements will be written onto the board for students to reference while participating in-

group discussion.

Lesson 12: Woodblock printmaking

Lesson 12 marks the introduction to one of the oldest printmaking techniques - the Woodcut relief print.

Students will participate in a brief PowerPoint presentation highlighting the Woodcut relief technique. The influence

of Japanese woodcuts – ukiyo-e - on European and Western artists will be noted within the presentation. Traced

back to the 8th

century in Japan the woodcut technique marks a pivotal moment within art history influencing many

European and Western artists. In addition to the presentation – students will be given a brief safety lesson when

carving their woodcuts. Teacher will promote problem-solving strategies while student work with their new medium

of wood.


Teacher will begin Lesson 13 by checking in with the students’ progress. Students will have class time to

work on their woodcuts. While students are working on their prints the teacher will be circulating around the

classroom holding individual critiques and guiding student inquiries. Evaluation criteria will additionally be

provided for students for the grading of the final printmaking module.


Lesson 14 marks a brief mini-lesson on the process of pulling a woodcut print using a wooden spoon or

Japanese rice spoon. Students will have the remainder of the class to work on pulling an edition of a least 5 prints

from their woodcuts. Teamwork maybe necessary in order to complete the edition of 5 prints in class time. Note:

This lesson may carry over to next class. Students will sign the edition as well as number the prints in order of

prints pulled, e.g., 1/5, 2/5, 3/5 etc…

Lesson 15: Woodblock printmaking - Group critique

For Lesson 15 students will bring in their completed edition to share with the class. Students will be

encouraged to hang their works within the room to aide in visual presentation. Additionally, students will have to

select a print they wish to submit to the final gallery hanging (out of all their prints) – which would occur next class.

Students will have five (5) minutes to arrange their works and prepare to engage in a group critique of the week’s

events and the final presentations. Students will submit grading criteria to the teacher before the end of the class.

Lesson 16: Gallery Installation

For the final lesson within the printmaking unit the class will start by having students submit their work for

gallery installation. Students were required to decide on the selection of their prints prior to the beginning of this

lesson. Have students gather their works for the exhibition. Frames, matting and labels will be provided for students

– students will be required to matt, frame and fill out a label for the work(s) they submit. In addition to installation

the students will document their works through digital photography and decide on an exhibition title for the works

presented for the school. Teacher will keep an anecdotal record of students’ participation within gallery installation.

Unit Exam – Printmaking

A copy of the unit exam ends the printmaking unit. Enclosed is a copy of the test rationale, Program of

Study - Art curriculum (10-20-30) - Drawings, Composition and Encounters, Table of Specification, Unit Exam

Blueprint, Unit Exam and Answer Key. The test will take approximately 60 minutes to complete and encompasses

all information covered throughout the unit.

Final note:

This unit can be further developed to encompass papermaking as well as bookmaking techniques which

would incorporate printmaking skills covered throughout this unit study.

Lesson: ________ Date: Class: __________

Outcomes Upon completion of this lesson, students should be able to:

Materials

Set

Activities Differentiation /Modification

Activities continued:

March 1. 2004 Art 30Introduction to

Printmaking

1. Develop a visual vocabulary through participation in presentation.

2. Identify a variety of printmaking techniques implemented by artists.

3. Analyze sources of imagery that have lent themselves to the printmaking process.

4. Contribute thoughtfully to visual critique by participating in-group discussion.

1. PowerPoint presentation – prepared images: both historical and contemporary

2. Printmaking implements: aluminium & zinc plates, Japanese carving tools, assorted printmaking papers:

Reeves BFK, Arches, Drawing Bristol and Stonehenge

3. Brayers – rollers & Baren – hand rubbings or wooden spoons

4. Glass plates or plexi-glass for rolling ink & brushes

5. Printmaking inks – water and oil based inks & palette knives

6. Portfolio – prints (woodcut, collograph, lithographs, intaglio)

7. Students will need their sketch books and pencils

8. Printmaking handout for students

Today’s lesson will introduce printmaking techniques and processes. A PowerPoint presentation will highlight

the evolving process of printmaking and contribute to the students’ encounters with art. A variety of artist will be

identified within the presentation: artist ranging from Albrecht Dürer to contemporary artists such as Jim Dine will be

featured. Techniques such as monoprints, collagraphs, intaglio, relief prints – woodcuts and linocuts, and lithography

will be presented. In addition to the PowerPoint presentation students will have the opportunity to visually examine

some prints that incorporate these techniques as well as a variety of tools and papers used during printing.

Questions to ask students while viewing the PowerPoint

presentations:

1. How have the printmaking techniques chosen by the

artist lent themselves to the printed image?

2. Many of the earlier images used are without text –

are you able to read these images – are these images

strong enough to support meaning without text?

3. How has the printmaking process lent it self to the

meaning of the works shown?

After the presentation – students are invited to view a variety of

prints that incorporate multiple techniques of printmaking. (These

prints will be from my portfolio.)

Students will also have the opportunity to view a variety of

printmaking tools that have lent themselves to the printmaking

process in addition to papers used.

Variety of methods/strategies can be

implemented for this art lesson:

1. Oral presentation – teacher will

speak about various printmaking

techniques.

2. Visual aids – PowerPoint

presentation and assorted

printmaking implements shown.

3. Group discussion - students are

encouraged to ask questions and

physically interact with visual

material.

4. Individual analysis– students will

begin their initial sketches and

planning for next class.

Time

15-

20

10

Activities continued

1. Ask students: What is printmaking? Give them time to respond – allow them to generate answers.

a. Printmaking refers to processes that used to transfer an image from a “plate” or “block” to another

surface such as paper or fabric in order to make multiple copies of the original. Most but not all of

the printing processes use ink or paint.

2. Mention to students that there are four basic methods: relief, intaglio, planographic and stencil prints.

a. Relief prints: use a plate on which the surface is either cut away or built up.

i. Woodcuts and linoleum, found-object and collagraphs are examples of this technique

b. Intaglio: includes processes in which a surface is scratched, engraved or etched chemically

i. Etching, Dry point, Mezzotint, Aquatint

c. Planographic: are made from ink or paint applied to a flat surface in such a way that it creates a

design or picture.

i. Lithography is a complex example and monoprinting is a more direct and simple one

d. Stenciling: the simplest version of stenciling is to cut one or more openings (designs) in a heavy

drawing paper or waxed stencil paper and then apply colour to open areas. The more complex

version of stenciling is the Serigraph or silk-screening technique, which are made by squeezing

ink or paint through a fine screen.

Question for the class:

The Great Bateman Debate:

Ask the class to think about prints they have encountered – in stores – even in their own homes. Take

a good look at these prints. Are they signed and numbered? Are they original or are they a reproduction?

If it is signed and numbered – does that mean a print is an original?

A reproduction:

Essentially – a reproduction is a copy of an original work – no different from a poster. The artist makes a

painting. A photograph is taken of the painting. Colour separations are prepared from the film, which are transferred

to a printer’s plate. The plate is attached to a large offset printing press. A technician pushes a button. Thousands of

images can be had using this process, and each will be identitical to the next: just think of the reams of flyers from

Zellers that flow through your mailbox every week.

- Taken from the article: The Fine Print by Melanie Scott

published in Saturday Night – December issue 1996

Note: Many of these prints may have an edition number or a signature on them but the artist does not

usually sign them – in most cases these are printed on the reproductions themselves. Many stores will

advertise these images as “original” works of art but in actuality people are buying glorified posters: Slick

art tactics which say – Limited Edition Fine Art Prints – are flooding the market with reproduction works

not actual prints.

Original prints can range from anywhere between one and 300. In the case of Bateman’s reproduction

images he has “signed” up to 43, 000 duplicates of the same picture.

Debate: Allow time for students to generate their response to this debate. Have students analyze the prints they have

in their homes.

Have students – start thinking and collecting items they would like to use within their prints. If time permits – have

students record ideas for prints in their sketchbooks and bring to the next class.

Time

5

10-

15

5

Assessment

Closure

Self-Evaluation

1. Answer any final questions.

2. Remind students to work on rough sketches for next class (portfolio of existing works) as well as bring

additional imagery (newspaper, magazine, catalogues, photographs) they would like to incorporate into their

monoprint works.

3. Clean-up room

4. Prepare for next class

1. Participation – in-active listening skills.

2. Questioning – I ask you and you ask me.

3. Observation – a. eye contact; b. body language; c. facial expression.

4. Listening – are students asking questions – are students comprehending the lesson through their questioning.

Time

5

Four Major Printmaking Techniques

There are four major techniques for making original prints. A brief description of each of these – relief

processes, incised or intaglio processes, lithography or planographic, and stencil or Silk-screening

processes.

Relief process:

The basic principle of relief processes is that of cutting away part of the surface of a flat block so

that the desired pattern or image stands up to provide a printing surface. Woodcuts and wood engravings

are well known. Other materials used are linoleum, Lucite, cardboard, chipboard, composition board,

plaster, and paper cuts, the areas are built up to provide the printing surface.

Incised or Intaglio process:

The principle of incised or intaglio printing is exactly the opposite of relief printing. In the

intaglio processes, the printing areas are grooves, furrows or indentations lower than the surface of a

metal plate. In other words, the lines or surfaces, which are etched, out or cut away from the plate carry

the ink. The high standing areas are wiped clean and do not print.

In intaglio processes, metal plates, chiefly copper, are used. Some artists have used Lucite, zinc or

aluminum sheets. The general divisions within the intaglio process are: Engravings, etching, aquatint, soft

ground mezzotint and dry point. The term “intaglio” is often used to designate those prints in which more

than one method is used. Sometimes referred to the combining of methods and techniques as a “mixed

method.”

Lithography or Planographic process:

Lithography (Greek for “stone writing”) is based on the natural antipathy (opposition) of oil and

water. The image is made on the stone (or a specially granulated zinc plate) with greasy crayon or ink.

The texture of the stone is such that, if moistened, the water adheres to it in an even film except where the

grease has been applied. When a roller charge with heavy ink is applied to the moistened surface, the ink

adheres only to the greasy areas. After printing, the greasy image remains on the stone and the process of

moistening, inking, and printing may be repeated.

Serigraph/Stencil process:

In general artists have known the stencil process for centuries – traced back to the cave paintings

when ground pigment was blown around the human hand and what remained was a stenciled image. Its

basic principle is that of applying colour or inks to the perforated or cutout sections of specially treated

paper or thin material so that the desired pattern or design comes through the stencil to the surface to be

printed. Thus all sections except those of the open design are masked out. Its most recent development is

known as silk-screening printing. In the specialized field of fine printing this technique is called

serigraphy. Variations of this technique are sometimes combined with engravings or etching to produce

colour prints.



Materials

Set



March 2. 2004 Art 30 Monoprint - Introduction

1. Develop and solve design problems by exploring the process of monoprint techniques.2. Extend visual knowledge by encouraging individual and group discussion.3. Create a monoprint by implementing proper printmaking processes.4. Demonstrate thoughtful and attentive listening skills during demonstration.

1. Water-based inks – watercolours – used for this particular lesson2. Bushes, brayers, towels, other mark making tools (feathers, combs, hair etc…)3. Wooden spoons and/or barens4. Glycerin – to prolong paint time, especially when using water-based inks5. Paper – for print and for registration6. Glass or plexi – plates7. Plastic matt – used for registration of print8. Bucket and rag – for clean-up

Continuation of last lesson on printmaking: Students will be formally introduced to the process of monoprinttechnique. An oral/visual demonstration will start lesson and familiarize students with this particular technique.The focus of texture and mark making techniques will guide the lesson. Teacher will begin class by havingstudents participate in visual demonstration of technique. (Remember: Everything you use creates a mark. The

monoprint technique can be both an additive – paint image on plate - and subtractive -draw into image and

remove ink - process.)

