Printmaking Unit Plan

Printmaking Unit
Art 30 60 Minute Lessons

Dillison A. Malinsky
Spring Semester 2004
Brooks Composite High School
Rationale:
We are surrounded by visual information. From architecture to advertising billboards, painting to graffiti,
multi-media installation to MTV, we are submerged in visual culture. Through this information a dialogue is
achieved between our environment and ourselves. Not always clear, we engage with our surroundings, defining
others and ourselves by what we visually encounter. How can students actively participate within this visual
information/understanding? How as art educators can we assist students to critique and engage with this visual
information? This particular art unit focuses attention on both the conceptual based approach of artists as well as the
technical (visual) aspects of the works artists create.
Fostering an appreciation and new insights into art and its impact on society, printmaking can be examined
from many different facets. This particular unit was designed to explore and experiment with various printmaking
techniques within the Senior High Art curriculum (Art 30). Primarily this unit reflects a skill-based approach to
instruction but also incorporates thematic elements throughout. Historically the method of printmaking can be traced
back to 8th century Japan to works depicting everyday life and human interactions as well as the dissemination of
information and instruction. Contemporary artistic practices still incorporate the process of printmaking within
works of art and not only document the everyday lives of individuals but also use the medium of printmaking to
critique deeper social issues and the medium/process itself.
Throughout this unit the Elements of Art and the Principles of Design will be discussed in relation to
artworks of established artists and student works. The conceptual processes that guide these works and the revealing
o f medium within printmaking (in particular the woodcut) will add to the students encounters with the process of
printmaking. In addition to the visual components of artworks students will develop a visual vocabulary through
their participation in group critiques and individually written reflections. As a final component of this unit students
will create a series of multiples and assist and participate in a student exhibition, which will be documented
through digital photography and added to the students portfolio.
The idea of the multiple and the mechanical reproduction can further be explored to reveal technique and
the evolution of process within the history of the print. Students will have the opportunity to discuss (The Great
Bateman Debate) a variety of issues pertaining to the idea of the print, such as what constitutes an original print?
Additionally, students will have the opportunity to examine a variety of artists ranging from the historical study to
the contemporary application of the print through class presentations and open discussions.
Printmaking remains an influential medium of communication and expression. Students will have the
opportunity to experiment with a variety of processes and techniques collagraphs, monoprints and woodcuts further broadening their artistic encounters/understanding with art. Each lesson builds upon the previous lesson to
further strengthen student understanding. Students will also form their own visual messages from the techniques
acquired within this unit study enabling them to participate within their social/visual environments in addition to the
visual surroundings of the classroom/school environment.
As a final note: this particular printmaking unit can be expanded to incorporate the art of papermaking and
the creation of book works.
Printmaking Unit
Lesson Summary:
Lesson 1: Introduction to printmaking techniques
Lesson 1 will introduce printmaking techniques and processes. A PowerPoint presentation will highlight
the evolving process of printmaking and contribute to the students encounters with art. A variety of artist will be
identified within the presentation: artist ranging from Albrecht 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.
Lesson 2: Monoprint Introduction
For Lesson 2 students will be formally introduced to the process of monoprint technique. An oral/visual
demonstration will start lesson and familiarize students with this particular technique. The focus of texture and mark
making techniques will guide the lesson. Teacher will begin class by having students participate in a visual
demonstration of technique. (Remember: Everything you use creates a mark. The monoprint technique can be
both an additive process paint image on plate subtractive process - draw into image and remove ink or a
combination of the two.) Students will have the opportunity to experiment with this process for the remainder of
the class.
Lesson 3: Monoprint continuation
Previously the class was introduced in Lesson 2 to a variety of artists and a variety of printmaking
techniques. 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.
Lesson 4: Monoprint and Collage
For Lesson 4 the teacher will start with a PowerPoint presentation that explores artists who have used the
elements of collage in their works. The slide presentation will present images from: Cubism (1907-1925) Futurism (1909-1915) - Constructivism (1913-1930) - Dadaism (1916-1925) - Surrealism (1924-1945) - and
Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists
and Dadaist artist such as Max Ernst will be shown. Teacher will direct focus on the juxtapositioning of images and
the altering of meaning within a work of art. Text as graphics will also be discussed in relation to the work of
Russian Constructivist artists. An evaluation criterion (a collaborative mark between student and teacher) will also
be handed out to the class to guide student inquiry during their experimentation with monoprint and collage
techniques.
Lesson 5: Critique of Monoprint and collage prints

