CONTENT AREA: ART EDUCATION PRINTMAKING II · PDF fileCONTENT AREA: ART EDUCATION ... SEMESTER COURSE DESCRIPTION: Printmaking II develops printmaking skills. A variety of media and

FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 1 OF 26

CONTENT AREA: ART EDUCATION

GRADE/LEVEL:

9-12

COURSE TITLE:

PRINTMAKING II

COURSE NUMBER:

50.0512002

COURSE LENGTH:

SEMESTER

COURSE DESCRIPTION:

Printmaking II develops printmaking skills. A variety of media and tools are explored. The elements

of art and principles of design are used to analyze, design, create, and evaluate prints. The course

combines aesthetics, art criticism, and art history with production of print series.

PREREQUISITE(S): Printmaking I

STANDARDS AND ELEMENTS:

MEANING AND CREATIVE THINKING (Aesthetics)

The student engages in the creative process, finds and solves problems, and pursues open-ended inquiry

through the production of artworks. The student develops aesthetic understanding through the examination of his/her own art and the artwork of others (National Standards 1 & 2).

Description: The student develops creativity, critical-thinking, and problem solving skills. The student engages in aesthetic dialogue, making effort toward constructing meaning as he or she encounters and

produces works of art based on painting approaches.

VAHSPRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,

conceptualizes these ideas by using artistic language and contextual understandings in assessing learning,

and develops a personal artistic voice that gives unique form to these concepts.

a. Identifies artistic styles of a range of contemporary and past printmakers. b. Recognizes personal motivations, process, and interests.

c. Identifies a personal viewpoint to respond to a variety of print media.

d. Selects self-assessment standards. e. Recognizes own emerging artistic voice and what affects their personal voice and aesthetic in

printmaking.

f. Identifies preferred materials and working methods.

VAHSPRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple

options, weighing consequences, and assessing results.

a. Uses sketchbook journal to research and experiment with artistic conventions to communicate ideas. b. Generates more than one solution to a single artistic problem and assesses merits of each.

c. Analyzes, in both written and oral form, the implications of artistic decisions; for example,

delineating between the fine art print aesthetic and the reproduction. d. Solves artistic problems through discussion and interaction with peers.

e. Supports peers though informal, on-going critique of works in-progress.

f. Recognizes and develops printmaking as a risk-taking process that incorporates existing knowledge,

brainstorming, planning, and discovery of unexpected connections.

VAHSPRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.

a. Discusses aesthetic issues, such as what is beauty? What affects my personal aesthetic? b. Writes, reflects, and revises throughout the course personal answers to the following questions: Can


the computer be used to create “fine art” prints? What is the relationship between traditional fine art

printmaking and digital art? What ethics apply to copyright issues, computer art, and the Internet? c. Identifies the ideas and values reflected in the prints of past and present cultures.

d. Explores ideas and values reflected in the way the student’s current culture(s) define and use

printmaking.

e. Researches and analyzes the work of a printmaker and writes about how the artist’s style contributes to the meaning of the work.

VAHSPRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world. a. Compares and contrasts the works of a wide range of contemporary and past printmakers.

b. Identifies values and practices in his or her community culture and world that inform art.

c. Reflects on how his or her personal experience in community, culture, and the world inform his or

her work. d. Identifies the values and contributions of diverse peers, cultures, and communities.

CONTEXTUAL UNDERSTANDING

The student understands art in relation to history and culture (National Standard 4).

Description: The student recognizes the impact of art on history and different cultures and how history and

culture have influenced art. The student plans for and participates in a variety of activities that promote

personal engagement in the study of art history and culture.

VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.

a. Identifies how the issues of time, place, and culture are reflected in selected fine art prints. b. Discusses how understanding the original context of a print or print series affects a viewer’s

connection with and interpretation of the artwork.

c. Recognizes prints, printmaking techniques, and artists and writes and talks about them from a wide range of perspectives, including but not limited to cultural context, formalist, expressionist,

conceptual, functional, and technical.

d. Discusses the importance of art in daily life (e.g. personal significance, social commentary, self-

expression, spiritual expression, planning, recording history, for beauty’s sake, and marketing / advertising).

e. Compares prints from contemporary and past societies for similarities in processes, tools, styles,

content, and functions. f. Identifies, compares, and contrasts prints by significant printmakers from different historical periods

and cultures including but not limited to Hokusai, Rembrandt, Kollwitz, etc.

g. Discusses the role of printmaking in at least two historical cultures; compares and contrasts to

printmaking today. h. Discusses the role of printmaking and artifacts as a visual record of humankind’s history and a

vehicle for gaining understanding of another culture.

