Professional Documents
Culture Documents
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
Fostering an appreciation and new insights into art and its impact on society, printmaking can be examined
from many different facets. This particular unit was designed to explore and experiment with various printmaking
techniques within the Senior High Art curriculum (Art 30). Primarily this unit reflects a skill-based approach to
instruction but also incorporates thematic elements throughout. Historically the method of printmaking can be traced
back to 8th century Japan to works depicting everyday life and human interactions as well as the dissemination of
information and instruction. Contemporary artistic practices still incorporate the process of printmaking within
works of art and not only document the everyday lives of individuals but also use the medium of printmaking to
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
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
As a final note: this particular printmaking unit can be expanded to incorporate the art of papermaking and
Lesson Summary:
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 Drer 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.
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.
Previously the class was introduced in Lesson 2 to a variety of artists and a variety of printmaking
techniques. Todays 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.
For Lesson 4 the teacher will start with a PowerPoint presentation that explores artists who have used the
elements of collage in their works. The slide presentation will present images from: Cubism (1907-1925) -
Futurism (1909-1915) - Constructivism (1913-1930) - Dadaism (1916-1925) - Surrealism (1924-1945) - and
Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists
and Dadaist artist such as Max Ernst will be shown. Teacher will direct focus on the juxtapositioning of images and
the altering of meaning within a work of art. Text as graphics will also be discussed in relation to the work of
Russian Constructivist artists. An evaluation criterion (a collaborative mark between student and teacher) will also
be handed out to the class to guide student inquiry during their experimentation with monoprint and collage
techniques.
Lesson 5: Critique of Monoprint and collage prints
Lesson 5 marks the end of the first printmaking module. The teacher will guide the first group critique
through a series of questions. Students will have the opportunity to critique their own works as well as the works of
their peers. Establishing an environment of mutual respect must begin lesson in order to provide a comfortable
atmosphere for the group critique. Students will end the lesson by handing in artwork with evaluation criteria
attached.
Lesson 6 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 teachers 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 continues from the previous classes construction of the collagraphic plate. Todays 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 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 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.
This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged
to use their class time to complete both the non-inked and inked prints for their portfolio. Teacher will circulate
throughout the class assisting students and holding individual critiques of works that have been completed. Students
that have both prints completed will have the opportunity to browse through printmaking sources and plan for the
next printing technique: woodcut relief prints. If time permits students may sketch print ideas in their sketchbooks.
Lesson 11: Group Critique Collagraph(s)
For Lesson 11 the second group critique within the printmaking unit - students will be introduced to the
four steps involved in the visual critique: Description, Analysis, Interpretation, and Judgment. In the area of
analysis students may need to be reminded of the elements of art and principles of design when considering a visual
work: Elements of Art Line, Colour, Texture, Shape, Form, Space, Value & Principles of Design
Harmony, Unity, Emphasis, Variety, Proportion, Balance, Rhythm/Pattern, and Movement. In addition to the
classroom handout - these elements will be written onto the board for students to reference while participating in-
group discussion.
Lesson 12 marks the introduction to one of the oldest printmaking techniques - the Woodcut relief print.
Students will participate in a brief PowerPoint presentation highlighting the Woodcut relief technique. The influence
of Japanese woodcuts ukiyo-e - on European and Western artists will be noted within the presentation. Traced
back to the 8th century in Japan the woodcut technique marks a pivotal moment within art history influencing many
European and Western artists. In addition to the presentation students will be given a brief safety lesson when
carving their woodcuts. Teacher will promote problem-solving strategies while student work with their new medium
of wood.
Teacher will begin Lesson 13 by checking in with the students progress. Students will have class time to
work on their woodcuts. While students are working on their prints the teacher will be circulating around the
classroom holding individual critiques and guiding student inquiries. Evaluation criteria will additionally be
provided for students for the grading of the final printmaking module.
