Printmaking Unit Art Minute Lessons Dillison A. Malinsky Spring Semester 2004 Brooks Composite High School

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1 Printmaking Unit Art 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 8 th 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.

2 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.

3 Printmaking Unit Art Minute Lessons Dillison A. Malinsky Spring Semester 2004 Brooks Composite High School 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 ( ) - Futurism ( ) - Constructivism ( ) - Dadaism ( ) - Surrealism ( ) - and Abstract Expressionism ( ). 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.

4 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.

5 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 ingroup 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 8 th 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. Lesson 13: Woodblock printmaking 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: Woodblock printmaking 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.

6 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 ( ) - 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.

7 Introduction to Printmaking March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials 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 Time Set 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. Activities Differentiation /Modification 10 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.) Activities continued: 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.

8 Activities continued Time 5 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 Question for the class: 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 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. 5 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.

9 Assessment Time 5 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. Closure 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 Self-Evaluation

10 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.

11 Monoprint - Introduction March Art 30 Lesson: Date: Class: Outcomes Materials Upon completion of this lesson, students should be able to: 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 lesson 2. Bushes, brayers, towels, other mark making tools (feathers, combs, hair etc ) 3. Wooden spoons and/or barens 4. Glycerin to prolong paint time, especially when using water-based inks 5. Paper for print and for registration 6. Glass or plexi plates 7. Plastic matt used for registration of print 8. Bucket and rag for clean-up Time Set Continuation of last lesson on printmaking: 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 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? Activities Differentiation /Modification To start: Have the students gather around workspace make sure everyone 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 to stress the importance of keeping a clean work environment. Monoprint: Essentially monoprint techniques are closer to drawing and painting than printmaking but the ability to transfer pigment from one surface to another is a major element of printmaking. (Some people do not consider a monoprint a true print because it is a print that can only be made one time). The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible. There are three principle methods of making a monotype: Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will orally walk class through demonstration. 2. Visual aids teacher will provide a visual demonstration of the printmaking technique. 3. Group discussion students are encouraged to ask questions throughout. 4. Individual analysis each student will create a monoprint work. The additive or light-field method, in which the image is painted by adding or building up pigment onto the plate The subtractive or dark-field method where the entire plate is covered with a thin layer of pigment, which the artist then works out his image by removing some of the pigment with brushes, rags, sticks, or other tools. The third is a combination of the two. Activities continued:

12 Activities continued: Time 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. The process of monoprinting and monotype printing is the same: the artist applies colour directly onto a surface and then prints it running it under a press. Monoprints though have a pattern or part of an image, which is constantly repeated in 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 are created 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 horizontally b. 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 surface d. 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 pressure g. 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 effect i. Lift print carefully from plate j. Set aside to dry k. Clean-up workspace After demonstration: Ask: Are there any questions? Wait for a response from the students. Answer any questions they may have regarding process and techniques. If students are unsure: have one of the students come up and go through the steps again. Students can also begin to plan their works (sketchbook activity) they may want to bring in other tools for mark making in addition have them 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 back into these images - so do not focus to much on detail rather focus on texture and mark making strategies today just focus on experimentation. These prints will be used within and incorporate in collage elements later on. Assessment 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. Closure 1. Answer any final questions. 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