VAHSPRCU.2 Demonstrates an understanding of how art history impacts the creative process of art

making.

a. Develops a repertoire of contemporary and historical printmaking exemplars. b. Relates own prints to those of major 19

th and 20

th century printmakers.

PRODUCTION


The student creates artwork by applying media, techniques, and processes to formulate and express his/her

ideas and conceptual understanding (National Standard 1).

Description: The student applies media, techniques, and processes with sufficient skill, confidence, and

sensitivity to carry out personal intentions in artworks. Through experience in a range of artistic processes,

use of a variety of materials, and development of a repertoire of techniques, the student understands the relationship of process, material, and technique to communication of ideas.

VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and communicate meaning.

a. Uses principles of design to organize elements to communicate meaning and unified compositions

concepts, such as activating negative space, visual weight, paths of movement, non-centered focal

point, dominance and subordination of design elements, and variety within repetition. b. Uses thumbnail sketches and visual/verbal notes to plan compositions.

c. Discusses and applies concepts, such as activating negative space, visual weight, paths of

movement, non-centered focal point, and variety within repetition.

VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking.

a. Develops beginning level mastery of printmaking techniques, including but not limited to monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.

b. Uses mark-making in a conscious way in printmaking.

c. Produces and signs artist proofs and series of prints using collagraph, serigraphy, relief, and/or

intaglio. d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,

etching, engraving, silkscreen, and lithograph.

e. Explores technology for printmaking (e.g. computers, scanners and copy machines) f. Explores digital media as a tool for art production.

g. Recognizes the role of computer technology in art and of visual skills in technology related fields.

h. Practices studio safety, correct care and operation of equipment. i. Demonstrates proper care and safe use of tools and materials.

VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter.

a. Brainstorms multiple solutions before beginning artwork. b. Creates sketches/artwork from formalist, emotionalist, and realist approaches.

c. Uses symbolic representation in work.

d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-solving within given parameters.

e. Uses concepts / ideas from other disciplines as inspiration for artwork.

f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype,

collagraph, relief printing, lithography, intaglio, and/or serigraphy.

VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,

develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking.

b. Writes reflections on work, idea generation, and skills progress.

c. Analyzes and critiques works of art – personal, peers, and professional. d. Makes visual/verbal connections.

e. Practices direct observation and reactions in words, images, and symbols.

f. Records artistic research.

g. Collects, develops, and preserves personal ideas and thoughts. h. Records inspirational images, words, thoughts, and ideas.


i. Maintains notes and class information.

j. Plans artwork. k. Practices technique.

l. Experiments with media, technique, and color - uses as a process journal.

m. Identifies emerging personal, artistic voice.

VAHSPRPR.5 Develops, plans, and presents an appropriate portfolio of artwork for exhibition.

a. Self-evaluates progress and completes work using criteria such as composition, craftsmanship,

technical skill, meeting goals of work, and progress over time. b. Observes the preparation of art for the purpose of displaying own work.

c. Prepares own artwork to be exhibited in the classroom and school community.

d. Adds preparatory drawings and digital images of ceramic studies developed in this course to

portfolio begun in level one art.

ASSESSMENT AND REFLECTION:

The student critiques works of art, reflecting upon and assessing the characteristics and merits of his or her

work and the artwork of others (National Standard 5).

Description: The student describes and assesses materials, techniques, and processes used to complete a

finished artwork. He or she demonstrates the ability to reflect upon and interpret personal work and the work

of others, expressing personal viewpoint, and constructive criticism.

VAHSPRAR.1 Makes written and oral critiques of own works of art.

a. Reflects on the printmaking process (through journal-keeping, reflective writing, and discussion). b. Reviews portfolio to identify growth over the course of the class, mastery of skills and techniques,

strongest works and what makes them strong, areas needing improvement, and effective

communication of thoughts and ideas. c. Self-evaluates in-progress and complete work using criteria such as composition, craftsmanship,

technical skill, meeting goals of work, and progress over time.

d. Sets high standards for craftsmanship and skill mastery in own artwork.

e. Revises artwork based on input from the critique process.

VAHSPRAR.2 Critiques artwork of others individually and in group settings.

a. Provides respectful and constructive criticism to peers in formal class critiques. b. Develops skills to provide informal feedback to peers on work in process as part of a community of

learners.

c. Uses established criteria to analyze specific strengths and weaknesses of art works based on the

ways technique and composition are used to convey meaning. d. Analyzes how the printmakers’ use of formal qualities (elements/principles) is used to represent

imagery.

e. Discusses the connection between intent and viewer’s interpretation—active participation by viewer to bring personal experience to the interpretation.

f. Discusses content in fine art prints and how it is communicated; ―reads artwork and shares

interpretations and personal responses to representational, abstract and non-objective artwork. g. Verbalizes personal reactions to prints; develops descriptive vocabulary including adjectives,

analogies, and metaphors.