Lesson 5 marks the end of the first printmaking module. The teacher will guide the first group critique
through a series of questions. Students will have the opportunity to critique their own works as well as the works of
their peers. Establishing an environment of mutual respect must begin lesson in order to provide a comfortable
atmosphere for the group critique. Students will end the lesson by handing in artwork with evaluation criteria
attached.
Lesson 6: Collagraph printmaking no ink
Lesson 6 marks the beginning of the collagraphic module. The word collagraph is derived from the Greek
colla, meaning, glue, and graphos, to write. The process is a constructive one objects are added to the surface
of the plate as opposed to the subtractive process of most intaglio techniques. Students will be completing one
collagraph without ink (to create an embossed effect) and one with ink. To start this lesson students will view both
the ink and no ink collagraph techniques taken from the 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: Collagraph printmaking continued
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: Collagraph printmaking - ink
Lesson 8 continues to build on the previous collagraphic lessons. Students will have been shown the proper
technique when tearing their paper, soaking of paper, and using the printing press. Students will immediately begin
preparing for pulling prints using the press. Teacher will circulate through the room assisting students who require
help. Students will be encouraged to assist other students during the printing process. Students who have completed
their prints may continue their individual research by examining the printmaking books supplied in class.
Lesson 9: Collagraph printmaking continued
Lesson 9 will be one of the final lessons within the collagraphic-printing lesson this lesson will have
students working on finishing their prints (non-ink) and completing an inked version of their print utilizing printing
ink. First have students tear paper for prints and set into basin for soaking. Students will then gather around for a
brief mini-lesson/demonstration of printing using printing ink. Teacher will need to stress the importance of
maintaining a clean work environment to ensure that ink will not be transferred to other surfaces in addition, ink
must not be transferred to the printing blankets as this will ruin the blankets and possibly stain other prints. Students
will have the opportunity to experiment with the inking process for the remainder of the class.
Lesson 10: Collagraph printmaking final day
This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged
to use their class time to complete both the non-inked and inked prints for their portfolio. Teacher will circulate
throughout the class assisting students and holding individual critiques of works that have been completed. Students
that have both prints completed will have the opportunity to browse through printmaking sources and plan for the
next printing technique: woodcut relief prints. If time permits students may sketch print ideas in their sketchbooks.
Lesson 11: Group Critique Collagraph(s)

For Lesson 11 the second group critique within the printmaking unit - students will be introduced to the
four steps involved in the visual critique: Description, Analysis, Interpretation, and Judgment. In the area of
analysis students may need to be reminded of the elements of art and principles of design when considering a visual
work: Elements of Art Line, Colour, Texture, Shape, Form, Space, Value & Principles of Design
Harmony, Unity, Emphasis, Variety, Proportion, Balance, Rhythm/Pattern, and Movement. In addition to the
classroom handout - these elements will be written onto the board for students to reference while participating ingroup discussion.
Lesson 12: Woodblock printmaking
Lesson 12 marks the introduction to one of the oldest printmaking techniques - the Woodcut relief print.
Students will participate in a brief PowerPoint presentation highlighting the Woodcut relief technique. The influence
of Japanese woodcuts ukiyo-e - on European and Western artists will be noted within the presentation. Traced
back to the 8th century in Japan the woodcut technique marks a pivotal moment within art history influencing many
European and Western artists. In addition to the presentation students will be given a brief safety lesson when
carving their woodcuts. Teacher will promote problem-solving strategies while student work with their new medium
of wood.
Teacher will begin Lesson 13 by checking in with the students progress. Students will have class time to
work on their woodcuts. While students are working on their prints the teacher will be circulating around the
classroom holding individual critiques and guiding student inquiries. Evaluation criteria will additionally be
provided for students for the grading of the final printmaking module.
Lesson 14 marks a brief mini-lesson on the process of pulling a woodcut print using a wooden spoon or
Japanese rice spoon. Students will have the remainder of the class to work on pulling an edition of a least 5 prints
from their woodcuts. Teamwork maybe necessary in order to complete the edition of 5 prints in class time. Note:
This lesson may carry over to next class. Students will sign the edition as well as number the prints in order of
prints pulled, e.g., 1/5, 2/5, 3/5 etc
Lesson 15: Woodblock printmaking - Group critique
For Lesson 15 students will bring in their completed edition to share with the class. Students will be
encouraged to hang their works within the room to aide in visual presentation. Additionally, students will have to
select a print they wish to submit to the final gallery hanging (out of all their prints) which would occur next class.
Students will have five (5) minutes to arrange their works and prepare to engage in a group critique of the weeks
events and the final presentations. Students will submit grading criteria to the teacher before the end of the class.
Lesson 16: Gallery Installation
For the final lesson within the printmaking unit the class will start by having students submit their work for
gallery installation. Students were required to decide on the selection of their prints prior to the beginning of this
lesson. Have students gather their works for the exhibition. Frames, matting and labels will be provided for students
students will be required to matt, frame and fill out a label for the work(s) they submit. In addition to installation
the students will document their works through digital photography and decide on an exhibition title for the works
presented for the school. Teacher will keep an anecdotal record of students participation within gallery installation.
Unit Exam Printmaking