Questions:How does mark and texture affect the image produced?

How many ways can you express mark and texture within your works?

To start:

Have the students gather around workspace – make sureeveryone can see the demonstration. Throughout the demonstration– talk about the processes (importance of rolling the ink evenly)and tools (brayers and barens) that are being used. Remember tostress the importance of keeping a clean work environment.

Monoprint:Essentially monoprint techniques are closer to

drawing and painting than printmaking – but the ability to transferpigment from one surface to another is a major element ofprintmaking. (Some people do not consider a monoprint a true printbecause it is a print that can only be made one time). Thecharacteristic of this method is that no two prints are alike; althoughimages can be similar, editioning is not possible.

There are three principle methods of making a monotype:

• The additive or light-field method, in which the image ispainted by adding or building up pigment onto the plate

• The subtractive or dark-field method where the entire plateis covered with a thin layer of pigment, which the artistthen works out his image by removing some of thepigment with brushes, rags, sticks, or other tools.

• The third is a combination of the two.

Variety of methods/strategies can beimplemented for this art lesson:

1. Oral presentation – teacher willorally walk class throughdemonstration.

2. Visual aids – teacher will provide avisual demonstration of theprintmaking technique.

3. Group discussion – students areencouraged to ask questionsthroughout.

4. Individual analysis– each studentwill create a monoprint work.

Time

5

5

5


Assessment

Closure

1. Answer any final questions.2. Remind students to bring materials to work into monoprint for next class3. Properly store images – stack images between paper and weights to dry or set aside to dry for next class4. Clean-up the room5. Prepare for next class

1. Participation – in-active listening skills and the creation of a variety of monoprints.2. Questioning – I ask you and you ask me.3. Observation – a. eye contact; b. body language; c. facial expression.4. Listening – are students asking questions – are students comprehending the lesson through their questioning.

Time

5

15

20

5-10

Q: Is there a difference between a monotype and a monoprint?

A: Although these two terms are used interchangeably, there is a big difference between one and the other. Theprocess of monoprinting and monotype printing is the same: the artist applies colour directly onto a surface and thenprints it running it under a press. Monoprints though have a pattern or part of an image, which is constantly repeatedin each print. Artists may use etched plates or some kind of pattern such as lace, leaves, fabric or even rubber gaskets,to add texture. Monotype prints instead are in ONE copy only. A clean and unetched plate is used and images arecreated with nothing that can be reproduced.

1. Demonstrate the processes of creating a monoprint to the class.a. Put ink onto palette and roll the brayer into the ink – roll both vertically and horizontallyb. Try to make the ink evenly distributed on the brayer.c. Apply the ink to a clean plexi or glass plate – again evenly distributing ink onto the surfaced. Once ink is on the plate you may work into the ink with a brush or trowel.

i. You may also simply paint onto the glass with a brush (ghost image) ii. You may also use more than one colour of ink

e. Next you will lay the paper (the paper can either be wet or dry) onto the plate. i. Make sure you center the paper onto the plate (2 inch border around is desirable) ii. Registration marks can also be done to ensure print is centered

f. Once the paper is on the plate – you will need to apply pressureg. Using a baren or wooden spoon rub – using a circular motion – from the center of the print out to

the edge (monoprints can also be sent through a printing press)h. Carefully lift print corner to see the transfer – if required continue rubbing to create desired effecti. Lift print carefully from platej. Set aside to dryk. Clean-up workspace

After demonstration:

Ask: Are there any questions? – Wait for a response from the students. Answer any questions they may haveregarding process and techniques.

If students are unsure: have one of the students come up and go through the steps again. Students can also beginto plan their works (sketchbook activity) – they may want to bring in other tools – for mark making – in addition – havethem start to think about items they wish to collage on to their prints.

If time: Students will now have the opportunity to experiment with this technique for the remainder of the class.If there are not enough resources available have students share resources. Remind students that they will be working backinto these images - so do not focus to much on detail rather focus on texture and mark making strategies – today justfocus on experimentation. These prints will be used within and incorporate in collage elements later on.

Self-Evaluation

WHAT IS A MONOTYPE?

Taken from: http://www.waterbasedinks.com/history.html

Is it a monoprint or a monotype? Many publications use the terms interchangeably referring to workson paper as either monoprint or monotype regardless of how the images were created. This in turn leadsto confusion among printmakers, artists as well as the general public. We hope to clarify this by firstexploring the historical aspects of the monotype, some of its techniques and what is happening with thistechnique/medium in the contemporary art scene.

Historically what has come down to us as monotypes/monoprints were in existence since the timeof Rembrandt (1606-1669). The monotype/monoprint was referred to subsequently by many differentnames such as: Adam Bartsch (1821) print cataloguer called the technique, "imitating aquatint", EdgarDegas and Paul Gauguin called them "printed drawings", in the 1880's-1890's they were referred to asmonotones or monochromes, also around the 1880's artists in the circle of Frank Duveneck in Florenceand Venice called them "Bachertypes" because they were printed by Otto Bacher on his portable press.Similarly the American illustrator William H. Chandlee who made monotypes on a glass surface, calledhis prints "vitreographs" signifying glass prints, just as "lithographs" were printed from a stone.

Around 1960 Henry Rasmusen, author of the first important book on the monotype 2,Printmaking with Monotype wrote that some artists preferred the term monoprint as a way to distinguishit from the commercial typesetting method known as monotype. Later on in 1975 David Kiehl, a printcurator suggested a difference between monoprint and monotype. Monoprint according to Mr. Kiehl wasa unique image pulled from an engraved or etched plate. Subsequently Jane Farmer an independentcurator wrote in 1978 in the monotype exhibition catalogue which she curated the following definitionsfor both monotype and monoprint. Monoprint, she defined as "a unique image where part of the image isrepeatable on a fixed matrix and part is not."1 For monotype, she defined it as "Éa unique image wherenone or the image is from a registered, repeatable matrix."2 This definition has become the standard fordistinguishing the two techniques. This definition is however, difficult to apply to new and inventiveways of printmaking. Monotypes may be somewhat misleading because 2nd or 3rd images can often bepulled, called "ghosts", "cognates" or "second pulls". Although much less intense than the original theytend to be more subtle, lighter and more atmospheric, characteristics which are often more desirable thatthe first pull.

HISTORY

Historically the first monotype was attributed to Giovanni Benedetto Castiglione (1616-1670) acontemporary of Rembrandt (1606-1669). Both artists were painter-etchers, Rembrandt van Rijn inAmsterdam and Giovanni Benedetto Castiglione in Genoa. Both artists were experimenting with theprinting process to create a tonal effect akin to their paintings. Although mezzotint was already invented itwas still in its infancy and neither artist chose this particular path. Instead Rembrandt chose to leave filmof ink on selected parts of his etched plates to create tone while Castiglione chose to draw into ink thatwas spread on a copperplate to create the first true monotype. It is believed that there was perhaps somecross-fertilization of ideas in that seeing some of Rembrandt's etchings might have influencedCastiglione.

Rembrandt created monoprints where he changed day and night through the manipulation of thewiping of the plate, which had an etched image. Castiglione however in his quest for created tone inprintmaking made some 22 known images where he separated the bitten line from the plate tone tobecome the first practitioner of the monotype process. The monotype process however was not picked upby any major artist of any significance for years to follow. Somehow the uniqueness of this particularprinting process was not favored over the ability to mass-produce images using other printmakingprocesses.

The only major artist prior to Degas (1834-1917) to pick up on the monotype process wasWilliam Blake (1757-1827) who appeared to use it with egg tempera to create some of his images for hispoems. Probably using a screw press he printed his plates which were of stiff cardboard where he hadused egg tempera, a water medium as opposed to an oil medium to paint the outlines of his designs. Hethen painted broad areas of color onto the rest of the board and printed over the initial outlines. He mayhave gotten as many as 3 impressions from each ink up and with these he worked over using pen andwatercolor. His technique with which he was quite secretive never quite caught on either because of thissecrecy or perhaps because he was out of the mainstream at the time. It was not until the etching revivalof the 1860's that the monotype was also revived.

During the etching revival Vicomte Ludovic Napoleon Lepic (1839-1889) used a process hecalled, "l'eau-forte mobile" (variable etchings) where he used one set of an etched image of a landscapeand created 85 dramatic variations on the basic composition simply by the wiping of his plate. Headvocated that the artist who used etching should be a painter or draughtsman who uses the needle and therag as another uses the paintbrush and pencil. Lepic claimed to have single-handedly inspired a newcourse for modern printmaking. "I claim authorship for 'variable etching', that is for the labor of art thatpermits us to break with common practices and obtain such results with the liberty of ink and rag.Besides, regarding its exclusive control, without their having to ask for it and even to those publishers ofengraving who might request it, I bequeath my rag to all artists."3 His prints were monoprints and not truemonotypes, but his etchings were so minimal and the attempts at creating paintings on the surface of theplate so ingenious that he is mentioned because of his influence on future artists like Degas.

Edgar Degas (1834-1917) picked up the "rag" bequeathed by Lepic to become the greatestinnovator and practitioner of the monotype in the nineteenth century. Edgar Degas by pushing thetechnique further than any artist before him made the monotype a more acceptable medium. He tookadvantage of the spontaneity of the medium and used it to its full potential, accidents and all. Heexperimented with the medium/technique to seek solutions to problems, which could not be fullyexplored with pencil or brush. As a result of this search, Degas created some 300-500 monotypes. Degas'enthusiasm affected other contemporaries who also explored the technique: Camille Pissarro, MaryCassatt, and Paul Gauguin to just name a few.

In America the main practitioners of the monotype were Frank Duveneck, William Merritt Chase,Charles A. Walker, and Maurice Prendergast. Frank Duveneck (1848-1919) fame is owed to great part tothe survival of his monotypes in Boston and Cincinnati and the documentation of his followers/studentsof their "bachertypes" done in Venice and of their encounters with Whistler who may have beenintroduced to the monotype by them. William Merritt Chase (1849-1916) a painter and teacher who

although was not the first to exhibit the monotype in America was a fashionable painter and as an artteacher was instrumental in popularizing the process. Charles A. Walker (1848-1920) appeared to havediscovered the technique of monotypes independently of Chase and Deveneck. His main subjects werelandscapes and imagery from the Barbizon school. Of the four the only one to really integrate into his"art" was Maurice Prendergast (1859-1924) who created over 200 monotypes. He exhibited and sold hismonotypes throughout his career and although his monotypes were both well known and received therewere few imitators.