VAHSPRAR.3 Develops multiple strategies for responding to and reflecting on artworks. a. Employs specific printmaking vocabulary, accurately and routinely, to critique prints in discussion


and writing.

b. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works, such as using ―Visual Thinking

Skills or Feldman’s Art Criticism process.

c. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to

printmaking.

CONNECTIONS

Students make connections to other disciplines and the world around them through the visual arts (National

Standard 6).

Description: The student makes connections from the world of art to other areas of learning and personal endeavor. He or she derives inspiration from varied areas of knowledge and life experiences. Through the

study and production of printmaking, the student develops visual and verbal literacy and life and work skills

including appropriate use and development of technology.

VAHSPRC.1 Applies information from other disciplines to enhance the understanding and production of

artworks. a. Uses inspiration from other disciplines to influence idea development in printmaking.

b. Understands how knowledge of art enriches and enhances learning in other core disciplines.

c. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve

understanding in other disciplines. d. Develops the ability to integrate visual and verbal skills to communicate.

e. Identifies visual choices as a part of life.

f. Describes and discusses the importance of aesthetic experiences in daily life.

VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study

and production of printmaking. a. Manages goals and time.

b. Directs own learning.

c. Guides and leads others.

d. Works in diverse teams. e. Adapts to change.

f. Uses current technology as a tool.

VAHSPRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the

classroom.

a. Discusses how study in art benefits one’s future as an avocation (making, collecting, volunteering);

in art-related careers; and in non-art careers and life skills (application of higher order thinking skills valued by business such as tolerance for ambiguity, judgment in the absence of explicit rules,

finding structure in apparent disorder, etc.).

b. Accesses resources such as museums, Internet, visiting artists, galleries, community arts organizations, and visual culture to research printmaking in the world around them.

c. Identifies various printmaking related careers and post-secondary options.

d. Draws inspiration for artwork from the world and resources outside the traditional classroom.


PRINTMAKING II

UNIT 1: Monotypes and Monoprints

PACING: 3-5 weeks of 55-minute class periods


MEANING AND CREATIVE THINKING VAHSPRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results.

a. Uses sketchbook journal to research and experiment with artistic conventions to communicate

ideas.

b. Generates more than one solution to a single artistic problem and assesses merits of each. c. Analyzes, in both written and oral form, the implications of artistic decisions; for example,

delineating between the fine art print aesthetic and the reproduction.

d. Solves artistic problems through discussion and interaction with peers. e. Supports peers though informal, on-going critique of works in-progress.

f. Recognizes and develops printmaking as a risk-taking process that incorporates existing

knowledge, brainstorming, planning, and discovery of unexpected connections.

PRODUCTION VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and

communicate meaning.

a. Uses principles of design to organize elements to communicate meaning and unified compositions

concepts, such as activating negative space, visual weight, paths of movement, non-centered focal point, dominance and subordination of design elements, and variety within repetition.

b. Uses thumbnail sketches and visual/verbal notes to plan compositions.

c. Discusses and applies concepts, such as activating negative space, visual weight, paths of movement, non-centered focal point, and variety within repetition.


a. Develops beginning level mastery of printmaking techniques, including but not limited to

monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy. b. Uses mark-making in a conscious way in printmaking.

d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,

etching, engraving, silkscreen, and lithograph. h. Practices studio safety, correct care and operation of equipment.

i. Demonstrates proper care and safe use of tools and materials.

l. Develop an understanding of the difference between monoprinting and monotypes by

fully exploring both printmaking techniques.


c. Uses symbolic representation in work.



VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to


collect, develop, and preserve ideas in order to produce works of art around themes of personal

meaning.

a. Understands and applies media, techniques, processes, and technology in printmaking.

c. Analyzes and critiques works of art – personal, peers, and professional.

f. Records artistic research. h. Records inspirational images, words, thoughts, and ideas.


j. Plans artwork. k. Practices technique.

l. Experiments with media, technique, and color - uses as a process journal


b. Observes the preparation of art for the purpose of displaying own work.

ASSESSMENT AND REFLECTION: VAHSPRAR.3 Develops multiple strategies for responding to and reflecting on artworks.

a. Employs specific printmaking vocabulary, accurately and routinely, to critique prints in discussion

and writing.

b. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works, such as using ―Visual Thinking

Skills or Feldman’s Art Criticism process.

c. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to printmaking.

CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the

study and production of printmaking. a. Manages goals and time.

b. Directs own learning.

UNIT RESOURCES:

Text- No text adopted at time of writing.

Power Points: Refer to FCBOE Art Website

Suggested Books:

Monotype: Mediums and Methods for Painterly Printmaking, Julia Ayres (ISBN:

0823031284)

Monoprinting: Printmaking Handbooks, Jackie Newell (ISBN:071366746x)

Notan: The Dark-Light Principle of Design, Dorr Bothwell (ISBN: 048626856x)

The Instant Printmaker: Simple Printing Methods to Try at Home, Melvyn Petterson

(ISBN: 0823025268)

The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy

Hughes (ISBN: 0811862283)

Complete Printmaker, John Ross (ISBN: 0029273722)

Printmaking: History and Process Donald Saff (ISBN: 0030856639)


Printmaking: A Contemporary Perspective, Paul Coldwell (ISBN: 1906155437)

Websites, all current as of March 2010:

www.artcyclopedia.com (research engine)

www.printeresting.org (anything print blog)

www.nobrow.net/nobrow-press (illustrative book arts)

www.yeehawindustries.com (letterpress and reductive)

www.tamarind.unm.edu (anything print)

http://www.daynawillard.com/large-view/Monoprints/72073---5337/Prints.html (Dayna

Willard)

http://www.handprintstudio.co.uk/monotype.htm (Monotypes)

http://redpropeller.co.uk/photo_2924740.html (James Baker)

Suggested Videos/DVD’s:

All About Prints: 500 Years of Prints and Printmaking (2009) Director: Christopher Noey

http://www.youtube.com/watch?v=GVG7b7mVkZ4&feature=PlayList&p=B653424CF32

58401&playnext_from=PL&playnext=1&index=2 (using an old scanner to make

monotypes)

http://www.youtube.com/watch?v=zzvGgM39lug&feature=related (monotypes how-to

demonstration set only to music)

Other:

Advanced Placement Studio Art Poster

Advanced Placement Studio Art Teacher Resource Materials

SUGGESTED INSTRUCTIONAL STRATEGIES:

Suggested Essential Question: How do monoprints and monotypes evolve?

Suggested Unit Focus Questions:

VAHSPRMC.2: How kinds of problems does a printer need to solve in order to create monoprints

and monotypes? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition

and communicate meaning?

VAHSPRPR.2: What different media, techniques, processes, and technology do you need to

create monoprints and monotypes?

VAHSPRPR.3: How can you create a print that reflects a concept, idea, or specific subject matter?

VAHSPRPR.4: How does a visual/verbal sketchbook journal help you to collect, develop, and

preserve ideas for printmaking?

VAHSPRPR.5: How do you prepare your artwork to be exhibited in class, or in the school?

VAHSPRAR.3: What is the best way to develop multiple strategies for responding to and

reflecting on artworks?

VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you

have learned through printmaking


Suggested Artists References and Historical Correlations: Historical Periods/Movements:

o 18th /19

th/ 20

th Century Printmakers

o Impressionism

Historical Artists:

o Edgar Degas

o Giovanni Benedetto Castiglione

Contemporary Artists:

o Bill Jacklin

o Judy Pfaff

o Kiki Smith

o Jim Dine

Suggested Visual and Verbal Journal Prompts and Activities

Personal research, reflection, aesthetic questions and idea generation should be

emphasized through students’ journal/sketchbook.

Research should include both contemporary and historic printmakers, styles, and

approaches to art.

Suggested Activities, Assignments and Projects:

Students should develop an understanding of the difference between monoprint and

monotype:

o Monoprint: A print pulled from an etching, woodblock, or collagraphy plate that

has been altered, making it unique.

o Monotype: A print pulled in an edition of one from a painted plate that has no

permanent markings on it, usually plexiglass, glass, or metal.

Course may be organized into units similar to Printmaking 1, but with varied and more in

depth techniques, media, multi-color editions, mixed media variations, and similar ideas

to build on students’ Printmaking 1 experiences and skills.

When appropriate, Printmaking 2 students may deepen understanding by serving as peer

teachers to printmaking 1 students.

Students should bring a portfolio of work and practice self-evaluation of working

processes, goal setting, and achievement, artwork and personal growth throughout the

semester.

Some students may be ready to pursue a “mini-concentration” with prints which explore

an ongoing theme or concept (see Advanced Placement Studio Art materials for additional

information on concentrations.)

Students should continue to study a broad range of art and develop skills in composition

and sensitivity to nuances of design.