A copy of the unit exam ends the printmaking unit. Enclosed is a copy of the test rationale, Program of
Study - Art curriculum (10-20-30) - Drawings, Composition and Encounters, Table of Specification, Unit Exam
Blueprint, Unit Exam and Answer Key. The test will take approximately 60 minutes to complete and encompasses
all information covered throughout the unit.
Final note:
This unit can be further developed to encompass papermaking as well as bookmaking techniques which
would incorporate printmaking skills covered throughout this unit study.
Lesson:
Outcomes
1.
2.
3.
4.
Introduction to
________
Printmaking
Date:
March 1. 2004
Art 30
Class: __________
Upon completion of this lesson, students should be able to:
Develop a visual vocabulary through participation in presentation.

Identify a variety of printmaking techniques implemented by artists.
Analyze sources of imagery that have lent themselves to the printmaking process.
Contribute thoughtfully to visual critique by participating in-group discussion.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
PowerPoint presentation prepared images: both historical and contemporary

Printmaking implements: aluminium & zinc plates, Japanese carving tools, assorted printmaking papers:
Reeves BFK, Arches, Drawing Bristol and Stonehenge
Brayers rollers & Baren hand rubbings or wooden spoons
Glass plates or plexi-glass for rolling ink & brushes
Printmaking inks water and oil based inks & palette knives
Portfolio prints (woodcut, collograph, lithographs, intaglio)
Students will need their sketch books and pencils
Printmaking handout for students
Set
Time
1520
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
featured. Techniques such as monoprints, collagraphs, intaglio, relief prints woodcuts and linocuts, and lithography
will be presented. In addition to the PowerPoint presentation students will have the opportunity to visually examine
some prints that incorporate these techniques as well as a variety of tools and papers used during printing.
Activities
10
Questions to ask students while viewing the PowerPoint

presentations:
1. How have the printmaking techniques chosen by the
artist lent themselves to the printed image?
2. Many of the earlier images used are without text
are you able to read these images are these images
strong enough to support meaning without text?
3. How has the printmaking process lent it self to the
meaning of the works shown?
After the presentation students are invited to view a variety of
prints that incorporate multiple techniques of printmaking. (These
prints will be from my portfolio.)
Activities
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.
Differentiation /Modification
Variety of methods/strategies can be
implemented for this art lesson:
1. Oral presentation teacher will
speak about various printmaking
techniques.
2. Visual aids PowerPoint
presentation and assorted
printmaking implements shown.
3. Group discussion - students are
encouraged to ask questions and
physically interact with visual
material.
4. Individual analysis students will
begin their initial sketches and
planning for next class.
Activities continued
Time
1.
5
2.
Ask students: What is printmaking? Give them time to respond allow them to generate answers.
a. Printmaking refers to processes that used to transfer an image from a plate or block to another
surface such as paper or fabric in order to make multiple copies of the original. Most but not all of
the printing processes use ink or paint.
Mention to students that there are four basic methods: relief, intaglio, planographic and stencil prints.
a. Relief prints: use a plate on which the surface is either cut away or built up.
i. Woodcuts and linoleum, found-object and collagraphs are examples of this technique
b.
Intaglio: includes processes in which a surface is scratched, engraved or etched chemically

i. Etching, Dry point, Mezzotint, Aquatint
c.
Planographic: are made from ink or paint applied to a flat surface in such a way that it creates a
design or picture.
i. Lithography is a complex example and monoprinting is a more direct and simple one
d.
Stenciling: the simplest version of stenciling is to cut one or more openings (designs) in a heavy
drawing paper or waxed stencil paper and then apply colour to open areas. The more complex
version of stenciling is the Serigraph or silk-screening technique, which are made by squeezing
ink or paint through a fine screen.
Question for the class:

1015
The Great Bateman Debate:

Ask the class to think about prints they have encountered in stores even in their own homes. Take
a good look at these prints. Are they signed and numbered? Are they original or are they a reproduction?
If it is signed and numbered does that mean a print is an original?