The monotype process continued to grow both in Europe as well as in the United States. The"drawback" with monotypes was that there was no continuing history or tradition and that each artistseemed to discover and rediscover the medium over and over again in his or her way. Many artists beganexperimenting with the process like: Pablo Picasso (1881-1973) who created over 100, Georges Roualt(1871- 1958), and Henri Matisse (1869-1954). On the American side there was: Milton Avery (1893-1965), Adolph Gottlieb (1903-1974), Richard Diebendorn (b.1922), Robert Motherwell (b.1915), MaryFrank (b.1933), Nathan Oliveira (b.1928), and Jasper Johns (b.1930) to name a few of the better knowncontemporary artists. It is beyond the scope of this paper to include everyone who has done a monotype,but two books which are very good references are the Metropolitan Museum of Art's The Painterly

Print: Monotypes from the Seventeenth to the Twentieth Century and Joann Moser's Singular

Impressions: The Monotype in America. TECHNIQUE

Monotypes are primarily a painter's medium. Although it originated in the printshop it was bornthrough the painter's imagination and restlessness. It also became a perfect tool for exploringimprovisation. Historically the first monotype by Castiglione was in the dark field also known asreduction or subtractive monotype. The basic technique entailed the rolling up of a non-porous surfaceand in the case of Castiglione most likely a copperplate normally used for etching at the time, withprinting ink. Most likely it was first printed in the same manner as the etched plate due to its historicrelationship to the etching with damp paper and an etching press. Similarly the plate was most likelyprepared in much the same manner as an intaglio plate before "wiping". In the dark field or reductivemethod the image is wiped with rags, finger or sticks which may very well have been the back ofpaintbrushes that can be used later to brush back into the image, to correct an edge or build tone. Theremoved or wiped areas would appear white in the finished print.

The second method that was probably realized from trial and error was that you can also approachthe monotype from the additive or "light field" manner. Here a clean plate is used as an empty field orcanvas and printing ink is applied much like oil paints. While the ink was quite thick and viscous in thedark field monotype, in the light field it is thinned with solvent making the ink resemble something likewatercolor. Where more tone was desired more ink was added, when softer tones were desired, moresolvent was used.Intrinsic to monotype is the bit of ink left over after the 1st print is taken. Second and even third pullsresult in fainter images known as "cognates", or "ghosts". While all printing processes can yield lighterimpressions their ghosts in monotype play a special role because they create a new set of tonal values,which can be, reworked or merely used references for the next image or series.

The technique of monotype is quite varied and its beginnings has not been taught as much asrediscovered and reinvented by each artist who uses it. The artist in turn emdows the technique with his orher own style, technique and artistic concerns.

The question arises as to why a monotype and not a painting or watercolor? Why a "print"? Theanswer may be that a great deal of surprise is built into the printmaking process where the image is:reversed, the image varies depending on how it's inked, how much pressure is applied, is it printed by anetching press or by hand using a baren? There are a lot of unpredictables involved and the spontaneity ofthe process demands energy, improvisation, gesture, expressiveness and directness. The artist must alsoappreciate the lushness and sensuality of working with ink.

CONTEMPORARY MONOTYPES

The idea of the monotype as being a "bastard child" is no longer the prevalent case and hasinstead become the "favorite son". Perhaps it is the changing of the times. Much like the etching revivalof the 1860's there is a revival of the print by the artist. There are similarities because the wiping of amonotype plate had to done by the artist, since the process of creating the image and the art of wiping theplate were identical. The idea of the artist manipulating the ink over the plate with their fingers andleaving their fingerprints have become a visual testimony to the artist's personal involvement in theprinting process, not to mention leaving their actual fingerprints.

Milton Avery made some 250 monotypes during the 1950's, which he exhibited. Althoughopening to critical reviews not one piece sold. Apparently the hybrid nature of the monotype and the lackof an edition turned off collectors of prints. Painting collectors were not interested because they viewedthe monotype as a print. Recently, however Milton Avery's monotypes as well as monotypes by otherartists have been enjoying unprecedented popularity. Artists who have never printed monotypes are tryingit and those that have been printing monotypes are exhibiting them.

The rediscovery of the monotype appears to have been greatly influenced by both the showing of78 of Degas's monotypes in 1968 by Eugenia Parry Janis and the subsequent catalogue , whichreproduced more than 300 of his monotypes. Of equal importance was the exhibition organized by MattPhillips in 1972, The Monotype: An Edition of One which traveled throughout the United States. Artiststhat were influenced by one or both were numerous. Of note were Nathan Oliveira, Michael Mazur, andRichard Diebenkorn. Not only were these successful artists but they were also teachers and educators.Their taking the monotype as a serious medium could only have enhanced its acceptance not onlyamongst the artistic crowd, but perhaps a whole generation of artists who studied under them eitherdirectly or indirectly.

Jasper Johns was also one of the artists to realize the potential of the monotype as a creativemedium. His early forays into the medium were as result of his taking his discarded lithographs ( whichhe was probably working with a master printer) and killing time by printing his ownmonotypes/monoprints over the "flawed" lithographs. This is quite reminiscent of the etching revivalwhen artist wanted to reclaim the print by freeing it up from the craftsman, i.e.: master printer.

In our own quest in creating "the painterly print" we have searched along the lines of WilliamBlake and Gauguin in exploring the use of a water based medium to execute monotypes. Similarly artistsare seeking less toxic ways to approach printmaking and monotype is one area where that is quite easy.Much like Milton Avery who took up the monotype in the 1950's after a heart attack or Adolph Gottliebin the 1970's when his health began to decline or Reuben Kadish in the 1980's when their health declined,artists of the 1990's are actively seeking easier ways of creating prints like monotypes without having towait until their health declined.

A fairly recent innovation involving monotypes has been the creation of the Monothon by MasterPrinter Ron Pokrasso, which harks back to Duveneck (1880's), and his "boys" where monotypes werecreated as recreation during large gatherings. In the case of the Monothon artists are invited to createmonotypes. There is a fee, but a sponsor can cover this. At the end of the Monothon printing sessions oneprint of each artist is chosen and the prints are both displayed and auctioned off. There have beenMonothons in Sante Fe, New Mexico where it started to California and most recently at the ConnecticutGraphics printcenter in Norwalk, Connecticut.

Researching and reading about the history as well as the techniques involved in creating amonotype has been tremendously enlightening. Much like other painter/printmakers we thought we hadstumbled upon this painterly printing technique all on our own. Instead, we learned that the monotype hasbeen around as long as the 1640's when both Rembrandt and Castiglione, painter/printmakers wereexperimenting with creating tone in their etchings. Further research introduced us to the monoprinterVicomte Ludovic Lepic, the "queer fish"4 as referred to by Degas who bequeathed his "rag" to all, but itwas Degas who realized the potential of this "rag" and ran with it. Interestingly these "painted drawings"

were never exhibited widely if at all during Degas' lifetime, but somehow they managed to survive toinspire yet another generation of Artists like Michael Mazur, Richard Diebenkorn and Nathan Oliveira.The monotype has managed to maintain its momentum and has even managed to achieve its own website,www.Monoprints.com. So, we guess it is safe to say that the monotype will continue to grow and evolveeven as we write this paper!

Notes

1 Moser, Joann. Singular Impression: The Monotype in America,

(Washington, D.C.:The Smithsonian Institute Press, 1997) p. 22 Ibid., p.23 Metropolitan Museum of Art. The Painterly Print: Monotypes from the

Seventeenth to the Twentieth Century, (New York: The Metropolitan Museumof Art ,1980), p. 194 Ibid., p. 23Bibliography

Ayres, Julia. Monotype: Mediums and Methods for Painterly Printmaking.

New York: Watson-Guptill, 1991Laliberte, Norman /Alex Mogelon. The Art of Monoprint: History and Modern

Techniques (New York, Van Nostrand Reinhold Company, 1974)Metropolitan Museum of Art. The Painterly Print: Monotypes from the

Seventeenth to the Twentieth Century, (New York: The Metropolitan Museum of Art ,1980)Moser, Joann. Singular Impression: The Monotype in America,

(Washington, D.C.:The Smithsonian Institute Press, 1997)



Materials

Set



March 3.2004 Art 30 Monoprints

continued

1. Develop and solve design problems by exploring the process of monoprint techniques.

2. Extend visual knowledge by encouraging individual and group discussion.

3. Create a monoprint by implementing proper printmaking processes.

4. Demonstrate thoughtful and attentive listening skills during minilesson.

1. Printmaking inks and glycerine is using water-based inks

2. Plexi or glass plates

3. Paper (for printing and for storing)

4. Brayers and barens

5. Brushes, trowels, Q-tips

6. Plastic sheet – for registration marks

7. Rags – for clean up

8. Sketchbooks and pencils – students will bring to class sketches – ‘visual ideas” for lesson

9. Printmaking books, magazines, newspapers, photographs

Previously the class was introduced to a variety of artists and a variety of printmaking techniques. Today’s

lesson will continue the focus on the monoprint. Materials will have been set out for the class to start their works. If

there are not enough resources – students will work together and share these resources. Have students gather for a brief

meeting – check if there is any questions from the previous class – if no questions arise allow students to continue with

their prints. Remind students: that they must have at least one monoprint pulled for next class – focus remains are

mark making techniques and texture. Next class these prints will be used in collage.

1. Today a brief minilesson will be demonstrated on the

trimming of paper:

2. Have students briefly gather around: this can be done

in smaller groups if other students are working and there

are limited resources.

a. Traditionally – the edges of the paper are

torn by hand to create a deckled edge –

however trimming the paper to size is

unavoidable.

b. Most paper can be torn with a heavy metal

straightedge or a tearing bar.

c. For Japanese papers – due to their long fibres

– the paper must be first folded and the fold

burnished - additionally a moist sponge is

run along the folded edge before tearing.

3. Teacher will circulate throughout the room – checking

if students are on task or having difficulties.

4. Teacher will encourage dialogue among students –

teacher will also encourage students to pull more than one

monoprint for their portfolio.




guide the lesson and circulate

around the room answering any

questions or concerns that may

arise.

2. Visual aids – printmaking books

and sketchbooks will be used as

resources throughout this lesson.

3. Group discussion – throughout the

printmaking process students will

have the opportunity to comment

and question the process.


have the opportunity to pull a

monoprint.

Time

5

5

5


5. Students will work largely unassisted – that is, through their own personal investigation with the process

of printmaking students will develop their own personal relationship with the medium.

6. Have students pull more than one print off of the same plate – have students compare these images – Is

there a difference? – In most cases the second image will be a lighter “ghost” image compared to the initial pull.

Ask: How is the process similar or different from other mediums they have experimented in?

Why do you suppose artists choose the technique of printmaking?

How can the process of printmaking be incorporated into your own personal style?

Will your message –what you communicate – change using the medium of printmaking?

7. Allow students time and space to explore these questions.

8. If students finish more than one monoprint – have them start cutting out and collecting resources for their

works. Ask: What do they want to communicate through their print?

Assessment

Closure

Self-EvaluationA


2. Remind students to bring materials to work into monoprint for next class.

3. Properly store images – stack images between paper and weights to dry or set aside to dry for next class.

4. Clean-up the room

5. Prepare for next class.

1. Participation – in-active listening skills and the creation of a monoprint.




Time

35

10



Materials

Set



March 4.2004 Art 30 Monoprint

& Collage

1. Demonstrate effective listening skills when participating in-group discussions.

2. Alter existing print in order to implement elements of collage.

3. Combine multiple techniques (printmaking/collage) in order to create new work.

4. Compose an image that juxtaposes a variety of imagery to recreate meaning.

1. Previously completed monoprints

2. Mixed media – newspaper, magazines, photographs, wall paper, fabric – other materials students would like to

incorporate

3. Pencils, ink pens, paint (watercolour or acrylic)

4. Glue

5. Scissors/X-acto blades

6. PowerPoint presentation

7. Grading criteria for monoprint/collage project

To continue from last class: the teacher will start today’s lesson with a PowerPoint presentation that explore artists who

have used the elements of collage in their works. The slide presentation will present images from: Cubism (1907-1925)

- Futurism (1909-1915) - Constructivism (1913-1930) - Dadaism (1916-1925) - Surrealism (1924-1945) - and

Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists

and Dadaist artist such as Max Ernst will be shown.