Lesson 14 marks a brief mini-lesson on the process of pulling a woodcut print using a wooden spoon or
Japanese rice spoon. Students will have the remainder of the class to work on pulling an edition of a least 5 prints
from their woodcuts. Teamwork maybe necessary in order to complete the edition of 5 prints in class time. Note:
This lesson may carry over to next class. Students will sign the edition as well as number the prints in order of
prints pulled, e.g., 1/5, 2/5, 3/5 etc
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 weeks
events and the final presentations. Students will submit grading criteria to the teacher before the end of the class.
For the final lesson within the printmaking unit the class will start by having students submit their work for
gallery installation. Students were required to decide on the selection of their prints prior to the beginning of this
lesson. Have students gather their works for the exhibition. Frames, matting and labels will be provided for students
students will be required to matt, frame and fill out a label for the work(s) they submit. In addition to installation
the students will document their works through digital photography and decide on an exhibition title for the works
presented for the school. Teacher will keep an anecdotal record of students participation within gallery installation.
Unit Exam Printmaking
A copy of the unit exam ends the printmaking unit. Enclosed is a copy of the test rationale, Program of
Study - Art curriculum (10-20-30) - Drawings, Composition and Encounters, Table of Specification, Unit Exam
Blueprint, Unit Exam and Answer Key. The test will take approximately 60 minutes to complete and encompasses
all information covered throughout the unit.
Final note:
This unit can be further developed to encompass papermaking as well as bookmaking techniques which
would incorporate printmaking skills covered throughout this unit study.
Introduction to March 1. 2004 Art 30
Lesson: ________
Printmaking
Date: Class: __________
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
Set
Time
Todays 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 Drer to contemporary artists such as Jim Dine will be
15- featured. Techniques such as monoprints, collagraphs, intaglio, relief prints woodcuts and linocuts, and lithography
20 will be presented. In addition to the PowerPoint presentation students will have the opportunity to visually examine
some prints that incorporate these techniques as well as a variety of tools and papers used during printing.
Questions to ask students while viewing the PowerPoint Variety of methods/strategies can be
10 presentations: implemented for this art lesson:
1. Oral presentation teacher will
1. How have the printmaking techniques chosen by the speak about various printmaking
artist lent themselves to the printed image? techniques.
2. Visual aids PowerPoint
2. Many of the earlier images used are without text presentation and assorted
are you able to read these images are these images printmaking implements shown.
strong enough to support meaning without text? 3. Group discussion - students are
encouraged to ask questions and
3. How has the printmaking process lent it self to the physically interact with visual
meaning of the works shown? material.
4. Individual analysis students will
begin their initial sketches and
After the presentation students are invited to view a variety of planning for next class.
prints that incorporate multiple techniques of printmaking. (These
prints will be from my portfolio.)
Activities
Students willcontinued:
also have the opportunity to view a variety of
printmaking tools that have lent themselves to the printmaking
process in addition to papers used.
Activities continued
Time
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
5 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
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.
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 printers plate. The plate is attached to a large offset printing press. A technician pushes a button. Thousands of
images can be had using this process, and each will be identitical to the next: just think of the reams of flyers from
Zellers that flow through your mailbox every week.
- Taken from the article: The Fine Print by Melanie Scott
published in Saturday Night December issue 1996
Note: Many of these prints may have an edition number or a signature on them but the artist does not
usually sign them in most cases these are printed on the reproductions themselves. Many stores will
advertise these images as original works of art but in actuality people are buying glorified posters: Slick
art tactics which say Limited Edition Fine Art Prints are flooding the market with reproduction works
not actual prints.
Original prints can range from anywhere between one and 300. In the case of Batemans reproduction
images he has signed up to 43, 000 duplicates of the same picture.
5
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.
Assessment
Time
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
5 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
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.
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 (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.
Monoprint March 2. 2004 Art 30
Lesson: ________
- Introduction
Date: Class: __________
Materials
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
Set
Time
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
5 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 Variety of methods/strategies can be
everyone can see the demonstration. Throughout the demonstration implemented for this art lesson:
5 talk about the processes (importance of rolling the ink evenly)
and tools (brayers and barens) that are being used. Remember to 1. Oral presentation teacher will
stress the importance of keeping a clean work environment. orally walk class through
demonstration.