A reproduction:
Essentially a reproduction is a copy of an original work no different from a poster. The artist makes a
painting. A photograph is taken of the painting. Colour separations are prepared from the film, which are transferred
to a 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.
2.
3.
4.
Participation in-active listening skills.

Questioning I ask you and you ask me.
Observation a. eye contact; b. body language; c. facial expression.
Listening are students asking questions are students comprehending the lesson through their questioning.
Closure
5
1.
2.
3.
4.
Answer any final questions.

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.
Clean-up room
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.
Incised or Intaglio process:
The principle of incised or intaglio printing is exactly the opposite of relief printing. In the
intaglio processes, the printing areas are grooves, furrows or indentations lower than the surface of a
metal plate. In other words, the lines or surfaces, which are etched, out or cut away from the plate carry
the ink. The high standing areas are wiped clean and do not print.
In intaglio processes, metal plates, chiefly copper, are used. Some artists have used Lucite, zinc or
aluminum sheets. The general divisions within the intaglio process are: Engravings, etching, aquatint, soft
ground mezzotint and dry point. The term intaglio is often used to designate those prints in which more
than one method is used. Sometimes referred to the combining of methods and techniques as a mixed
method.
Lithography or Planographic process:
Lithography (Greek for stone writing) is based on the natural antipathy (opposition) of oil and
water. The image is made on the stone (or a specially granulated zinc plate) with greasy crayon or ink.
The texture of the stone is such that, if moistened, the water adheres to it in an even film except where the
grease has been applied. When a roller charge with heavy ink is applied to the moistened surface, the ink
adheres only to the greasy areas. After printing, the greasy image remains on the stone and the process of
moistening, inking, and printing may be repeated.
Serigraph/Stencil process:
In general artists have known the stencil process for centuries traced back to the cave paintings
when ground pigment was blown around the human hand and what remained was a stenciled image. Its
basic principle is that of applying colour or inks to the perforated or cutout sections of specially treated
paper or thin material so that the desired pattern or design comes through the stencil to the surface to be
printed. Thus all sections except those of the open design are masked out. Its most recent development is
known as silk-screening printing. In the specialized field of fine printing this technique is called
serigraphy. Variations of this technique are sometimes combined with engravings or etching to produce
colour prints.
Lesson:
Outcomes
1.
2.
3.
4.
Monoprint
________
- Introduction
Date:
March 2. 2004
Art 30
Class: __________
Develop and solve design problems by exploring the process of monoprint techniques.
Extend visual knowledge by encouraging individual and group discussion.
Create a monoprint by implementing proper printmaking processes.
Demonstrate thoughtful and attentive listening skills during demonstration.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
Water-based inks watercolours used for this particular lesson

Bushes, brayers, towels, other mark making tools (feathers, combs, hair etc)
Wooden spoons and/or barens
Glycerin to prolong paint time, especially when using water-based inks
Paper for print and for registration
Glass or plexi plates
Plastic matt used for registration of print
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
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
To start:
Have the students gather around workspace make sure
everyone can see the demonstration. Throughout the demonstration
talk about the processes (importance of rolling the ink evenly)
and tools (brayers and barens) that are being used. Remember to
stress the importance of keeping a clean work environment.
Monoprint:
Essentially monoprint techniques are closer to

drawing and painting than printmaking but the ability to transfer
pigment from one surface to another is a major element of
printmaking. (Some people do not consider a monoprint a true print
because it is a print that can only be made one time). The
characteristic of this method is that no two prints are alike; although
images can be similar, editioning is not possible.
There are three principle methods of making a monotype:
The additive or light-field method, in which the image is
painted by adding or building up pigment onto the plate
Activities
continued:
The subtractive or dark-field method where the entire plate
is covered with a thin layer of pigment, which the artist
then works out his image by removing some of the
pigment with brushes, rags, sticks, or other tools.
The third is a combination of the two.
1.
2.
3.
4.
Oral presentation teacher will

orally walk class through
demonstration.
Visual aids teacher will provide a
visual demonstration of the
printmaking technique.
Group discussion students are
encouraged to ask questions
throughout.
Individual analysis each student
will create a monoprint work.
Activities continued:
Time
Q: Is there a difference between a monotype and a monoprint?