Questions for students while viewing images:

1. Is it possible to not create narrative?

2. How does juxtaposing images together change meaning?

a. Juxtapose: to place or situate side by side or

close together, especially so as to produce or

exhibit a contrasting effect.

3. While you look at each individual work – do you believe

the artist was successful in creating new meaning –

altering the state of their works?

4. How are elements such as text and fabric used within

these works?

5. How can text be used as graphics within the work? -

Look at the work of Russian Constructivist artists.

To guide students works ask:

6. How can you create new meaning within your own

works?

7. What would you like to communicate through your

individual work?

Students were requested to bring a variety of materials

from home – some materials will be provided for students. They

will have this class time to alter, combine and rearrange their prints.

The teacher will circulate the room answering questions while

students are working. If student are struggling with the work – sit

and talk with them – direct their attention to their previous works

and what they have communicated through them.

Students will be encouraged to complete more than one

collage – if they complete one during class time and if time permits

write about their experience in their sketchbooks.




present new media to class verbally.

2. Visual aids – PowerPoint

presentation with slides of various

artists.

3. Group discussion – students will be

encouraged to share personal

analysis of works shown in class.

4. Individual analysis– each student

will work on individual works.

Time

15

5

5

30

Assessment

Closure

Self-EvaluationA

Collage - collected definitions - http://www.collagetown.com/history01.shtml

#1 Pronounced As: kläzh, ko- [Fr.,=pasting], technique in art consisting of cutting and pasting natural or

manufactured materials to a painted or unpainted surface-hence, a work of art in this medium. The art of

collage was initiated in 1912 when Picasso pasted a section of commercially printed oilcloth to his cubist

painting, Still Life with Chair Caning (Mus. of Modern Art, New York City). Collage elements appear in

works by Gris, Braque, Malevich, Dove, and the futurist artists. A basic means of Dada and surrealist art,

it was used by Arp, Schwitters, and Ernst. Collage is related to the newer art of assemblage, in which the

traditional painted canvas has been abandoned in favor of the assembling of bits of material, which are

sometimes additionally painted or carved.

#2 A picture or design created by adhering such basically flat elements as newspaper, wallpaper, printed

text and illustrations, photographs, cloth, string, etc., to a flat surface, when the result becomes three-

dimensional. Introduced by the Cubist artists, it was widely used by artists who followed, and is a familiar

technique in contemporary art.

#3 An artwork made by pasting together heterogeneous materials. The decisive and characteristic

difference between the technique of collage (from French, coller,"to paste") and painting is that in

painting the visual impression is built up by composition of color and line, whereas in collage, bits of

newspaper, labels, buttons, and chickenwire, to mention only a few materials, are attached, ready-made,

to the surface. The French painter Georges Braque and Spanish artist Pablo Picasso made collages for

cubist works in the early 20th century. American pop art of the 1960s introduced the use of large objects,

such as pieces of sheet metal, machine parts, parts from automobiles, and wooden rafters.


2. If students are unable to complete the work in today’s class it will be assigned for homework.

3. Remind students that monoprint/collage works will be discussed on Friday’s class.

4. Clean – up the room


1. Participation – in-active listening skills and the creation of monoprint/collage.




Time

5-

10

Monoprint/Collage Project:

Visual Note:

Student:

Grade:

Date:

Student: Please circle the mark you would assign yourself – Justify your assigned mark with a reflective critique.

Note: This is a collaborative mark between student and teacher.

Grade Scale: half marks can be assigned e.g., 4.5

5 = Excellent Insightful, Thoughtful, Carefully Constructed, Resourceful Technique

4 = Proficient Clear, Adept, Capable, Considerate work, Good technique

3= Satisfactory Adequate, Sufficient, attention needed on implementation of media and

technique

2= Limited Lacks Development, Unclear – visually restricted, Needs work – technical

aspect

1= Inadequate Incomplete work presented for critique

Visual Critique:

Teacher: Grade:




3= Satisfactory Adequate, Sufficient, attention needed on implementation of media and

technique

2= Limited Lacks Development, Unclear – visually restricted, Needs work – technical

aspect

1= Inadequate Incomplete work presented for critique

Visual Critique:



Materials

Set



March. 05.2004 Art 30Group Critique

1. Demonstrate effective and attentive listening skills by participating in-group critique.

2. Individually support their work by visually critiquing elements used within work.

3. Analyze and evaluate their own works in relation to the works of professional artists discussed in class.

4. Visually interpret the relationship between images incorporated within the works.

1. Completed monoprint/collage works

a. Have students fill in their visual criteria note and hand-in with work

b. This is a collaborative mark between student and teacher

2. Sketchbook and pencils – resource list for next class

3. Teacher will take notes of critique that takes place – comments and interaction of students

Today’s lesson completes the week’s work on monoprints and collage elements. Students will bring in their

completed prints to share with the class. Students will be encouraged to hang their works within the room to aide in

visual presentation. Students will have five (5) minutes to arrange their works and prepare to engage in-group critique

of the week’s events and the final presentation of the completed work.

Students will be reminded of proper group critique etiquette

before starting visual critiques. That is, comments and

questions regarding individual works must be thoughtful.

Personal attacks and inappropriate behaviour will not be

welcomed.

Note: A time limit of 5 minutes will be allotted for each student in

order to complete critique within class time.

Questions to guide critique:

1. What design problems did you encounter in the creation

of your final work?

2. How has the imagery chosen for the work altered the

meaning?

3. What elements do you enjoy within your work?

4. What elements would you alter within your work?

5. How has the process of printmaking and collage affected

the meaning of your work?

6. Were there any other elements to consider in the creation

of your piece?

7. In relation to other artists – how may your work be read?

8. What are you trying to communicate through your work

– is there an artistic, personal, social or historical aspect

to be considered?

Each student will have the opportunity to share their works and

comment on their peers’ works. Teacher will collect all works at the

end of the class for final marking of assignment:



1. Oral presentation – both teacher and

students will participate in a visual

critique of the works created within

the class.

2. Visual aids – students will have the

chance to examine the works

created within the class.

3. Group discussion – students as a

group will share and express their

visual interpretation of works

presented.


have the opportunity to visually

critique their individual works and

provide interpretation and

judgement of their work.

Time

5

50

Assessment

Closure

Self-EvaluationA

1. Answer any unresolved questions.

2. Remind students to collect items for next weeks collagraph lesson – items cannot be sharp – otherwise they will

tear through the paper.

3. Students will hand-in their work along with their assigned mark for teacher grading.

4. Clean up the room.


1. Participation – in-active listening skills and group discussion.

• Teacher will keep an anecdotal record of students’ participation within group critique.




Time

5



Materials

Set


March 8.2004 Art 30 Collagraph

Printmaking

1. Create a collagraphic plate by implementing various media and resources.

2. Integrate various mediums in order to create design and texture within work.

3. Develop and solve design problems within individual works.

4. Demonstrate active and attentive listening skills during class presentation

1. Masonite or heavy cardboard – collagraph plate

2. Sandpaper – to soften edges of collagraph plate

3. White glue – for attaching objects and for sealing surface (acrylic medium maybe used as well)

4. Brushes to apply glue

5. Various mixed media – objects must be low relief on the surface (students resource)

6. Printmaking books – for resource imagery

7. Teacher’s portfolio – collagraph prints

Today’s lesson will begin construction of the collagraphic plates. The word collagraph is derived from the

Greek colla, meaning, “glue,” and graphos, “to write.” The process is a constructive one – objects are added to the

surface of the plate – as opposed to the subtractive process of most intaglio techniques. Students will be completing one

collagraph without ink (to create an embossed effect) and one with ink. To start this lesson students will view both the

ink and no ink collagraph techniques taken from the teacher’s portfolio.

Construction of Collagraph plate:

1. Students will receive a piece of Masonite to construct their

prints.

2. They will need to sand down the edges and corners of their

plate – this will prevent the plate cutting into the paper

when pressing.

3. Students will use white glue to secure down various

objects to their plates.

a. Encourage students to take their time when

placing and layering objects on plate – what do

they want to achieve from their image?

b. How can design and texture be achieved

through their collagraphic prints?

c. Note: The surface of the plate should not be more

than 3/16 to _ inch at its highest point.

4. Once objects have been secured to plate – students are

required to “seal” the plate with a thin layer of white glue

or acrylic medium.

a. The plates will need to dry overnight.

b. Plates will be printed off during tomorrow’s

class.

5. If students have additional time – have them go through

the printmaking books provided.

Note: A plate larger than the paper can be used, allowing

the print to be made without plate marks. Bleed prints – in which

the image areas goes to the very edge of the paper – can also be

achieved.




provide minilesson and guide

construction of the collagraph

image.

2. Visual aids – teacher will provide

collagraph examples from portfolio.

3. Group discussion – students are

encouraged to ask questions

throughout lesson.


have the opportunity to individually

construct collagraph plates for

printing.

Time

5-

10

35-

40

Assessment

Closure

Self-EvaluationA


2. Remind students that they must have their plates completed for next class – printing of plates.



1. Participation – in-active listening skills and construction of collagraph plates.




Time

5-

10



Materials

Set



March 09.2004 Art 30 Collagraph

Printing

1. Demonstrates active and attentive listening skills during the minilesson.

2. Models proper printing procedure when using printing press.

3. Modifies printing pressure in order to pull a print.

4. Generates a collographic print by implementing the printing press.

1. Completed collagraph plates

2. Paper - rag paper

3. Water basin for soaking paper

4. Printing press

5. Blotting paper – for removing excess water

6. Plastic sheeting for printing bed (to cover registration paper)

7. Rolling pin

8. Newsprints

9. Evaluation criteria - handout

This lesson continues from the previous classes construction of the collagraphic plate. Today’s lesson will

focus on the printing process – using the printing press to pull prints created from a collagraphic plate. Teacher will

both orally and visually walk students through the required procedure of pulling prints from a printing press. Students

will be encouraged to work in pairs to assist each other in the printing process. Note: Maintaining a clean work

environment is essential during the printing process.

Teacher will begin this lesson by demonstrating a

minilesson on the operation of the printing press:

1. Teacher will demonstrate the proper technique

of tearing the rag paper (Stonehenge or other

paper) in order to maintain the deckled edge of

the paper.

2. This piece of paper will then be placed in a

basin of warm water – warm water is absorbed

much faster than cooler water.

3. This paper will need to soak for 20-30 minutes

– if using Mayfair paper (an inexpensive

alternative) soak paper for approximately 10

minutes.

a. Teacher may need to stress the importance of

being prepared to print – due to time

constraints.

4. While the paper is soaking - the teacher will go

over the rules of using the printing press.

a. Taking care not to damage the printing bed.

b. Adjusting pressure evenly to ensure the print

pulls properly

c. Cleaning up after each use.

5. Teacher will demonstrate the removal of paper

from the water basin – gently removing paper –

allowing paper to drip water free.

a. Paper will be placed between blotting paper

and - using the roller – remove excess water.




present minilesson on collagraph

printing.

2. Visual aids – teacher will visually

walk student through the printing

process.