Monoprint: 2. Visual aids teacher will provide a
Essentially monoprint techniques are closer to visual demonstration of the
drawing and painting than printmaking but the ability to transfer printmaking technique.
pigment from one surface to another is a major element of 3. Group discussion students are
printmaking. (Some people do not consider a monoprint a true print encouraged to ask questions
because it is a print that can only be made one time). The throughout.
characteristic of this method is that no two prints are alike; although 4. Individual analysis each student
5
images can be similar, editioning is not possible. will create a monoprint work.
There are three principle methods of making a monotype:
After demonstration:
20 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
5- Closure
10
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
WHAT IS A MONOTYPE?
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 (1606-1669). 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 "a 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.
HISTORY
Historically the first monotype was attributed to Giovanni Benedetto Castiglione (1616-1670) a
contemporary of Rembrandt (1606-1669). 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 (1834-1917) to pick up on the monotype process was
William Blake (1757-1827) 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 (1839-1889) 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 (1834-1917) 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 300-500 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 (1848-1919) 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 (1849-1916) a painter and teacher who
although was not the first to exhibit the monotype in America was a fashionable painter and as an art
teacher was instrumental in popularizing the process. Charles A. Walker (1848-1920) 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 (1859-1924) 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 (1881-1973) who created over 100, Georges Roualt
(1871- 1958), and Henri Matisse (1869-1954). On the American side there was: Milton Avery (1893-
1965), Adolph Gottlieb (1903-1974), Richard Diebendorn (b.1922), Robert Motherwell (b.1915), 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.
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"
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,
www.Monoprints.com. 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. 19
4 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)
Monoprints March 3.2004 Art 30
Lesson: ________
continued
Date: Class: __________
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 Set
Previously the class was introduced to a variety of artists and a variety of printmaking techniques. Todays
5 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.
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
35 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
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
Monoprint March 4.2004 Art 30
Lesson: ________
& Collage
Date: Class: __________
Materials
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
Set
Time
To continue from last class: the teacher will start todays lesson with a PowerPoint presentation that explore artists who
have used the elements of collage in their works. The slide presentation will present images from: Cubism (1907-1925)
- Futurism (1909-1915) - Constructivism (1913-1930) - Dadaism (1916-1925) - Surrealism (1924-1945) - and
15 Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists
and Dadaist artist such as Max Ernst will be shown.
Closure
5-
10 1. Answer any final questions.
2. If students are unable to complete the work in todays class it will be assigned for homework.
3. Remind students that monoprint/collage works will be discussed on Fridays class.
4. Clean up the room
5. Prepare for next class.
Self-Evaluation
A
#1 Pronounced As: klzh, ko- [Fr.,=pasting], technique in art consisting of cutting and pasting natural or
manufactured materials to a painted or unpainted surface-hence, a work of art in this medium. The art of
collage was initiated in 1912 when Picasso pasted a section of commercially printed oilcloth to his cubist
painting, Still Life with Chair Caning (Mus. of Modern Art, New York City). Collage elements appear in
works by Gris, Braque, Malevich, Dove, and the futurist artists. A basic means of Dada and surrealist art,
it was used by Arp, Schwitters, and Ernst. Collage is related to the newer art of assemblage, in which the
traditional painted canvas has been abandoned in favor of the assembling of bits of material, which are
sometimes additionally painted or carved.
#2 A picture or design created by adhering such basically flat elements as newspaper, wallpaper, printed
text and illustrations, photographs, cloth, string, etc., to a flat surface, when the result becomes three-
dimensional. Introduced by the Cubist artists, it was widely used by artists who followed, and is a familiar
technique in contemporary art.
#3 An artwork made by pasting together heterogeneous materials. The decisive and characteristic
difference between the technique of collage (from French, coller,"to paste") and painting is that in
painting the visual impression is built up by composition of color and line, whereas in collage, bits of
newspaper, labels, buttons, and chickenwire, to mention only a few materials, are attached, ready-made,
to the surface. The French painter Georges Braque and Spanish artist Pablo Picasso made collages for
cubist works in the early 20th century. American pop art of the 1960s introduced the use of large objects,
such as pieces of sheet metal, machine parts, parts from automobiles, and wooden rafters.