13 Self-Evaluation WHAT IS A MONOTYPE? Taken from: Is it a monoprint or a monotype? Many publications use the terms interchangeably referring to works on paper as either monoprint or monotype regardless of how the images were created. This in turn leads to confusion among printmakers, artists as well as the general public. We hope to clarify this by first exploring the historical aspects of the monotype, some of its techniques and what is happening with this technique/medium in the contemporary art scene. Historically what has come down to us as monotypes/monoprints were in existence since the time of Rembrandt ( ). The monotype/monoprint was referred to subsequently by many different names such as: Adam Bartsch (1821) print cataloguer called the technique, "imitating aquatint", Edgar Degas and Paul Gauguin called them "printed drawings", in the 1880's-1890's they were referred to as monotones or monochromes, also around the 1880's artists in the circle of Frank Duveneck in Florence and 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, called his 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 distinguish it from the commercial typesetting method known as monotype. Later on in 1975 David Kiehl, a print curator suggested a difference between monoprint and monotype. Monoprint according to Mr. Kiehl was a unique image pulled from an engraved or etched plate. Subsequently Jane Farmer an independent curator wrote in 1978 in the monotype exhibition catalogue which she curated the following definitions for both monotype and monoprint. Monoprint, she defined as "a unique image where part of the image is repeatable on a fixed matrix and part is not."1 For monotype, she defined it as "Éa unique image where none or the image is from a registered, repeatable matrix."2 This definition has become the standard for distinguishing the two techniques. This definition is however, difficult to apply to new and inventive ways of printmaking. Monotypes may be somewhat misleading because 2nd or 3rd images can often be pulled, called "ghosts", "cognates" or "second pulls". Although much less intense than the original they tend to be more subtle, lighter and more atmospheric, characteristics which are often more desirable that the first pull.

14 HISTORY Historically the first monotype was attributed to Giovanni Benedetto Castiglione ( ) a contemporary of Rembrandt ( ). Both artists were painter-etchers, Rembrandt van Rijn in Amsterdam and Giovanni Benedetto Castiglione in Genoa. Both artists were experimenting with the printing process to create a tonal effect akin to their paintings. Although mezzotint was already invented it was still in its infancy and neither artist chose this particular path. Instead Rembrandt chose to leave film of ink on selected parts of his etched plates to create tone while Castiglione chose to draw into ink that was spread on a copperplate to create the first true monotype. It is believed that there was perhaps some cross-fertilization of ideas in that seeing some of Rembrandt's etchings might have influenced Castiglione. Rembrandt created monoprints where he changed day and night through the manipulation of the wiping of the plate, which had an etched image. Castiglione however in his quest for created tone in printmaking made some 22 known images where he separated the bitten line from the plate tone to become the first practitioner of the monotype process. The monotype process however was not picked up by any major artist of any significance for years to follow. Somehow the uniqueness of this particular printing process was not favored over the ability to mass-produce images using other printmaking processes. The only major artist prior to Degas ( ) to pick up on the monotype process was William Blake ( ) who appeared to use it with egg tempera to create some of his images for his poems. Probably using a screw press he printed his plates which were of stiff cardboard where he had used egg tempera, a water medium as opposed to an oil medium to paint the outlines of his designs. He then painted broad areas of color onto the rest of the board and printed over the initial outlines. He may have gotten as many as 3 impressions from each ink up and with these he worked over using pen and watercolor. His technique with which he was quite secretive never quite caught on either because of this secrecy or perhaps because he was out of the mainstream at the time. It was not until the etching revival of the 1860's that the monotype was also revived. During the etching revival Vicomte Ludovic Napoleon Lepic ( ) used a process he called, "l'eau-forte mobile" (variable etchings) where he used one set of an etched image of a landscape and created 85 dramatic variations on the basic composition simply by the wiping of his plate. He advocated that the artist who used etching should be a painter or draughtsman who uses the needle and the rag as another uses the paintbrush and pencil. Lepic claimed to have single-handedly inspired a new course for modern printmaking. "I claim authorship for 'variable etching', that is for the labor of art that permits 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 of engraving who might request it, I bequeath my rag to all artists."3 His prints were monoprints and not true monotypes, but his etchings were so minimal and the attempts at creating paintings on the surface of the plate so ingenious that he is mentioned because of his influence on future artists like Degas. Edgar Degas ( ) picked up the "rag" bequeathed by Lepic to become the greatest innovator and practitioner of the monotype in the nineteenth century. Edgar Degas by pushing the technique further than any artist before him made the monotype a more acceptable medium. He took advantage of the spontaneity of the medium and used it to its full potential, accidents and all. He experimented with the medium/technique to seek solutions to problems, which could not be fully explored with pencil or brush. As a result of this search, Degas created some monotypes. Degas' enthusiasm affected other contemporaries who also explored the technique: Camille Pissarro, Mary Cassatt, 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 ( ) fame is owed to great part to the survival of his monotypes in Boston and Cincinnati and the documentation of his followers/students of their "bachertypes" done in Venice and of their encounters with Whistler who may have been introduced to the monotype by them. William Merritt Chase ( ) a painter and teacher who