3. Group discussion – as a class

students will critique the process of

using the press when creating their

prints.


have the opportunity to complete

both an inked and non-inked

collagraph.

Time

5

10


6. Next, teacher will demonstrate registration of print by laying marked newsprint onto printing bed

first.

a. Plate is set (face up) onto newsprint.

b. The blotted rag paper will be set onto the plate.

c. Another piece of newsprint will be set on top of the rag paper.

d. Next, the printing blankets will be set over the newsprint – ensure blankets do not have any

wrinkles in them – wrinkles in the printing blankets may transfer to the print.

e. Run plate through press.

i. Collagraphic plates maybe run through more than once – demonstrate to students

that the pressure may need to be adjusted – when adjusting the printing rollers

mention to students that pressure must be even to ensure proper pull.

7. Once demonstration is complete allow time for students to experiment with the press.

8. Some students may be ready to pull their prints – while others may need time to complete their

collagraphic plates – the remaining time in the class will be given to working on prints.

9. Teacher will circulate through the class assisting students and guiding printing press procedure.

10. Remind students that their first (non-ink) collagraphic prints must be completed by the end of the

next class.

Assessment

Closure

Self-EvaluationA


2. Properly store prints.

3. Clean up classroom.


1. Participation – in-active listening skills and completion of collagraphic print.




Time

5

30

10

Evaluation criteria for student work:

COLLAGRAPH PRINTMAKING (no-ink and ink):

Visual Note:

Student:

Date:


Note: You are submitting two prints for this evaluation 1. Collagraph – no-ink and 2. Collagraph – ink –assign a mark for

each print. Additionally note which print you found visually stronger within your visual critique. Why?




3 = Satisfactory Adequate, Sufficient, Attention needed on implementation of collagraph technique

2 = Limited Lacks Development, Needs work – technical aspect and visual message

1 = Inadequate Incomplete work presented for critique

Visual Critique:

Teacher: Grade:




3 = Satisfactory Adequate, Sufficient, Attention needed on implementation of collagraph technique



Visual Critique:




Materials

Set



March 10.2004 Art 30 Collagraphic

Printmaking

1. Demonstrates proper printing procedure when pulling print on press.

2. Assists other students during the printing procedure.

3. Alters printing procedure when using press to achieve proper pressure.

4. Generates a collagraphic print by using the printing press.

1. Completed collagraphic plates

2. Paper – rag paper

3. Water basin – for soaking paper

4. Printing press

5. Blotting paper – for removing excess water

6. Plastic sheeting for printing bed

7. Rolling pin

8. Newsprint

9. Printmaking books

Today’s lesson will continue to build on the previous collagraphic lessons. Students will have been shown the

proper technique when tearing their paper, soaking of paper, and using the printing press. Students will immediately

begin preparing for pulling prints using the press. Teacher will circulate through the room – assisting students who

require help. Students will be encouraged to assist other students during the printing process. Students who have

completed their prints may browse through the printmaking books supplied in class.

While students are working in the printing lab – teacher

will circulate through the room. Students will be encouraged to

develop and refine printing skills during lab/studio time. Teacher

may wish to ask questions to guide reflective student responses –

encourage students to use visual vocabulary (elements of art and

principles of design) used within the class to discuss prints:

1. How do the medias used in the collagraphic

print read once they have been transferred to

paper?

2. As you examine your print – what areas draw

the viewers eyes in? What stands out within

the pulled print?

3. If you experimented with this process more –

how would you modify this process to fit your

artistic practise?

Students may browse through printmaking books provided

to explore a variety of techniques and process available – this will

act as personal research for possible prints. Students will be

encouraged to record their reflective thoughts throughout class

within their sketchbooks.




assist students when in need of help.

2. Visual aids – as prints are pulled –

students will set prints on display

for the class to see.

3. Group discussion – students will

work as a team when using the

printing – this will enable the

process of printing to run smoothly.


individually create a collagraphic

print using the printing press.

Time

5

45

Assessment

Closure

Self-EvaluationA


2. Remind students that tomorrow’s class will be using ink to complete their second prints.




1. Participation – in-active listening skills and the completion of a collagraphic print.




Time

10



Materials

Set


March. 11.2004 Art 30Collagraphic

Printmaking

1. Demonstrate active and attentive listening skills during minilesson.

2. Share resources and time during the printing procedure.

3. Modify collagraphic print to incorporate an inked technique.

4. Generate a collagraphic print using an inked plate.

1. Collagraphic prints

2. Printing ink (oil-based or water-based) – brayers, trowels, matt board, paper towels/rags, telephone book paper


4. Water basin – for soaking paper

5. Printing press

6. Blotting papers


8. Rolling pin

9. Newsprint

10. Rubber gloves

Today’s lesson will be one of the final lessons within the collagraphic-printing lesson – this lesson will have

students working on finishing their prints (non-ink) and completing an inked version of their print utilizing printing ink.

First have students tear paper for prints and set into basin for soaking. Next, have students gather around for a brief

demonstration of printing using ink. Teacher will need to stress the importance of maintaining a clean work

environment to ensure that ink will not be transferred to another surface – in addition, ink must not be transferred to the

printing blankets as this will ruin the blankets and possibly stain other prints.

Teacher will begin inking demonstration (after students

have placed their rag paper into soak):

1. The collagraphic plate (same plate as used in

the non-inked) is inked differently from the

normal intaglio plate.

2. You may apply ink directly to the surface of

the plate with a paintbrush (to reach difficult

spaces) and/or paint roller.

3. Remember to check the plate carefully to

ensure ink has been evenly distributed.

4. Excess ink may be removed with a piece of

matt board or rag.

5. You may continue to hand wipe the plate with

paper wipes (telephone book paper) to ensure

the surface of the plate is fully inked.

6. If individually decides to add more than one

colour of ink – the second colour may be

applied using a surface roller

7. Wipe edges of plate to ensure there is no ink

built up.

8. Plate then can be set onto the printing bed

using the same procedure as when using the

non-inked technique.




orally deliver a minilesson on ink

application.

2. Visual aids – teacher will also

visually demonstrate the inking

procedure for the class.


encouraged to assist each other

during the printing procedure.


individually pull a print using the

printing press.

Time

5

10-

15


9. Collagraphic plate must be cleaned up after use – depending on the printing ink used – varsol/paint

thinner for oil-based and water for water-based ink.

10. Ensure proper disposal/storage of rags after clean up.

Teacher may ask students if there are any questions before proceeding with their individual prints.

Allow students the rest of the class to experiment with both techniques.

Students will need to share resources and printing press so ensure that they have enough class time to

complete their prints.

Have students compare their non-inked collagraphs with their inked collagraphs: How has the use of ink

changed the visual composition of the print? Does your print read differently than the non-inked print?

Have students store their finished print (between two pieces of newsprint).

Assessment

Closure

Self-EvaluationA


2. Remind class that next class will be the final class for completing collagraphic prints.




1. Participation – in-active listening skills and completion of a collagraphic print.




Time

35

10



Materials

Set


March. 12.2004 Art 30 Collagraphic

Printmaking

1. Demonstrate proper printing procedure when pulling prints on press.

2. Assists other students during the printing procedure.

3. Modify collagraphic print to incorporate an inked technique.

4. Generates a collagraphic print using the printing press.

1. Collagraphic plates

2. Printing ink (oil-based or water-based) – brayers, trowels, brushes, rags, telephone books


4. Water basin

5. Printing press

6. Blotting papers


8. Rolling pin

9. Newsprint

10. Rubber gloves

11. Printmaking books - sketchbooks

This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged to

use their class time to complete both the non-inked and inked prints for their portfolio. Teacher will circulate

throughout the class assisting students and holding individual critiques of works that have been completed. Students

that have both prints completed will have the opportunity to browse through printmaking sources and plan for the next

printing technique: woodcut relief prints. Students may sketch print ideas in their sketchbooks.

Teacher will be available throughout the class for

assistance and questioning. Students that have completed both

prints will sit and conduct individual critiques with teacher. The

students will present their work for the teacher and – using the

visual components – elements of art and principles of design –

critique their individual works.

Questions:

1. What message(s) are you trying to convey

within your work(s)?

2. How have you used the media to convey your

message?

3. Are there areas you wish to pursue within this

work?

4. How can this work be further developed?

Have students record their reflections in their sketchbook

for next class. Give students time and space to critically reflect on

the pieces they have created.

Remind students that their prints must be completed for

next class – a group critique will guide the final analysis of the

works.




circulate through the class

answering any questions.

2. Visual aids – prints that have been

completed within the class will be

set up for display.


work as a team while completing

their prints with limited resources.


individually work on completing

their collagraphic prints.

Time

5

45

Assessment

Closure

Self-Evaluation


2. For next class have students write a brief reflective critique of both their prints and bring to next class for

discussion.




1. Participation – in-active listening skills and completion of collagraphic prints.




Time

10



Materials

Set



March. 15.2004 Art 30Group critique

1. Visually interpret group works presented within the class.

2. Support individual works by using the visual vocabulary when considering Elements of Art and Principles of

Design.

3. Describe various visual elements within works presented within the class.

4. Demonstrate attentive and thoughtful behaviour when considering peers works.

5. Develop a visual vocabulary by participating in-group critique.

1. Completed collagraphic prints

2. Classroom handouts – The Art Critiquing Process

Students will be introduced to the four steps involved in the visual critique: Description, Analysis,

Interpretation, and Judgment. In the area of analysis students may need to be reminded of the elements of art and

principles of design when considering a visual work: Elements of Art – Line, Colour, Texture, Shape, Form, Space,

Value & Principles of Design – Harmony, Unity, Emphasis, Variety, Proportion, Balance, Rhythm/Pattern, and

Movement. Have these elements written onto the board for students to reference while completing discussion.

Teacher will lead group critique by posing questions for

student reflection – remind students that comments should be

thoughtful and well-constructed:

1. Describe the picture/image? Tell what you see. Talk

about the subject, the medium, and the title – if there is one to

consider. (Description)

2. How do you visually read the work? Consider the

elements of art and principles of design when using analysis.

(Analysis)

3. Invite the students to express their opinions about

what you think the artist is trying to say. (Interpretation)

4. What do you think about this piece of work? Is it

successful? (Judgement)

Allow students time to consider these elements within the

works. What are they trying to communicate through their works?

Is there work effective in conveying this message to others?

Take time with the students to work on group critique

sessions. Developing a visual language may be difficult for some.

Promote an atmosphere of growth and support throughout this

experience – ensure that all students are able to participate and not

one student alone dominates the conversation. Teacher may need to

impose time restrictions on each work to ensure that all works have

equal time for discussion during the class.

If there is time remaining in the class – allow students to

record their thoughts in their sketchbooks and prepare for next class

– woodcut relief prints.



1. Oral presentation – both students

and teacher will discuss visual

elements that exist within the works.

2. Visual aids – students will bring

completed collagraphic prints to

class to discuss.


thoughtfully discuss individual

works for presentation.


individual critique and explain their

works to the class.

Time

5

45

Assessment

Closure

Self-EvaluationA


2. Remind students to sketch visual ideas for next class: woodcut relief prints.



1. Participation – in-active listening skills and participation in group critique.

• Students will hand in work with attached grading criteria.

• Teacher will keep an anecdotal record of the students’ participation in-group critique.