Suggested lesson ideas:

o Develop a personal concept and print it different ways using monotype techniques.

o Use a print plate from Printmaking 1 and create monoprints from it.

o Create a series of monoprints based on the same image, or concept, altering the

image each time.


o Create monotypes with a focus on painterly techniques. Have students working in

additive and subtractive methods and incorporate more than one color or layer to

the image.

o Create monotypes using stencils.

Students should display best works in a formal critique and discuss the different methods

employed to achieve the monoprints and monotypes. The student should be able to

explain the progression of methods used.

Refer to FCBOE Art Website-Teacher Resources


PRINTMAKING II

UNIT 2: Collagraphs



MEANING AND CREATIVE THINKING VAHSPRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world.

a. Compares and contrasts the works of a wide range of contemporary and past printmakers.

b. Identifies values and practices in his or her community culture and world that inform art. c. Reflects on how his or her personal experience in community, culture, and the world inform his or

her work.

d. Identifies the values and contributions of diverse peers, cultures, and communities.

CONTEXTUAL UNDERSTANDING VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.

c. Recognizes prints, printmaking techniques, and artists and writes and talks about them from a wide range of perspectives, including but not limited to cultural context, formalist, expressionist,

conceptual, functional, and technical.

d. Discusses the importance of art in daily life (e.g. personal significance, social commentary, self-expression, spiritual expression, planning, recording history, for beauty’s sake, and marketing /

advertising).


communicate meaning. a. Uses principles of design to organize elements to communicate meaning and unified compositions





VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking. a. Develops beginning level mastery of printmaking techniques, including but not limited to

monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.

d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,

etching, engraving, silkscreen, lithograph. h. Practices studio safety, correct care and operation of equipment.


m. Create a collagraph series.


d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-

solving within given parameters.


e. Uses concepts / ideas from other disciplines as inspiration for artwork.

f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.



e. Practices direct observation and reactions in words, images, and symbols.


h. Records inspirational images, words, thoughts, and ideas. i. Maintains notes and class information.

j. Plans artwork.

l. Experiments with media, technique, and color - uses as a process journal.

CONNECTIONS VAHSPRC.1 Applies information from other disciplines to enhance the understanding and production of artworks.

a. Uses inspiration from other disciplines to influence idea development in printmaking.

b. Understands how knowledge of art enriches and enhances learning in other core disciplines. c. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve

understanding in other disciplines.

d. Develops the ability to integrate visual and verbal skills to communicate.

e. Identifies visual choices as a part of life. f. Describes and discusses the importance of aesthetic experiences in daily life.

VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study


c. Guides and leads others.

d. Works in diverse teams.

UNIT RESOURCES:

Text: No text adopted at time of writing

Power Points:

Refer to FCBOE Website

Suggested Books: Print Liberation: The Screen Printing Primer, Nick Paparone (ISBN: 1600610722)


The Instant Printmaker: Simple Printing Methods to Try at Home, Melvyn Petterson (ISBN:

0823025268)

The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy Hughes

(ISBN: 0811862283)






http://www.londonmet.ac.uk/services/sas/library-services/commercial/exhibitions-commercial-road-

ilrc/exhibitions/david-skingle-collographs-and-monoprints.cfm (David Skingle)

http://www.kettererkunst.com/bio/RolfNesch-1893-1975.shtml (Rolf Nesch)



www.warhol.org

www.cannonballpress.com (reductive)




www.drivebypress.com (reductive)



http://www.youtube.com/watch?v=JUOkZw2FFCQ (collagraph and relief printing)

Other:




Suggested Essential Question: What techniques do you need to learn in order to make

collagraphs?

Suggested Unit Focus Questions: VAHSPRMC.4: How can a print demonstrate an artist’s relationship to his or her community,

culture, or the world?

VAHSPRCU.1: How can a printer show ideas and universal themes through collagraphs? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition


VAHSPRPR.2: What different media, techniques, processes, and technology do you need in printing

collagraphs?




VAHSPRC.1: What other disciplines can you learn about from the collagraph process?

VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you have

learned through printmaking.

Suggested Artists References and Historical Correlations:

Historical Periods/Movements: Gyotaku Fish Prints

Examine prints that incorporate textile or botanical textures. Consider how those textures

incorporate a documentary process of the historical time frame and region.


Evaluate the importance of collagraph as a means of communication between cultures.

Historical Artists: Michael Ponce de Leon

Rolf Nesch

Contemporary Artists: Barbara Garrison

Eunice Kim

Helen Shaddock

David Skingle

Mary Wardle

Carla Trujillo

Anthea Toorchen


Make small collagraph plates and print them in journal. Use pages as a process journal and write

about what works with each mini-plate.