15 although was not the first to exhibit the monotype in America was a fashionable painter and as an art teacher was instrumental in popularizing the process. Charles A. Walker ( ) appeared to have discovered the technique of monotypes independently of Chase and Deveneck. His main subjects were landscapes and imagery from the Barbizon school. Of the four the only one to really integrate into his "art" was Maurice Prendergast ( ) who created over 200 monotypes. He exhibited and sold his monotypes throughout his career and although his monotypes were both well known and received there were 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 artist seemed to discover and rediscover the medium over and over again in his or her way. Many artists began experimenting with the process like: Pablo Picasso ( ) who created over 100, Georges Roualt ( ), and Henri Matisse ( ). On the American side there was: Milton Avery ( ), Adolph Gottlieb ( ), Richard Diebendorn (b.1922), Robert Motherwell (b.1915), Mary Frank (b.1933), Nathan Oliveira (b.1928), and Jasper Johns (b.1930) to name a few of the better known contemporary 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 born through the painter's imagination and restlessness. It also became a perfect tool for exploring improvisation. Historically the first monotype by Castiglione was in the dark field also known as reduction or subtractive monotype. The basic technique entailed the rolling up of a non-porous surface and in the case of Castiglione most likely a copperplate normally used for etching at the time, with printing ink. Most likely it was first printed in the same manner as the etched plate due to its historic relationship to the etching with damp paper and an etching press. Similarly the plate was most likely prepared in much the same manner as an intaglio plate before "wiping". In the dark field or reductive method the image is wiped with rags, finger or sticks which may very well have been the back of paintbrushes that can be used later to brush back into the image, to correct an edge or build tone. The removed 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 approach the monotype from the additive or "light field" manner. Here a clean plate is used as an empty field or canvas and printing ink is applied much like oil paints. While the ink was quite thick and viscous in the dark field monotype, in the light field it is thinned with solvent making the ink resemble something like watercolor. Where more tone was desired more ink was added, when softer tones were desired, more solvent was used. Intrinsic to monotype is the bit of ink left over after the 1st print is taken. Second and even third pulls result in fainter images known as "cognates", or "ghosts". While all printing processes can yield lighter impressions 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 as rediscovered and reinvented by each artist who uses it. The artist in turn emdows the technique with his or her own style, technique and artistic concerns. The question arises as to why a monotype and not a painting or watercolor? Why a "print"? The answer 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 an etching press or by hand using a baren? There are a lot of unpredictables involved and the spontaneity of the process demands energy, improvisation, gesture, expressiveness and directness. The artist must also appreciate the lushness and sensuality of working with ink.