Monoprint/Collage Project:
Visual Note:
Student:
Grade:
Date:
Student: Please circle the mark you would assign yourself Justify your assigned mark with a reflective critique.
Note: This is a collaborative mark between student and teacher.
Visual Critique:
Teacher: Grade:
Visual Critique:
Group Critique March. 05.2004 Art 30
Lesson: ________ Date: Class: __________
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
Set
Time
Todays lesson completes the weeks 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
5 of the weeks events and the final presentation of the completed 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:
Time Assessment
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
Collagraph March 8.2004 Art 30
Lesson: ________
Printmaking
Date: Class: __________
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. Teachers portfolio collagraph prints
Set
Time
Todays 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
5- collagraph without ink (to create an embossed effect) and one with ink. To start this lesson students will view both the
10 ink and no ink collagraph techniques taken from the teachers portfolio.
Closure
5-
10 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
Collagraph March 09.2004 Art 30
Lesson: ________
Printing
Date: Class: __________
Materials
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
Set
Time
This lesson continues from the previous classes construction of the collagraphic plate. Todays lesson will
focus on the printing process using the printing press to pull prints created from a collagraphic plate. Teacher will
5 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.
6. Next, teacher will demonstrate registration of print by laying marked newsprint onto printing bed
first.
5 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.
30 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
10 Closure
1. Answer any unresolved questions.
2. Properly store prints.
3. Clean up classroom.
4. Prepare for next class.
Self-Evaluation
A
Evaluation criteria for student work:
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?
2 = Limited Lacks Development, Needs work technical aspect and visual message
Visual Critique:
Teacher: Grade:
2 = Limited Lacks Development, Needs work technical aspect and visual message
Visual Critique:
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
Set
Time
Todays 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
5 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.
10 Closure
1. Answer any unresolved questions.
2. Remind students that tomorrows 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
Collagraphic March. 11.2004 Art 30
Lesson: ________
Printmaking
Date: Class: __________
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
Set
Time
Todays 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
5
demonstration of printing using ink. Teacher will need to stress the importance of maintaining a clean work
environment to ensure that ink will not be transferred to another surface in addition, ink must not be transferred to the
printing blankets as this will ruin the blankets and possibly stain other prints.
Teacher 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.
35 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
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
Collagraphic March. 12.2004 Art 30
Lesson: ________
Printmaking
Date: Class: __________
Materials
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
Set
Time
This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged to
5 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.
Closure
10
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
Group critique March. 15.2004 Art 30
Lesson: ________ Date: Class: __________
Materials
1. Completed collagraphic prints
2. Classroom handouts The Art Critiquing Process
Set
Time
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
5 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.
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
The Art Critiquing Process:
Materials
1. Soft wood pine, poplar, basswood or plywood can be used cut into small squares.
2. Variety of tools: woodcut knife, gouges & sandpaper
3. Bench hooks
4. PowerPoint presentation: Featuring artists such as Ernst Ludwig Kirchner Three Figures 1909, Emile
Nolde Fischdampfer (Fishing Boat) 1910, Edvard Munch The Kiss 1902, Paul Gauguin Te Atua (The
Gods) 1891-93, Roy Lichtenstein Modern Head #1 1970, Katsushika Hokusai View on a Fine, Breezy
Day ca.1830.
Set
Time
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
10- artists translate this style into their works? Look at the flat pictorial space, angles of vision, abstract patterns, cropped
15 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 Variety of methods/strategies can be
depictions of popular pleasures of town life. Can you identify implemented for this art lesson:
some sources of imagery within your life/town?