Create a notan page to prepare of working with the positive and negative shapes of the collagraph

plate.

Make a design of different rubbings as a collage page.

Suggested Activities, Assignments and Projects: Introduce and/or review and discuss terms:

o Artist’s proof

o edition

o solvent o stencil

o pull

o registration marks

o marks o texture

o shellac

o brayer

Introduce different inks, papers, and solvents that may be used in collagraph.

Create designs from experimental texture rubbings to emphasize collagraph technique and

compositions.

Discuss the impact of positive and negative space in compositional decisions. Relate the creation of

a collagraph to different textured surfaces and how they relate in a composition.

Collect different textured materials to create a collagraph- fabric, sand paper, corrugated cardboard,

string, etc. Compile materials onto a backing to create a collagraph plate, then shellac over top to seal before printing.

Consider embossment of the paper from behind - how is the printed image on the front

impacted by embossing the plate on the back?

Display best collagraph and discuss what textures worked best, what ink combinations

worked best, and how well was the positive and negative space used.

Refer to FCBOE Art Website-Teacher Resources



PRINTMAKING II

UNIT 3: Advanced Relief Prints



MEANING AND CREATIVE THINKING VAHSPRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.

a. Discusses aesthetic issues, such as what is beauty? What affects my personal aesthetic?

b. Writes, reflects, and revises throughout the course personal answers to the following questions: Can the computer be used to create “fine art” prints? What is the relationship between traditional fine art

printmaking and digital art? What ethics apply to copyright issues, computer art, and the Internet?

c. Identifies the ideas and values reflected in the prints of past and present cultures. d. Explores ideas and values reflected in the way the student’s current culture(s) define and use

printmaking.

e. Researches and analyzes the work of a printmaker and writes about how the artist’s style contributes

to the meaning of the work.


a. Identifies how the issues of time, place, and culture are reflected in selected fine art prints. b. Discusses how understanding the original context of a print or print series affects a viewer’s

connection with and interpretation of the artwork.

f. Identifies, compares, and contrasts prints by significant printmakers from different historical periods and cultures including but not limited to Hokusai, Rembrandt, Kollwitz, etc.

g. Discusses the role of printmaking in at least two historical cultures; compares and contrasts to

printmaking today. a. Discusses the role of printmaking and artifacts as a visual record of humankind’s history and a

vehicle for gaining understanding of another culture

VAHSPRCU.2 Demonstrates an understanding of how art history impacts the creative process of art

making. a. Develops a repertoire of contemporary and historical printmaking exemplars.

b. Relates own prints to those of major 19th and 20

th century printmakers.









a. Develops beginning level mastery of printmaking techniques, including but not limited to

monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy. c. Produces and signs artist proofs and series of prints using collagraph, serigraphy, relief, and/or

intaglio. d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,

etching, engraving, silkscreen, lithograph.

h. Practices studio safety, correct care and operation of equipment.


m. Create a series of relief prints in more than two colors including the following methods but not

limited to reduction linoleum, multiple plates, and/or woodcut.

VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter. a. Brainstorms multiple solutions before beginning artwork. b. Creates sketches/artwork from formalist, emotionalist, and realist approaches.




develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking. d. Makes visual/verbal connections.


g. Collects, develops, and preserves personal ideas and thoughts.

i. Maintains notes and class information. j. Plans artwork.

ASSESSMENT AND REFLECTION VAHSPRAR.2 Critiques artwork of others individually and in group settings.

a. Provides respectful and constructive criticism to peers in formal class critiques.

b. Develops skills to provide informal feedback to peers on work in process as part of a community of

learners. c. Uses established criteria to analyze specific strengths and weaknesses of art works based on the

ways technique and composition are used to convey meaning.

d. Analyzes how the printmakers’ use of formal qualities (elements/principles) is used to represent

imagery. e. Discusses the connection between intent and viewer’s interpretation—active participation by viewer

to bring personal experience to the interpretation.

f. Discusses content in fine art prints and how it is communicated; ―reads artwork and shares interpretations and personal responses to representational, abstract and non-objective artwork.

g. Verbalizes personal reactions to prints; develops descriptive vocabulary including adjectives,

analogies, and metaphors.

CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study


UNIT RESOURCES:


Text: No text adopted at time of writing

Power Points:

Refer to FCBOE Art Website

Suggested Books:

German Expressionist Woodcuts, Shane Weller (ISBN: 0486280691)

Wood Engraving and Linocutting, Anne Hayward (ISBN:1861269986)

















http://www.youtube.com/watch?v=rIso5PrJTq0 (Linoleum process set to music)

http://www.youtube.com/watch?v=4vo1EuT5Yi0 (Woodcut process)

Other:




Suggested Essential Question: What techniques can be learned in relief printing?