16 CONTEMPORARY MONOTYPES The idea of the monotype as being a "bastard child" is no longer the prevalent case and has instead become the "favorite son". Perhaps it is the changing of the times. Much like the etching revival of the 1860's there is a revival of the print by the artist. There are similarities because the wiping of a monotype plate had to done by the artist, since the process of creating the image and the art of wiping the plate were identical. The idea of the artist manipulating the ink over the plate with their fingers and leaving their fingerprints have become a visual testimony to the artist's personal involvement in the printing process, not to mention leaving their actual fingerprints. Milton Avery made some 250 monotypes during the 1950's, which he exhibited. Although opening to critical reviews not one piece sold. Apparently the hybrid nature of the monotype and the lack of an edition turned off collectors of prints. Painting collectors were not interested because they viewed the monotype as a print. Recently, however Milton Avery's monotypes as well as monotypes by other artists have been enjoying unprecedented popularity. Artists who have never printed monotypes are trying it 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 of 78 of Degas's monotypes in 1968 by Eugenia Parry Janis and the subsequent catalogue, which reproduced more than 300 of his monotypes. Of equal importance was the exhibition organized by Matt Phillips in 1972, The Monotype: An Edition of One which traveled throughout the United States. Artists that were influenced by one or both were numerous. Of note were Nathan Oliveira, Michael Mazur, and Richard 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 only amongst the artistic crowd, but perhaps a whole generation of artists who studied under them either directly or indirectly. Jasper Johns was also one of the artists to realize the potential of the monotype as a creative medium. His early forays into the medium were as result of his taking his discarded lithographs ( which he was probably working with a master printer) and killing time by printing his own monotypes/monoprints over the "flawed" lithographs. This is quite reminiscent of the etching revival when 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 William Blake and Gauguin in exploring the use of a water based medium to execute monotypes. Similarly artists are 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 Gottlieb in 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 to wait until their health declined. A fairly recent innovation involving monotypes has been the creation of the Monothon by Master Printer Ron Pokrasso, which harks back to Duveneck (1880's), and his "boys" where monotypes were created as recreation during large gatherings. In the case of the Monothon artists are invited to create monotypes. There is a fee, but a sponsor can cover this. At the end of the Monothon printing sessions one print of each artist is chosen and the prints are both displayed and auctioned off. There have been Monothons in Sante Fe, New Mexico where it started to California and most recently at the Connecticut Graphics printcenter in Norwalk, Connecticut. Researching and reading about the history as well as the techniques involved in creating a monotype has been tremendously enlightening. Much like other painter/printmakers we thought we had stumbled upon this painterly printing technique all on our own. Instead, we learned that the monotype has been around as long as the 1640's when both Rembrandt and Castiglione, painter/printmakers were experimenting with creating tone in their etchings. Further research introduced us to the monoprinter Vicomte Ludovic Lepic, the "queer fish"4 as referred to by Degas who bequeathed his "rag" to all, but it was Degas who realized the potential of this "rag" and ran with it. Interestingly these "painted drawings"

17 were never exhibited widely if at all during Degas' lifetime, but somehow they managed to survive to inspire 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, So, we guess it is safe to say that the monotype will continue to grow and evolve even as we write this paper! Notes 1 Moser, Joann. Singular Impression: The Monotype in America, (Washington, D.C.:The Smithsonian Institute Press, 1997) p. 2 2 Ibid., p.2 3 Metropolitan Museum of Art. The Painterly Print: Monotypes from the Seventeenth to the Twentieth Century, (New York: The Metropolitan Museum of Art,1980), p Ibid., p. 23 Bibliography Ayres, Julia. Monotype: Mediums and Methods for Painterly Printmaking. New York: Watson-Guptill, 1991 Laliberte, 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)

18 Monoprints continued March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials 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 Time 5 Set 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. Activities Differentiation /Modification 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. Activities continued: Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 4. Individual analysis students will have the opportunity to pull a monoprint.

19 Time 35 Activities continued 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 1. Participation in-active listening skills and the creation of a monoprint. 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. 10 Closure 1. Answer any final questions. 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. Self-Evaluation A

20 Monoprint & Collage March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Time Materials Set 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 ( ) - Futurism ( ) - Constructivism ( ) - Dadaism ( ) - Surrealism ( ) - and Abstract Expressionism ( ). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists and Dadaist artist such as Max Ernst will be shown. Activities Differentiation /Modification 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 Activities individual continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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.

21 Time Assessment 1. Participation in-active listening skills and the creation of monoprint/collage. 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 Closure 1. Answer any final questions. 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 5. Prepare for next class. Self-Evaluation A Collage - collected definitions - #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 threedimensional. 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.