Time

10

The Art Critiquing Process:

Taken from: http://www.brigantine.atlnet.org

1. Description: simply means to describe the picture. Tell

what you see. Talk about the subject, the medium and any

information you have gotten from reading the credit line

(information such as the name of the artist, the title of the

artwork and what medium or combination of mediums was

used to create the work), if there is one. This is not the

place to add your opinions. You must be objective not

subjective.

2. Analysis: Here is the section where you will express your

thoughts about what the message of the artwork is. What

ideas does the work represent? This section relies on your

knowledge of the Elements of Art (Line, Colour, Texture,

Shape, Form, Space, Value) and the Principles of Design

(Harmony &Unity, Emphasis &Variety, Proportion,

Balance, Rhythm &Movement).

3. Interpretation: Here you are invited to express your

opinions about what you think the artist meant. Now you

have the opportunity to discuss what this work means to

you.

4. Judgment: Here you can express your opinions. What do

you think about this piece of work? Is it successful? Do you

like it? You should be able to give some reasons as to why

you like or do not like a work of art.



Materials

Set



March 16.2004 Art 30Woodcut relief

prints

1. Demonstrate active and attentive listening skills during the PowerPoint presentation.

2. Develops skill and technique by experimenting with a variety of traditional tools within work.

3. Composes a work that explores personal depth and style.

4. Generate a work that implements the woodcut relief technique.

1. Soft wood – pine, poplar, basswood or plywood can be used – cut into small squares.

2. Variety of tools: woodcut knife, gouges & sandpaper

3. Bench hooks

4. PowerPoint presentation: Featuring artists such as Ernst Ludwig Kirchner – Three Figures – 1909, Emile

Nolde – Fischdampfer (Fishing Boat) – 1910, Edvard Munch – The Kiss – 1902, Paul Gauguin – Te Atua (The

Gods) – 1891-93, Roy Lichtenstein – Modern Head #1 – 1970, Katsushika Hokusai – View on a Fine, Breezy

Day – ca.1830.

Students will participate in a brief PowerPoint presentation highlighting the Woodcut relief technique. The

influence of Japanese woodcuts – ukiyo-e - on European and Western artists will be noted within the presentation.

Students will be asked: The ukiyo-e style was based on the pleasures of everyday life how did European and Western

artists translate this style into their works? Look at the flat pictorial space, angles of vision, abstract patterns, cropped

images, lyrical line, flattened colours, calligraphy, theatricality, shortened perspective, economy of form, atmospheric

effects, preoccupation with nature and compelling human emotions. (p.34 Saff&Sacilotto).

Ask: Two artists in particular: Paul Gauguin and Edvard Munch were influenced by the Japanese ukiyo-e

technique. In the images seen here (Te Atua and The Kiss) describe/identify the themes developed in these particular

woodcuts.

Ask students: Simply, the term ukiyo-e means

“depictions” of popular pleasures of town life. Can you identify

some sources of imagery within your life/town?

: How can you translate this imagery into

your woodcuts?

Before students begin their work it is important to stress

the importance of safety – in particular when working with sharp

carving tools. Remind students: to use bench hooks to secure their

wood in place. Additionally when using tools – tools should be

carved away from the individual. Students will also be required to

share resources – if limited carving tools exist. Students will begin

by hand sanding their block of wood – looking at the grain of the

wood and other marks they may find in their woodcut blocks.

1. Students may draw their images onto their

wood before they start in pencil (students will

focus on imagery found in their everyday life –

a contemporary ukiyo-e focus) or they may

simply want to start carving.

2. When carving students should take their time

to become familiar with the knives and gouges

used with the woodcut technique.

Students will have the opportunity to focus on their

woodcuts for the remaining time in class. Teacher will circulate

within the room assisting students that require help. Promote

problem-solving strategies if students encounter difficulty by

having them (re) examine the medium they use.




guide woodcut relief prints by

providing

2. Visual aids – teacher will provide a

brief PowerPoint presentation on

some of the artist that use the

woodcut techniques.


required to share resources and

participate in visual planning

strategies in order to complete their

works.


have the opportunity to work on

their woodcuts and personally

experience the woodcut technique.

Time

10-

15

35

Assessment

Closure

Self-EvaluationA

Note:

For an alternative to Woodcut relief prints:

Plaster Relief Prints

From: History and Process: Printmaking, Donald Saff/Deli Sacilotto. Published by University of South Florida,

1978, pp. 82-83.

For making plaster relief prints, the printing plate is cast in plaster and worked with various tools, both

while it is still wet and after is has dried…Printing is done in the same manner as for an ordinary woodcut.

Resources:

Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Shufunotomo Co.,

Ltd. 1989. ISBN: 4-07-975316-0.

Saff, Donald & Sacilotto, Deli. History and Process: Printmaking. Holt, Rinehart and Winston. 1978. ISBN: 0-03-

042106-3.


2. Remind students that they will have one more period to work on their woodcuts before printing.



1. Participation – in-active listening skills and preparation of woodcut relief block.




Time

10



Materials

Set




prints – cont.

1. Demonstrate commitment to their individual explorations with woodcut technique.

2. Implement a variety of tools within their works to create design and texture.

3. Exhibit a personal style through implementation of traditional woodcut techniques.

4. Generate a woodcut print by implementing the woodcut process of printmaking.

1. Woodcut blocks

2. Variety of tools: woodcut knives and gouges

3. Bench hooks

4. Printmaking books for student resources

5. Evaluation criteria for individual work – provide grading criteria for students

Teacher will begin lesson by checking in with the students’ progress. Answer any questions that may arise.

Students will be encouraged to start immediately into their woodcuts – resources such as printmaking books may be set

out to further assist students individual encounter with the woodcut process. Students are encouraged to ask questions

and further their independent research with their materials.

As the teacher circulates through the classroom – teacher

may begin conducting individual critiques with students. That is,

the teacher may begin to ask students to think about their works

focusing on the Elements of Art and Principles of Designs.

Teacher may ask:

What idea(s) does this work represent?

How do your lines strengthen the composition?

Looking at the space within the composition how does

this affect the mood within the work?

When you examine the image can you see/feel a sense of

flow/unity within the work?

Where can you take this work? How can you expand on

this composition?

Are there other areas that need to be explored further

within the composition?

How does the medium limit you as an artist?

How does the medium expand your process of image

making?

Give students time and space to think about these

questions. Challenge them to think beyond their works – they may

wish to consider other artists they have encountered. Teacher may

direct them to the Printmaking books for further encounters and

individual research.




circulate through the classroom

assisting students.

2. Visual aids – teacher will display

printmaking books to further

students’ encounters with art.


required to share resources and

participate in visual planning

strategies in order to complete their

works.


continue their work exploring the

woodcut technique.

Time

5

45

Assessment

Closure

Self-EvaluationA


2. Remind students that next class there will be a demo on how to print the block.



1. Participation – in-active listening skills and completion of woodcut relief block.




Time

10

Evaluation criteria for student work:

WOODCUT RELIEF PRINTS:

Visual Note:

Student:

Date:





3 = Satisfactory Adequate, Sufficient, Attention needed on implementation of woodcut technique



Visual Critique:

Teacher: Grade:




3 = Satisfactory Adequate, Sufficient, Attention needed on implementation of woodcut technique



Visual Critique:




Materials

Set




print – cont.

1. Demonstrate active and attentive listening skills during minilesson.

2. Adapts rubbing technique in order to pull print(s) from woodblock.

3. Displays careful and thoughtful application of technique within work.

4. Generates a woodcut print by implementing the woodcut technique.

1. Completed woodcut blocks

2. Vellum or rice paper

3. Wooden spoons – for rubbing

4. Ink (oil-based or water-based)

5. Brayers (rollers)

6. Glass or acrylic plates for rolling ink

7. Variety of tools: woodcut knives and gouges

To start this lesson – the teacher will have students bring out their finished woodcut blocks. Survey the class to

ensure that all students have completed their woodcut blocks – more time may be needed due to the laborious technique

of woodcut. Have student gather around for a brief minilesson on the application of ink and rubbing of woodcut in

order to pull print.

Teacher will demonstrate a brief minilesson on the process

of pulling a woodcut print using a wooden spoon (traditionally a

Japanese rice spoon would be used in this technique but a wooden

spoon with a rounded back will also work):

1. Spread some ink onto acrylic/glass surface.

2. Using brayer/roller work the ink back and forth at

different angles until a thin layer of ink has been

achieved.

3. Check the woodblock for any loose pieces of wood or

wood dust – remove any particles.

4. Roll the ink onto the surface of the block using a

brayer/roller.

5. Check woodcut surface – if ink appears on gouged

surface – remove pieces with woodcut tools.

6. When ink is evenly distributed onto surface of the

block – you may lay your piece of paper onto the

inked surface of the block (carefully place paper onto

block – center paper – registration will be needed

when pulling final print for presentation).

7. Using either a burnisher – wooden spoon, Japanese

baren or other device – you may proceed to rub the

surface of the woodblock.

8. Follow the surface of the wood.

9. The pressure applied to burnisher will affect the print

– when using vellum or other Japanese paper – the

image will show through revealing the areas that have

printed.

10. Once image is completed carefully remove paper from

surface of woodblock and examine print.




orally present a demonstration on

printing the block.

2. Visual aids – teacher will visually

demonstrate pulling the print using

a wooden spoon.

3. Group discussion – students are

encouraged to ask questions during

the demonstration.


individually explore pulling a print

from the woodcut they created.

Time

5

10


11. Image may need to be worked on further using the woodcut tools – depending on desired effect of

print.

12. Depending on ink (oil-based or water-based) – clean surface of the block if more work is needed.

13. If not continue on with printing.

Remind students that they must clean the surface of their block at the end of their printing.

Have students store their prints between newsprint and either in their portfolios or assigned draws for next

class.

Additionally: students may need to be reminded that they must maintain a clean working surface in order to avoid

transferring ink to other surfaces and to other prints.

Have students work on the process for the remaining class. They must pull an edition of 5 prints for this

particular module. These will be signed by the artist and editioned: 1/5, 2/5, 3/5 etc…

Teacher will continue to circulate the room providing assistance and guidance when needed.

Encourage students to work in pairs or as teams in order to assist each other in the printing process – it is a

good practice to have one individual with clean hands available to transfer paper and image.

Assessment

Closure

Self-Evaluation


2. Remind students that next class will be a group critique on woodcut prints created within the class.

a. Have students prepare their presentations and at least bring one question to the class for group

discussion – that is – students will be required to think of questions they may ask of others students and

their works – remind students to look over their Art Critiquing Process handout before next class.



1. Participation – in-active listening skills and completion of an edition of woodcut relief print.




Time

35

10



Materials

Set



March 19.2004 Art 30Group critique– Woodcut prints

1. Demonstrate effective and attentive listening skills by participating in-group critique.

2. Individually support their work by visually critiquing elements used within work.

3. Analyze and evaluate their own works in relation to the works of professional artists discussed in class.

4. Visually interpret the relationship between images incorporated within the works.

1. Completed woodcut prints

2. Grading criteria sheet will be returned with artwork.

3. Handout – The Art Critiquing Process (from previous group critique – may use this to refer to)

Students will bring in their completed prints to share with the class. Students will be encouraged to hang their

works within the room to aide in visual presentation. Additionally, students will have to select a print they wish to

submit to the final gallery hanging (out of all their prints) – which would occur next class. Students will have five (5)

minutes to arrange their works and prepare to engage in-group critique of the week’s events and the final presentations.

of the completed work.