35 : How can you translate this imagery into 1. Oral presentation teacher will
your woodcuts? guide woodcut relief prints by
Before students begin their work it is important to stress providing
the importance of safety in particular when working with sharp 2. Visual aids teacher will provide a
carving tools. Remind students: to use bench hooks to secure their brief PowerPoint presentation on
wood in place. Additionally when using tools tools should be some of the artist that use the
carved away from the individual. Students will also be required to woodcut techniques.
share resources if limited carving tools exist. Students will begin 3. Group discussion students will be
by hand sanding their block of wood looking at the grain of the required to share resources and
wood and other marks they may find in their woodcut blocks. participate in visual planning
1. Students may draw their images onto their strategies in order to complete their
wood before they start in pencil (students will works.
focus on imagery found in their everyday life 4. Individual analysis students will
a contemporary ukiyo-e focus) or they may have the opportunity to work on
simply want to start carving. their woodcuts and personally
2. When carving students should take their time experience the woodcut technique.
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.
Time Assessment
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:
From: History and Process: Printmaking, Donald Saff/Deli Sacilotto. Published by University of South Florida,
1978, pp. 82-83.
For making plaster relief prints, the printing plate is cast in plaster and worked with various tools, both
while it is still wet and after is has driedPrinting is done in the same manner as for an ordinary woodcut.
Resources:
Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Shufunotomo Co.,
Ltd. 1989. ISBN: 4-07-975316-0.
Saff, Donald & Sacilotto, Deli. History and Process: Printmaking. Holt, Rinehart and Winston. 1978. ISBN: 0-03-
042106-3.
Woodcut relief March 17.2004 Art 30
Lesson: ________
prints cont.
Date: Class: __________
Materials
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
Set
Time
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
5 and further their independent research with their materials.
As the teacher circulates through the classroom teacher Variety of methods/strategies can be
may begin conducting individual critiques with students. That is, implemented for this art lesson:
the teacher may begin to ask students to think about their works
focusing on the Elements of Art and Principles of Designs. 1. Oral presentation teacher will
Teacher may ask: circulate through the classroom
45 What idea(s) does this work represent? assisting students.
How do your lines strengthen the composition? 2. Visual aids teacher will display
Looking at the space within the composition how does printmaking books to further
this affect the mood within the work? students encounters with art.
When you examine the image can you see/feel a sense of 3. Group discussion students will be
flow/unity within the work? required to share resources and
Where can you take this work? How can you expand on participate in visual planning
this composition? strategies in order to complete their
Are there other areas that need to be explored further works.
within the composition? 4. Individual analysis students will
How does the medium limit you as an artist? continue their work exploring the
How does the medium expand your process of image woodcut technique.
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.
Time Assessment
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
Evaluation criteria for student work:
Visual Note:
Student:
Date:
Student: Please circle the mark you would assign yourself Justify your assigned mark with a reflective critique.
2 = Limited Lacks Development, Needs work technical aspect and visual message
Visual Critique:
Teacher: Grade:
2 = Limited Lacks Development, Needs work technical aspect and visual message
Visual Critique:
Materials
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
Set
Time
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
5
of woodcut. Have student gather around for a brief minilesson on the application of ink and rubbing of woodcut in
order to pull print.
11. Image may need to be worked on further using the woodcut tools depending on desired effect of
print.
12. Depending on ink (oil-based or water-based) clean surface of the block if more work is needed.
13. If not continue on with printing.
Remind students that they must clean the surface of their block at the end of their printing.
35 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
1. Participation in-active listening skills and completion of an edition of woodcut relief print.
10 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
Group critique March 19.2004 Art 30
Lesson: ________
Woodcut prints Date: Class: __________
Materials
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)
Set
Time
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
5 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 weeks events and the final presentations.
of the completed work.
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
Gallery March 22.2004 Art 30
Lesson: ________
Installation
Date: Class: __________
Materials
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
Set
Time
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
5 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.
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.
Time Assessment
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
Unit Exam
Printmaking Unit
Rationale & Test
Spring Semester 2004
Rationale:
The final unit exam developed for Art 30s Printmaking Unit
individual research.
This unit has been built on the three major components of visual
areas are essential elements within the program of study. That is, not
only the technical and skills aspects are explored but also the
affective and conceptual aspects of artists and artworks are
alone do not define a work but skills and knowledge together widen
Drawing
Students will:
Investigate
Concepts:
Communicate
Concepts:
Concepts:
Students will:
Components
Concepts:
Relationships 2
Concepts:
Encounters
Students will:
Sources of Images
Concepts:
A. Personal situations and events in artists lives affect their
personal visions and work.