22 Monoprint/Collage Project: Visual Note: Student: Date: Grade: 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., = 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: Grade Scale: half marks can be assigned e.g., = 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:

23 Group Critique March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials 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 Time 5 50 Set 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. Activities Differentiation /Modification 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? Activities continued: Variety of methods/strategies can be implemented for this art lesson: 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. 4. Individual analysis students will have the opportunity to visually critique their individual works and provide interpretation and judgement of their work. 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:

24 Time Assessment 1. Participation in-active listening skills and group discussion. Teacher will keep an anecdotal record of students participation within group critique. 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. 5 Closure 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. 5. Prepare for next class. Self-Evaluation A

25 Collagraph Printmaking March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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 Materials 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 Time 5-10 Set 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. Activities Differentiation /Modification 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 4. Individual analysis students will have the opportunity to individually construct collagraph plates for printing.

26 Time Assessment 1. Participation in-active listening skills and construction of collagraph plates. 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 Closure 1. Answer any unresolved questions. 2. Remind students that they must have their plates completed for next class printing of plates. 3. Clean up the room. 4. Prepare for next class. Self-Evaluation A

27 Collagraph Printing March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Time 5 Materials Set 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. 10 Activities Differentiation /Modification 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 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. Activities continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 4. Individual analysis students will have the opportunity to complete both an inked and non-inked collagraph.

28 Activities continued Time 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 1. Participation in-active listening skills and completion of collagraphic print. 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. 10 Closure 1. Answer any unresolved questions. 2. Properly store prints. 3. Clean up classroom. 4. Prepare for next class. Self-Evaluation A

29 Evaluation criteria for student work: COLLAGRAPH PRINTMAKING (no-ink and ink): Visual Note: Student: Date: Student: Please circle the mark you would assign yourself Justify your assigned mark with a reflective critique. 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? Grade Scale: half marks can be assigned e.g., = 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 collagraph technique 2 = Limited Lacks Development, Needs work technical aspect and visual message 1 = Inadequate Incomplete work presented for critique Visual Critique: Teacher: Grade: Grade Scale: half marks can be assigned e.g., = 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 collagraph technique 2 = Limited Lacks Development, Needs work technical aspect and visual message 1 = Inadequate Incomplete work presented for critique Visual Critique: Note: This is a collaborative mark between student and teacher.

30 Collagraphic Printmaking March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials 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 Time 5 Set 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. 45 Activities Differentiation /Modification 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 Activities their sketchbooks. continued: Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 4. Individual analysis students will individually create a collagraphic print using the printing press.

31 Time Assessment 1. Participation in-active listening skills and the completion of a collagraphic print. 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. 10 Closure 1. Answer any unresolved questions. 2. Remind students that tomorrow s class will be using ink to complete their second prints. 3. Properly store prints. 4. Clean up classroom. 5. Prepare for next class. Self-Evaluation A

32 Collagraphic Printmaking March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials 1. Collagraphic prints 2. Printing ink (oil-based or water-based) brayers, trowels, matt board, paper towels/rags, telephone book paper 3. Paper rag paper 4. Water basin for soaking paper 5. Printing press 6. Blotting papers 7. Plastic sheeting for printing bed 8. Rolling pin 9. Newsprint 10. Rubber gloves Time Set 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. Activities Differentiation /Modification 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will orally deliver a minilesson on ink application. 2. Visual aids teacher will also visually demonstrate the inking procedure for the class. 3. Group discussion students will be encouraged to assist each other during the printing procedure. 4. Individual analysis students will individually pull a print using the printing press.

33 Activities continued: Time 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 1. Participation in-active listening skills and completion of a collagraphic print. 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. 10 Closure 1. Answer any unresolved questions. 2. Remind class that next class will be the final class for completing collagraphic prints. 3. Properly store prints. 4. Clean up classroom. 5. Prepare for next class. Self-Evaluation A

34 Collagraphic Printmaking March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Time 5 45 Materials Set 1. Collagraphic plates 2. Printing ink (oil-based or water-based) brayers, trowels, brushes, rags, telephone books 3. Paper rag paper 4. Water basin 5. Printing press 6. Blotting papers 7. Plastic sheeting for printing bed 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. Activities Differentiation /Modification 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will circulate through the class answering any questions. 2. Visual aids prints that have been completed within the class will be set up for display. 3. Group discussion students will work as a team while completing their prints with limited resources. 4. Individual analysis students will individually work on completing their collagraphic prints. Remind students that their prints must be completed for next class a group critique will guide the final analysis of the works.