Students will have become familiar with the group critique

procedure by this point in the unit. Initially the teacher guided the

critique through structured questioning. For this group critique

students will be encouraged to lead the discussions. Students were

requested to prepare questions to guide discussion in the critiquing

of students work.

Remember: Description, Analysis, Interpretation, and

Judgment

If students still find group critiques difficult have them

start by comparing the imagery to works presented within the class

created by other artists either historical or contemporary.

E.g., “The work reminds me of …”

“ This work incorporates media that reminds of the

work of …”

Encourage thoughtful debate surrounding imagery. Due to

the restricted time limit – students will have roughly 5 minutes each

to discuss and present their works.

Teacher will keep watch over time to ensure that all

students have the opportunity to participate within the discussion.

Additionally the teacher will keep a running anecdotal record of

participation and questioning throughout the class – this

information will be used within the final grading of the unit as

Individual participation.



1. Oral presentation – both teacher and

students will participate in a visual

critique of the works created within

the class.

2. Visual aids – students will have the

chance to examine the works

created within the class.

3. Group discussion – students as a

group will share and express their

visual interpretation of works

presented.


have the opportunity to visually

critique their individual works and

provide interpretation and

judgement of their work.

Time

5

45

Assessment

Closure

Self-Evaluation


• Remind students that next class we will be working on installing the works into the student gallery.

2. Have students’ hand-in grading criteria with work.



1. Participation – in-active listening skills and participation in-group critique.

• Teacher will keep an anecdotal record of the students’ participation within the group critique.




Time

10



Materials

Set



March 22.2004 Art 30Gallery

Installation

1. Select an individual work that best represents artistic endeavour.

2. Generate a series of completed compositions presented for public display.

3. Visually document individual works selected for the exhibition.

4. Actively participate in-group installation (naming) of student exhibition.

1. Selected student works

2. Digital camera – students will be required to digitally photograph their work in addition to the gallery

3. Frames and mattboard, title (didactic labelling)

4. Easels for display

5. Glass cleaner and paper towels

6. Slips of paper –vote for exhibition title

The class will start by having students submit their work for gallery installation. Students were required to

decide on the selection of their prints prior to the beginning of this lesson. Have students gather their works for the

exhibition. Frames, matting and labels will be provided for students – students will be required to matt, frame and fill

out a label for the work(s) they submit. In addition to installation the students will document their works through digital

photography and decide on an exhibition title for the works presented for the school.

Once students have selected their works for gallery

installation they will have to select a frame – depending on the

amount of frames available – and matt their work for the show.

Students will be encouraged to work as a team in the installation of

the student show. Glass cleaner and paper towels will be available

to clean up glass/plexi in the frames. In addition to framing and

matting of work, students must fill out at label form in order to

identify the individual works within the show.

Once students have their works up they may visually

document their work through digital photography. Since there is

only one-camera available students must share the camera during

this time. The digital images will be saved to disk – later on – for

students who participated in the exhibition – a digital resource for

their portfolio of a group exhibition.

After all works have been installed and students

individually photograph their works – the class must decide on an

exhibition title for their show. What meaning is reflected in the

title of the exhibition?

1. Teacher will survey the room for suggestions.

2. As titles are generated for the exhibition – teacher will

write these onto the board for the class to view.

3. Students will be given a slip of paper to vote for the

title they wish to select for the exhibition.

Additional lesson:

Optional: students must write an artist statement regarding the

works they created within the printmaking unit – the artist

statement can be additionally saved to disc for future reference and

individual portfolio.




assist students in the installation of

work in the student gallery.

2. Visual aids – the prints selected for

the exhibition will guide the gallery

installation.


work as a group on the installation

of student work. Students will

additionally decide on a title for

their exhibition.


select the work they wish to exhibit

in the exhibition and digitally

photograph their work in relation to

the exhibition for the building of

their portfolio.

Time

5

30

15

Assessment

Closure

Self-Evaluation


a. Have students transfer their images from the digital camera to their school file for documentation.

2. Clean up classroom and gallery.


1. Participation – in-active listening skills and installation participation in student gallery.

• Teacher will keep an anecdotal record of student participation.




Time

10

Unit Exam

Printmaking Unit

Rationale & Test


Rationale:

The final unit exam developed for Art 30s – Printmaking Unit –

focuses on both the visual aspects of the works discussed in class as

well as the conceptual processes that have guided the works.

Throughout the unit students will have been exposed to a variety of

artists and artworks – both contemporary and historical. Students are

encouraged to ask questions throughout their visual encounters with

these artists and these artworks that result in the topics of

discussions they wish to further explore through guided and

individual research.

This unit has been built on the three major components of visual

learning as outlined by the Alberta Education: Program of Studies -

Art curriculum (10-20-30). That is: Drawings or delineations;

Compositions or structures; and Encounters with art - are

incorporated throughout this unit. It is important to note that these

areas are essential elements within the program of study. That is, not

only the technical and skills aspects are explored but also the

affective and conceptual aspects of artists and artworks are

introduced within the unit study.

We are surrounded by visual information. Sometimes the

information presented to us is not always clear but by fostering a

classroom environment that supports visual learning – students are

encouraged to take direction and ownership of their own

work/research that furthers the individual creative process. Skills

alone do not define a work but skills and knowledge together widen

the possibilities of artwork and arts integration within the wider

social context. This final unit exam is not meant to frustrate or

intimidate the students instead; this exam will act as a personal

inventory of the information covered throughout the unit.

Alberta Education: Program of StudiesSenior High School

Art 30Revised 1986

Drawing

Students will:

Investigate

DEVELOP AND REFINE DRAWING SKILLS AND STYLES.

Concepts:

B. Explorations of a technical or creative nature may lead

individuals into highly personalized work sessions.

Communicate

EXHIBIT A PERSONAL STYLE THROUGH IN-DEPTH STUDIES.

Concepts:

B. A series of complete compositions presented for public display

provides a visual statement about an artist.

Articulate and Evaluate

USE THE VOCABULARY AND TECHNIQUES OF ART CRITICISM TO ANALYZE AND

EVALUATE THEIR OWN WORKS IN RELATION TO THE WORKS OF PROFESSIONAL

ARTISTS.

Concepts:

A. An understanding of major 20th century artists and movements

adds to the ability to evaluate one’s own work.

B. Identification of similarities and differences between the

students and professional artists enhances analysis of their own

work

Compositions

Students will:

Components

USE PERSONAL EXPERIENCES AS SOURCES FOR IMAGE MAKING.

Concepts:

B. Planned and spontaneous methods of working are ways of

developing visual images.

Relationships 2

USE THE VOCABULARY AND TECHNIQUES OF ART CRITICISM TO ANALYZE AND

EVALUATE THEIR OWN WORKS IN RELATION TO THE WORKS OF PROFESSIONAL

ARTISTS.

Concepts:

A. Criteria such as originality, organization, technique, function

and clarity of meaning may be applied in evaluating works of

art.

B. Artworks may be analyzed for personal, social, historic or

artistic significance.

Encounters

Students will:

Sources of Images

RESEARCH SELECTED ARTISTS AND PERIODS TO DISCOVER FACTORS IN THE

ARTISTS’ ENVIRONMENTS THAT INFLUENCED THEIR PERSONAL VISIONS.

Concepts:

A. Personal situations and events in artists’ lives affect their

personal visions and work.

B. Historical events and society’s norms have an affect on an

artist’s way of life and work.

Transformations Through Time

ANALYZE THE FACTORS THAT GENERATE A WORK OF ART, OR AN ARTISTIC

MOVEMENT: THE EXPERIENCES OF THE ARTISTS AND THE IMPACT OF THE

CULTURE.

Concepts:

B. A specific artistic movement and its works of art influence

later artistic movements.

Taxonomic Level (Breadth) Analysis,

Synthesis,

Evaluation

(Depth)

Predominant

Content

Quiz 15% Projects 75%

Demonstrates

understanding of

printmaking

principles by

applying these

principles within

works. (Ap)

Combines personal

elements to create

individualized

work. (S)

Develops and refines

individual

compositions

throughout unit.

(Ap)

Contributes

thoughtfully to

group critiques

and self-

reflections. (E)

Supports

printmaking

techniques used

within individual

works through

group/individual

critique. (E)

Compiles research

(individual

endeavor) on

selected artists

and art

movements. (Ap)

Analyzes artworks

for personal,

social, historic or

artistic

significance. (An)

Generates a series

of complete

compositions

implementing

printmaking

techniques. (S)

Four (4)

projects

(18.75% each):

Each project will

build on the

previous lesson

and incorporate

elements from

the predominant

content outlined:

1. Monoprint

/Collage

2. Collagraph –

no ink

3. Collagraph –

ink

4. Woodblock

print

Table of SpecificationsGrade 12 Art 30: Printmaking Unit


Taxonomy and

ContentEvidence of Learning

Note: Students’ contribution to class critiques, exhibition

installation and cultivation of personal work ethic (that is,

individual research and work through sketchbook activity)

during the unit. Total: 10%

Unit Exam Blueprint

Grade 12 Art 30: Printmaking Unit


19 Questions

40 Marks

Cognitive Domains Weighting 15% Time: 60 minutes (full class)

K C Applica

tion

Analysi

s

Synthes

i s

Content Matching Multi

ple

Choic

e

Short

Answ

er

Total

11

(1)

Identify historical

origins (timeline) of

printmaking

11 (1) 1 (1)

14

(1)

16

(1)

Identify visual

processes within

printmaking

techniques

14 (1)

16 (1)

2 (2)

12

(1)

13

(1)

15

(1)

Recognizes and

identifies visual

terminology

12 (1)

13 (1)

15 (1)

3 (3)

(1)

17 (4) Distinguishes

between printmaking

processes by

identifying main

components of each

17 (4) 1 (4)

18 (4) Recognizes and

outlines major

components within

fine art topics of

debate

18 (4) 1 (4)

19

(16

)

Summarizes

printmaking

techniques and

processes

19 (16) 1 (16)

1-10 (1) Applies previous

knowledge of artists

and artworks to

novel situations

1-10 (1) 10

(10)

6

(6)

1

(16

)

12 (18) Totals 10 (10) 6 (6) 3 (24) 19

(40)

Legend:

K - Knowledge

C - Comprehension

# - Number of question

(#) - Weighting of question

Art 30

Printmaking Unit Test


Spring 2004

Name: __________________________

Date: ___________________________

Mark: ______________ (Out of 40 marks)

You have the full class period (60 minutes) to completeyour final unit exam. Take your time and carefully readthrough the entire exam before you start. Complete all

questions. If you have difficulty with any particularquestion – skip over the question and return back to thequestion later. Once you have completed your exam pleasequietly hand your test to your teacher and you maycontinue working on any projects you have left tocomplete. Breath, relax and have fun – Good luck!

Match the Artwork with the Artist

Directions: We have discussed a variety of artists and their works

throughout this unit. Although each work in Column I have not been

shown in class - qualities about each artist and their work have been

discussed and featured throughout the unit study. Note - Carefully

examine the individual style of each work. Look beyond the visual

components in the work for assistance. Please match the artwork – in

Column I (numbers) with the correct artist - in Column II (letters). You

may use the artist’s names more than once. Hint: There will be two

(2) artists left over. (10 marks total – 1 mark each)

Column I ColumnI I

1. __________

A. Margaret Shelton

B. Andy Warhol

C. Ernst Ludwig

Kirchner

D. Max Beckmann

E. Edgar Degas

F. Claes Oldenburg

G. Jim Dine

H. Roy Lichtenstein

I. Edvard Munch

J. Chuck Close

K. Josef Albers

L. Henri Matisse

2. ________

Note: There are more works on the next page.Continuation of Matching – Column I

3. ___________ 7.