B. Historical events and societys norms have an affect on an
artists way of life and work.
Concepts:
Legend:
K - Knowledge
C - Comprehension
# - Number of question
(#) - Weighting of question
Art 30
Printmaking Unit Test
Brooks Composite High School
Spring 2004
Name: __________________________
Date: ___________________________
Column I Column
II
A. Margaret Shelton
B. Andy Warhol
C. Ernst Ludwig
Kirchner
D. Max Beckmann
E. Edgar Degas
F. Claes Oldenburg
1. __________ G. Jim Dine
H. Roy Lichtenstein
I. Edvard Munch
J. Chuck Close
K. Josef Albers
L. Henri Matisse
2. ________
3. ___________ 7.
________
4. __________ 8.
________
5. __________ 9.
________
6. _________ 10.
________
Multiple Choice:
a. 5th century
b. 6th century
c. 7th century
d. 8th century
a. compositions
b. depictions
c. diagrams
d. publications
13. The word lithography, derived from the Greek, means:
a. stone washing
b. stone carving
c. stone writing
d. stone printing
a. woodcut techniques
b. collagraph techniques
c. intaglio techniques
d. lithography techniques
a. artists proofs
b. presentation proofs
c. printers proofs
d. state proofs
a. brayer
b. baren
c. rocker
d. squeegee
Short Answer:
19. You have just completed a series of prints for your portfolio,
which explored and incorporated the techniques of: monoprint
making, collagraph (no ink and ink), Dry point printmaking and
woodblock processes. Briefly summarize aspects of each technique
four processes in total. Your answer should include 1. Materials used
in each process, 2. Tools needed (if any) e.g., printing press and 3.
Resulting visual components/elements of each; e.g., is there a
reversal of image that results from that particular technique. You
may use point form to construct your answer. If you need more space
please use the back of the exam booklet. If you continue your
answer on the back of the exam booklet - remember to clearly
identify the question you are answering. (16 marks total 4 marks
for each technique)
Art 30
Printmaking Unit Test
Brooks Composite High School
Spring 2004
Time: 60 minutes
Total Marks: 40
Exam Key
1. G Jim Dine
2. J Chuck Close
3. I - Edvard Munch
4. B Andy Warhol
5. H - Roy Lichtenstein
6. F - Claes Oldenburg
7. A - Margaret Shelton
8. C - Ernst Ludwig Kirchner
9. K - Josef Albers
10. D - Max Beckmann
Short Answer:
(Out of 24 marks: 4 marks for #17, 4 marks
for #18 and 16 marks for #19)
Answers may contain the following elements
in order to receive the full marks.
Note: If question is worth 4 marks student must
state 4 points to receive full marks, that is the
student will only need to select/use 4 points out of
the following provided answers.
Woodcut:
This technique involves the use of a plank of wood or
plywood on which the artist draws a design and then
carves away the wood in the parts of the picture that is
not to be printed. The raised surface retains some of the
pattern of the wood grain which shows up in the finished
prints. Only one or two colors can be applied to the plate
at one time. For prints with many colors a separate block
must be carved for each color, and must line up exactly
with all the other blocks or the print will be out of
register like a badly printed color newspaper photograph.
This is the process that gave rise to the first information
revolution and helped to start the Renaissance. Johannes
Gutenberg invented the printing press and movable type in
the 1400's. His books were all printed from these little
blocks of wood carved into the shape of letters and the
pictures were printed from woodcuts.
Wood Engraving:
Original print:
Resources:
Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Japan:
Shufunotmo, 1989.
Peterdi, Gabor. Printmaking: Methods Old and New. New York: The Macmillan Company, 1971.
Platzker, David et al. Hard Pressed: 600 years of prints and process. New York: Hudson Hills Press,
2000.
Sacilotto, Deli & Saff, Donald. History and Process: Printmaking. New York: Holt, Rinehart and
Winston, 1978. *
* This book is an essential printmaking guide to history and process. Highly recommended and an
invaluable source of information regarding printmaking.