35 Time Assessment 1. Participation in-active listening skills and completion of collagraphic prints. 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. 10 Closure 1. Answer any unresolved questions. 2. For next class have students write a brief reflective critique of both their prints and bring to next class for discussion. 3. Properly store prints. 4. Clean up classroom. 5. Prepare for next class. Self-Evaluation

36 Group critique March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Materials Set 1. Completed collagraphic prints 2. Classroom handouts The Art Critiquing Process Time 5 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. 45 Activities Differentiation /Modification 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? Variety of methods/strategies can be implemented for this art lesson: 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. 3. Group discussion students will thoughtfully discuss individual works for presentation. 4. Individual analysis students will individual critique and explain their works to the class. Take time with the students to work on group critique sessions. Activities Developing continued: 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.

37 Time 10 Assessment 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. 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. Closure 1. Answer any unresolved questions. 2. Remind students to sketch visual ideas for next class: woodcut relief prints. 3. Clean up classroom. 4. Prepare for next class. Self-Evaluation A

38 The Art Critiquing Process: Taken from: 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.

39 Woodcut relief prints March Art 30 Lesson: Date: Class: Outcomes Materials Upon completion of this lesson, students should be able to: 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) , Roy Lichtenstein Modern Head #1 1970, Katsushika Hokusai View on a Fine, Breezy Day ca Time Set 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. Activities Differentiation /Modification 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 Activities continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 3. Group discussion students will be required to share resources and participate in visual planning strategies in order to complete their works. 4. Individual analysis students will have the opportunity to work on their woodcuts and personally experience the woodcut technique.

40 Time Assessment 1. Participation in-active listening skills and preparation of woodcut relief block. 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. 10 Closure 1. Answer any unresolved questions. 2. Remind students that they will have one more period to work on their woodcuts before printing. 3. Clean up classroom. 4. Prepare for next class. Self-Evaluation A 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 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 ISBN: Saff, Donald & Sacilotto, Deli. History and Process: Printmaking. Holt, Rinehart and Winston ISBN:

41 Woodcut relief prints cont. March Art 30 Lesson: Date: Class: Outcomes Materials Upon completion of this lesson, students should be able to: 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 Time 5 Set 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. Activities Differentiation /Modification 45 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? Activities continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will circulate through the classroom assisting students. 2. Visual aids teacher will display printmaking books to further students encounters with art. 3. Group discussion students will be required to share resources and participate in visual planning strategies in order to complete their works. 4. Individual analysis students will continue their work exploring the woodcut technique.

42 Time Assessment 1. Participation in-active listening skills and completion of woodcut relief block. 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. 10 Closure 1. Answer any unresolved questions. 2. Remind students that next class there will be a demo on how to print the block. 3. Clean up the room. 4. Prepare for next class. Self-Evaluation A

43 Evaluation criteria for student work: WOODCUT RELIEF PRINTS: Visual Note: Student: Date: Student: Please circle the mark you would assign yourself Justify your assigned mark with a reflective critique. Grade Scale: half marks can be assigned e.g., = 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 woodcut technique 2 = Limited Lacks Development, Needs work technical aspect and visual message 1 = Inadequate Incomplete work presented for critique Visual Critique: Teacher: Grade: Grade Scale: half marks can be assigned e.g., = 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 woodcut technique 2 = Limited Lacks Development, Needs work technical aspect and visual message 1 = Inadequate Incomplete work presented for critique Visual Critique: Note: This is a collaborative mark between student and teacher.

44 Woodcut relief print cont. March Art 30 Lesson: Date: Class: Outcomes Materials Upon completion of this lesson, students should be able to: 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 Time 5 10 Set 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. Activities Differentiation /Modification 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). Activities 7. continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 4. Individual analysis students will individually explore pulling a print from the woodcut they created.