VAHSPRMC.3: Why is a relief print considered “fine art”?

VAHSPRCU.1: How can a relief printer show ideas and universal themes in his or her prints?

VAHSPRCU.2: How can studying historical relief prints impact the creative process? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition


VAHSPRPR.2: What different media, techniques, processes, and technology do you need to create


relief prints?




VAHSPRAR.2: What can you learn about your own artwork from critiquing other students’ prints?

VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you have



Historical Periods/Movements:

Japanese wood block prints

German expressionist woodcuts

Examine the impact of Gutenberg’s press and movable type on society.

Consider the impact of opening Japan trade in the 1800’s and the influence of Japanese

woodcuts on Western art and style.

Historical Artists:

Katsushika Hokusai

Ernst Ludwig Kirchner

Albrecht Durer

Edvard Munch


Cannonball Press

Elizabeth Catlett


Compare relief prints by different artists with a similar subject matter and discuss how each

artist reflected their culture and times in a different way (ex- Elizabeth Catlett,

Sharecropper and Jacob Lawrence, Underground Railroad, Fording a Stream).

Use thumbnail sketches from Unit 1 for inspiration. Plan prints using objects from nature or

the art room.

Keep class notes, research, reflections, ideas for future prints, results of experimental

printing in Visual Verbal Journal.

Experiment printing with surfaces that have a relief texture.

Create a sample of variable line qualities to use as a bank to create texture and visual

interest in prints (ex- what type of lines show: wood grain, cotton, slime, linen, etc).


approaches to art.


Discuss features of relief printing processes such as linoleum cut or wood block and discuss

other approaches to relief printing than traditional methods.

Demonstrate the variable carving tools and each capacity for line and mark making.

Introduce different inks, papers, and ways to add color to relief prints.


Discuss the emergence of artistic voice: when one begins to develop one’s own style,

approaches to printmaking, and communication of personal message.

Discuss differences between Realism, Abstraction, and Nonobjective art.

Discuss aesthetic issues related to printmaking:

o Does the fact that many prints may be pulled from one plate make the print less

valuable as an artwork? Why or why not?

o Why does an artist’s pencil signature on the print make the work more valuable?

Should it?

o Why would a “signed in the plate” print be less valuable than a print signed after it

was pulled?

Develop ideas, plan, and produce editions of relief prints:

o At least three subjects from a variety of objective, abstract, and nonobjective

techniques.

Refer to FCBOE Website-Teacher Resources


PRINTMAKING II

UNIT 4: Alternative Processes



MEANING AND CREATIVE THINKING VAHSPRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,

conceptualizes these ideas by using artistic language and contextual understandings in assessing learning,

and develops a personal artistic voice that gives unique form to these concepts. a. Identifies artistic styles of a range of contemporary and past printmakers.

b. Recognizes personal motivations, process, and interests.

c. Identifies a personal viewpoint to respond to a variety of print media. d. Selects self-assessment standards.

e. Recognizes own emerging artistic voice and what affects their personal voice and aesthetic in

printmaking.

f. Identifies preferred materials and working methods.


e. Compares prints from contemporary and past societies for similarities in processes, tools, styles, content, and functions








a. Develops beginning level mastery of printmaking techniques, including but not limited to monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.

b. Uses mark-making in a conscious way in printmaking.

e. Explores technology for printmaking (e.g. computers, scanners and copy machines) f. Explores digital media as a tool for art production.

g. Recognizes the role of computer technology in art and of visual skills in technology related

fields.

n. Develops a series of prints using alternative printmaking methods including but not limited

to lithography, photo transfer to intaglio plates, chin-colle with intaglio, and/or combining

printmaking methods.



d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-solving within given parameters.





b. Writes reflections on work, idea generation, and skills progress.


g. Collects, develops, and preserves personal ideas and thoughts. h. Records inspirational images, words, thoughts, and ideas.


j. Plans artwork. m. Identifies emerging personal, artistic voice.


a. Self-evaluates progress and completes work using criteria such as composition, craftsmanship,

technical skill, meeting goals of work, and progress over time. c. Prepares own artwork to be exhibited in the classroom and school community.

d. Adds preparatory drawings and digital images of ceramic studies developed in this course to

portfolio begun in level one art.