________

4. __________ 8.________

5. __________ 9.________

6. _________ 10.

________

Multiple Choice:

Directions: Please circle the best possible response for the

following questions. (6 marks total – each question is worth 1 mark

each)

11. The history of printmaking in Japan could be traced back to the:

a. 5th century

b. 6th century

c. 7th century

d. 8th century

12. The Japanese term “ukiyo – e” means:

a. compositions

b. depictions

c. diagrams

d. publications

13. The word “lithography,” derived from the Greek, means:

a. stone washing

b. stone carving

c. stone writing

d. stone printing

14. Which process of printmaking requires the printmaker to use

tools such as chisels, gouges, and knives:

a. woodcut techniques

b. collagraph techniques

c. intaglio techniques

d. lithography techniques

15. This type of proof is sometimes known by its French name,

“épreuve d’artiste”:

a. artist’s proofs

b. presentation proofs

c. printer’s proofs

d. state proofs

16. This Japanese tool is used to apply pressure in the printing of

woodcuts:

a. brayer

b. baren

c. rocker

d. squeegee

Short Answer:

Please answer each question to the best of yourability. Hint: Look at the marks assigned to eachquestion for direction and scoring that is how manypoints should be discussed in order to receive thefull marks.

17. An exhibit of Relief prints has just opened in Brooks. You have

decided to take your family to this exhibition. While you and your

family are walking around the gallery admiring the beautiful works

one of your family members asks you: “What is the difference

between a woodcut print and a wood engraving?” With your

extensive background knowledge in printmaking techniques you

provide your family with an answer by distinguishing between the

two techniques.

Hint: A visual cue to answer the question (4 marks)

Wood cut Wood engraving

18. There is an on going debate about what constitutes an

original print. We have briefly touched on these issues throughout

our unit. Please outline the main criteria – you may do so in point

form - that compose an original work of art/print raised in the field

of fine arts. You may use illustrations to further support your answer

or compare print to reproductions. (4 marks)

19. You have just completed a series of prints for your portfolio,

which explored and incorporated the techniques of: monoprint

making, collagraph (no ink and ink), Dry point printmaking and

woodblock processes. Briefly summarize aspects of each technique –

four processes in total. Your answer should include 1. Materials used

in each process, 2. Tools needed (if any) e.g., printing press and 3.

Resulting visual components/elements of each; e.g., is there a

reversal of image that results from that particular technique. You

may use point form to construct your answer. If you need more space

– please use the back of the exam booklet. If you continue your

answer on the back of the exam booklet - remember to clearly

identify the question you are answering. (16 marks total – 4 marks

for each technique)

Art 30

Printmaking Unit Test


Spring 2004

Time: 60 minutes

Total Marks: 40

Exam Key

Match the Artwork with the Artist (Out of 10

marks – 1 mark each)

1. G – Jim Dine2. J – Chuck Close3. I - Edvard Munch4. B – Andy Warhol

5. H - Roy Lichtenstein6. F - Claes Oldenburg7. A - Margaret Shelton8. C - Ernst Ludwig Kirchner9. K - Josef Albers10. D - Max Beckmann

Artists left: Edgar Degas and Henri Matisse

Multiple Choice: (Out of 6 marks – 1 mark

each)

11. d. 8th century12. b. depictions13. c. stone writing14. a. woodcut techniques15. a. artist’s proof16. b. baren

Short Answer:

(Out of 24 marks: 4 marks for #17, 4 marks

for #18 and 16 marks for #19)

Answers may contain the following elements

in order to receive the full marks.Note: If question is worth 4 marks – student muststate 4 points to receive full marks, that is thestudent will only need to select/use 4 points out ofthe following provided answers.

18.What is the difference between a Woodcut andWood Engraving? 4 marks – 4-point s need to bepresented in order to receive full marks from thefollowing answers.

Woodcut:

This technique involves the use of a plank of wood orplywood on which the artist draws a design and thencarves away the wood in the parts of the picture that isnot to be printed. The raised surface retains some of thepattern of the wood grain which shows up in the finishedprints. Only one or two colors can be applied to the plateat one time. For prints with many colors a separate blockmust be carved for each color, and must line up exactlywith all the other blocks or the print will be out ofregister like a badly printed color newspaper photograph.This is the process that gave rise to the first informationrevolution and helped to start the Renaissance. JohannesGutenberg invented the printing press and movable type inthe 1400's. His books were all printed from these littleblocks of wood carved into the shape of letters and thepictures were printed from woodcuts.

Wood Engraving:

In this type of printing a piece of boxwood is cutperpendicular to the grain of the wood. Since the resultingend grain offers a smoother and more uniform surfacethan in regular woodcuts, little or none of the woodtexture is seen in the print. Wood engravings are almostalways small, usually under 5 x 6 inches because boxwooddoes not grow very large. Larger blocks can be made bylaminating small pieces of wood together. This technique isseldom used today. In the past it was used mostly for bookillustrations in hand printed volumes mainly because theblock can last for hundreds or even thousands of copies,and this process produces an image of very fine detail.There was a large revival of this technique in the 1930'samong many American WPA artists.

In very general terms, this means that a woodengraving will contain finer detail than a wood cut.

18. What is an Original Print? 4 marks – studentneeds four points in their answer to receive fullmarks.

Original print:

An original print is one printed from a matrix on whichthe design was created by hand and issued as part of theoriginal publishing venture or as part of a connected,subsequent publishing venture. For fine art prints thecriteria used is stricter. A fine art print is original only ifthe artist both conceived and had a direct hand in theproduction of the print. An original print should bedistinguished from a reproduction, which is producedphotomechanically, and from a restrike, which is producedas part of a later, unconnected publishing venture.One school of thought contends that an Original Print mustbe entirely produced by hand by the artist, which combinesa considerable degree of skill, artistic ability, and technicalknowledge.! Another group states that the choice ofwhatever type of press,!process, or medium is used is justan artistic tool.! Some purists don't always agree that theabove techniques are acceptable for producing originalprints since there is far less physical work and, sometimes,no technical knowledge involved in producing an edition.The image may be hand drawn, but it may not be handprinted.An original print is made when the artist creates a newpiece of work by working with one (or more) of theprintmaking media. Unlike a reproduction, where an originalpainting is photographed and then mechanically printed en-mass resulting in what is essentially a poster, not anoriginal print.

Note students – may also draw an illustration of a print –highlighting the artists’ signature in pencil in the lowerright hand corner, edition number (that is 1/6) is theopposite corner or proof and other identifiable marks suchas the chop mark or dry stamp – identifying mark impressedon a print by the printer or workshop.

19. Student must have 1. Materials involved inprocess; 2. Tools needed and 3. Resulting visualelements and/or components to the technique – toreceive full marks for each.

Monoprint: Essentially a monoprint is a one-of-a-kindprinted image. Creating a monoprint utilizes some of samequalities as drawing and painting. On a glass or acrylicsurface the printer will apply ink (the type of ink may varydue to resources or type either water-based or oil-basedinks may be used. Note: Water based inks will dry outquicker than oil-based inks) – with a brayer the printermay roll the ink – in this case – the printer must check tosee if the ink is evenly distributed - or simply paint on theink with a brush or other object. More than one colour canbe used at one time during this process. The printer thenmay use a variety of implements to “draw” into the ink –such as brushes, trowling spatulas, cotton swabs etc. Thegesture or mark will build the surface of the ink. Papermay be printed dry or dampened. Additionally, the printmaybe simply rubbed (similar to the relief method ofprinting) in a circular motion with a baren or sent througha printing press.

Collagraph: The word collagraph is derived from the Greekcolla, meaning, “glue,” and graphos, “to write.” The processis a constructive one – objects are added to the surface ofthe plate – as opposed to the subtractive processes of mostintaglio techniques. Pieces of cardboard mat board, fibers,

fabrics, string, and so on are glued to the surface of a baseplate – Masonite or heavy cardboard. Once the glue hasdried and all of the objects are secured to the surface ofthe plate and encased in a thin layer of glue prior toprinting – the plate maybe inked up in the same manner asother printing techniques and sent through a printing press– the paper used must be soaked in water prior to printingin order to accept the image. In addition to printing thecollage the correct pressure must be attained before aproper print can be pulled from the service of the plate.Because of the building up of layers on the plate – thecollagraph print will achieve a distinct graphical element –that is textured or embossed effect may be achievedthrough this print technique.

Dry point: This is a type of intaglio technique in which asharp needle scratches the surface of the plate (which canbe copper or zinc), creating a burr that yields acharacteristically soft and velvety line. Fine lines orcorrections can be made by using a burnisher. A pen orhard pencil maybe used to draw onto the plate prior tousing the etching needle. Remember: the image will bereversed upon printing – so considerations must be madewhen preparing the image. Once the image has beencompleted – the printer will prepare the ink by rolling theink with a brayer/roller evenly on a glass surface – thiswill ensure that the ink has been worked out. The ink maybe applied with a brayer or pulled across the surface ofthe plate with small pieces of mat board. Once ink is on theplate-using using paper – even pages from a telephonebook – to remove excess ink. Prepare press for printingplate – remove paper from water (should soak roughly 20minutes prior to print – a dampened paper is much moresensitive to the impression) and remove excess water byusing blotting papers and a roller. Make sure the pressureof the press has been checked prior to first print – this may

need to be adjusted later. Lay plate and paper onto press –cover with paper – and then cover again with printingblankets. Roll through the press once.

Woodblock: A variety of woods can be used in the woodcut technique – woods such as fruitwoods, hard woods andsoft woods such as pine, poplar, basswood and plywoodmay be used. The grain of the woods will lend itself to theprints unique character. A variety of tools maybe used – inparticular knives, gouges and chisels are implemented inthe removal of surface area. It is important to note thatthe image on the plate will be reversed when printed – soin the case of lettering one must remember to write theletters in mirror image and then transfer to the plate. Theprintmaker may sketch out their work prior to cutting intothe wood or they may just begin without restrictions. Oncethe plate is ready – the printmaker will use a brayer orroller to prepare the ink for plate surface. When plate isready to print the paper will be set onto the wood surface– at this point the printmaker can either rub the print witha baren or Japanese wooden rice spoon or send the imagethrough the printing press. The paper does not need to besoaked in water prior to pulling the print. A distinct woodgrain finish maybe achieved but due to multiple techniquessome surfaces will not bleed through. The lines created bythe knives, gouges and chisels are highly identifiable andlend itself to part of the process of woodblock printing.

Printmaking Unit





Resources:

Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Japan:

Shufunotmo, 1989.

Peterdi, Gabor. Printmaking: Methods Old and New. New York: The Macmillan Company, 1971.

Platzker, David et al. Hard Pressed: 600 years of prints and process. New York: Hudson Hills Press,

2000.

Sacilotto, Deli & Saff, Donald. History and Process: Printmaking. New York: Holt, Rinehart and

Winston, 1978. *

* This book is an essential printmaking guide to history and process. Highly recommended and an

invaluable source of information regarding printmaking.

Printmaking Unit Art 30 – 60 Minute Lessons Dillison A ...laurengrover.weebly.com/uploads/2/3/3/5/23353378/printmaking_unit_plan.pdfArt 30 – 60 Minute Lessons Dillison A. Malinsky

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