45 Activities continued Time 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 Participation in-active listening skills and completion of an edition of woodcut relief print. 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. Closure 1. Answer any unresolved questions. 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. 3. Clean up classroom. 4. Prepare for next class. Self-Evaluation

46 Group critique Woodcut prints March Art 30 Lesson: Date: Class: Outcomes Materials Upon completion of this lesson, students should be able to: 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) Time 5 45 Set 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. Activities Differentiation /Modification 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 Activities discuss and continued: present their works. Variety of methods/strategies can be implemented for this art lesson: 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. 4. Individual analysis students will have the opportunity to visually critique their individual works and provide interpretation and judgement of their work. 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.

47 Time Assessment 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. 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. 10 Closure 1. Answer any unresolved questions. 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. 3. Clean up the room. 4. Prepare for next class. Self-Evaluation

48 Gallery Installation March Art 30 Lesson: Date: Class: Outcomes Upon completion of this lesson, students should be able to: 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. Time 5 Materials Set 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 Activities Differentiation /Modification 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. Activities 2. continued: 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. Variety of methods/strategies can be implemented for this art lesson: 1. Oral presentation teacher will 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. 3. Group discussion students will work as a group on the installation of student work. Students will additionally decide on a title for their exhibition. 4. Individual analysis students will 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. 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.

49 Time Assessment 1. Participation in-active listening skills and installation participation in student gallery. Teacher will keep an anecdotal record of student participation. 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. 10 Closure 1. Answer any unresolved questions. a. Have students transfer their images from the digital camera to their school file for documentation. 2. Clean up classroom and gallery. 3. Prepare for next class. Self-Evaluation

50 Unit Exam Printmaking Unit Rationale & Test Spring Semester 2004

51 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 ( ). 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

52 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. Drawing Students will: Alberta Education: Program of Studies Senior High School Art 30 Revised 1986

53 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 20 th 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

54 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:

55 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.

56 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 selfreflections. (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 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

57 Taxonomy and Content Table of Specifications Grade 12 Art 30: Printmaking Unit Spring Semester 2004 Evidence 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 Spring Semester Questions 40 Marks Cognitive Domains Weighting 15% Time: 60 minutes (full class) K C Applica tion Analysi s Synthes is 11 (1) 14 (1) 16 (1) 12 (1) 13 (1) 15 (1) Content Matching Multi ple Choic e Identify historical origins (timeline) of printmaking Identify visual processes within printmaking techniques Recognizes and identifies visual terminology Short Answ er Total 11 (1) 1 (1) 14 (1) 16 (1) 12 (1) 13 (1) 15 (1) 2 (2) 3 (3)

58 (1) 6 (6) 19 (16 ) 1 (16 ) 17 (4) Distinguishes between printmaking processes by identifying main components of each 18 (4) Recognizes and outlines major components within fine art topics of debate Summarizes printmaking techniques and processes 1-10 (1) Applies previous knowledge of artists and artworks to novel situations 17 (4) 1 (4) 18 (4) 1 (4) 19 (16) 1 (16) 1-10 (1) 10 (10) 12 (18) Totals 10 (10) 6 (6) 3 (24) 19 (40) Legend: K - Knowledge C - Comprehension # - Number of question (#) - Weighting of question

59 Art 30 Printmaking Unit Test Brooks Composite High School Spring 2004 Name: Date: Mark: (Out of 40 marks) You have the full class period (60 minutes) to complete your final unit exam. Take your time and carefully read through the entire exam before you start. Complete all

60 questions. If you have difficulty with any particular question skip over the question and return back to the question later. Once you have completed your exam please quietly hand your test to your teacher and you may continue working on any projects you have left to complete. 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 II Column 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

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

62 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. 5 th century b. 6 th century c. 7 th century d. 8 th century 12. The Japanese term ukiyo e means: a. compositions b. depictions c. diagrams d. publications