ASSESSMENT AND REFLECTION: VAHSPRAR.1 Makes written and oral critiques of own works of art.

a. Reflects on the printmaking process (through journal-keeping, reflective writing, and discussion).

b. Reviews portfolio to identify growth over the course of the class, mastery of skills and techniques,

strongest works and what makes them strong, areas needing improvement, and effective communication of thoughts and ideas.

c. Self-evaluates in-progress and complete work using criteria such as composition, craftsmanship,

technical skill, meeting goals of work, and progress over time.

d. Sets high standards for craftsmanship and skill mastery in own artwork. e. Revises artwork based on input from the critique process.

CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study

and production of printmaking.

a. Manages goals and time. b. Directs own learning.

e. Adapts to change.

f. Uses current technology as a tool.

VAHSPRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the

classroom. a. Discusses how study in art benefits one’s future as an avocation (making, collecting, volunteering);

in art-related careers; and in non-art careers and life skills (application of higher order thinking skills

valued by business such as tolerance for ambiguity, judgment in the absence of explicit rules,

finding structure in apparent disorder, etc.). b. Accesses resources such as museums, Internet, visiting artists, galleries, community arts


organizations, and visual culture to research printmaking in the world around them.

c. Identifies various printmaking related careers and post-secondary options. d. Draws inspiration for artwork from the world and resources outside the traditional classroom.

UNIT RESOURCES:

Text: No text adopted at the time of writing

Power Points:

Refer to FCBOE Art Website

Suggested Books:

Tamarind Techniques for Fine Art Lithography, Marjorie Devon (ISBN: 0810972425)

Intaglio Printmaking: Printmaking Handbooks, Mychael Barratt (ISBN: 0713673885)

Intaglio: Acrylic-Resist etching, Collagraphy, Engraving, Drypoint, Mezzotint, Robert

Adam (ISBN: 0500286612)

















Other:




Suggested Essential Question: What processes can be considered alternative in printmaking?


VAHSPRMC.1: What is the creative process?


VAHSPRCU.1: How can a printer show ideas and universal themes through alternative processes? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition


VAHSPRPR.2: What different media, techniques, processes, and technology do you need to create

prints with alternative processes?




VAHSPRPR.5: How do you prepare your artwork to be exhibited in class, or in the school?

VAHSPRAR.1: What can you learn from critiquing your own prints? VAHSPRC.2: Name some 21

st century life and work skills and habits of mind for success you have


VAHSPRC.3: What are some ways you can use printmaking outside of the art classroom?


Historical Periods/Movements:

18th /19th/ 20th Century Printmakers

French/ Parisian graphic arts

Historical Artists:

Henri de Toulouse- Lautrec

Alphonse Mucha

Eduard Vuillard


Jasper Johns

Jill Marlar

Judy Pfaff

Lothar Osterburg


Personal research, reflection, aesthetic questions and idea generation should be emphasized

through students’ journal/sketchbook.


approaches to art.


Students should bring a portfolio of work and practice self-evaluation of working processes,

goal setting, and achievement, artwork and personal growth throughout the semester.

Some students may be ready to pursue a “mini-concentration” with prints, which explore an

ongoing theme or concept (see Advanced Placement Studio Art materials for additional

information on concentrations.)

Students should continue to study a broad range of art and develop skills in composition and

sensitivity to nuances of design.


Display work for a formal critique and discuss alternative processes used.

Suggested lesson ideas:

Lithography: as stone lithography is not readily available, introduce students to plate

lithography using pronto plates and Xerox toner.

Plate lithography can be printed using sharpies on the plate, or even a greasy litho

crayon to draw on the plate.

Students may also be introduced to spray paint aquatint.

Print an intaglio plate to chin-colle paper


SAMPLE ASSESSMENTS: For all units

Suggested Types of Assessments:

Observation essays interviews

performance tasks exhibitions demonstrations

portfolios rubrics teacher created tests

self evaluation peer evaluation journals

criteria-based evaluations class critiques written art criticism

graphic organizers

Incorporate formative and summative self-assessment as an on-going part of all lessons/units.

Explicitly teach students how to self-assess processes and work. The goal is for students to grow

into independent learners and to monitor own journey to excellence.

Formative Assessments:

Use observations during class projects to make sure students are learning project

objectives

Set performance tasks for students to meet

Check journals for meaning and context

Mini-critiques

Semester portfolio self-evaluation based issues such as these: What is your strongest

work? Why? Area of greatest growth? Which print is most expressive of you as a

person? Why?

Summative Assessments:

Project rubric for grading color project, include a self-grading section

Rubric for grading journal assignments

Unit test over techniques and concepts learned

Documents

CONTENT AREA: ART EDUCATION PRINTMAKING II · PDF fileCONTENT AREA: ART EDUCATION ... SEMESTER COURSE DESCRIPTION: Printmaking II develops printmaking skills. A variety of media and