A: Although these two terms are used interchangeably, there is a big difference between one and the other. The
process of monoprinting and monotype printing is the same: the artist applies colour directly onto a surface and then
prints it running it under a press. Monoprints though have a pattern or part of an image, which is constantly repeated
in each print. Artists may use etched plates or some kind of pattern such as lace, leaves, fabric or even rubber gaskets,
to add texture. Monotype prints instead are in ONE copy only. A clean and unetched plate is used and images are
created with nothing that can be reproduced.
1.
15
20
Demonstrate the processes of creating a monoprint to the class.

a. Put ink onto palette and roll the brayer into the ink roll both vertically and horizontally
b. Try to make the ink evenly distributed on the brayer.
c. Apply the ink to a clean plexi or glass plate again evenly distributing ink onto the surface
d. Once ink is on the plate you may work into the ink with a brush or trowel.
i. You may also simply paint onto the glass with a brush (ghost image)
ii. You may also use more than one colour of ink
e. Next you will lay the paper (the paper can either be wet or dry) onto the plate.
i. Make sure you center the paper onto the plate (2 inch border around is desirable)
ii. Registration marks can also be done to ensure print is centered
f. Once the paper is on the plate you will need to apply pressure
g. Using a baren or wooden spoon rub using a circular motion from the center of the print out to
the edge (monoprints can also be sent through a printing press)
h. Carefully lift print corner to see the transfer if required continue rubbing to create desired effect
i. Lift print carefully from plate
j. Set aside to dry
k. Clean-up workspace
After demonstration:
Ask: Are there any questions? Wait for a response from the students. Answer any questions they may have
regarding process and techniques.
If students are unsure: have one of the students come up and go through the steps again. Students can also begin
to plan their works (sketchbook activity) they may want to bring in other tools for mark making in addition have
them start to think about items they wish to collage on to their prints.
If time: Students will now have the opportunity to experiment with this technique for the remainder of the class.
If there are not enough resources available have students share resources. Remind students that they will be working back
into these images - so do not focus to much on detail rather focus on texture and mark making strategies today just
focus on experimentation. These prints will be used within and incorporate in collage elements later on.
Assessment
1.
2.
3.
4.
510
Participation in-active listening skills and the creation of a variety of monoprints.

Closure
1.
2.
3.
4.
5.

Remind students to bring materials to work into monoprint for next class
Properly store images stack images between paper and weights to dry or set aside to dry for next class
Clean-up the room
Prepare for next class
Self-Evaluation
WHAT IS A MONOTYPE?
Taken from: http://www.waterbasedinks.com/history.html
Is it a monoprint or a monotype? Many publications use the terms interchangeably referring to 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 (18931965), 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)
Lesson:
Outcomes
1.
2.
3.
4.
Monoprints
________
continued
Date:
March 3.2004
Art 30
Class: __________
Develop and solve design problems by exploring the process of monoprint techniques.
Extend visual knowledge by encouraging individual and group discussion.
Create a monoprint by implementing proper printmaking processes.
Demonstrate thoughtful and attentive listening skills during minilesson.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
9.
Time
Printmaking inks and glycerine is using water-based inks

Plexi or glass plates
Paper (for printing and for storing)
Brayers and barens
Brushes, trowels, Q-tips
Plastic sheet for registration marks
Rags for clean up
Sketchbooks and pencils students will bring to class sketches visual ideas for lesson
Printmaking books, magazines, newspapers, photographs
Set
Previously the class was introduced 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. Next class these prints will be used in collage.
Activities
1.
Today a brief minilesson will be demonstrated on the

trimming of paper:
2. Have students briefly gather around: this can be done
in smaller groups if other students are working and there
are limited resources.
a. Traditionally the edges of the paper are
torn by hand to create a deckled edge
however trimming the paper to size is
unavoidable.
b. Most paper can be torn with a heavy metal
straightedge or a tearing bar.
c. For Japanese papers due to their long fibres
the paper must be first folded and the fold
burnished - additionally a moist sponge is
run along the folded edge before tearing.
3. Teacher will circulate throughout the room checking
if students are on task or having difficulties.
4. Teacher will encourage dialogue among students
Activities
continued:
teacher
will also encourage students to pull more than one
monoprint for their portfolio.
1.
2.
3.
4.

guide the lesson and circulate
around the room answering any
questions or concerns that may
arise.
Visual aids printmaking books
and sketchbooks will be used as
resources throughout this lesson.
Group discussion throughout the
printmaking process students will
have the opportunity to comment
and question the process.
Individual analysis students will
have the opportunity to pull a
monoprint.
Time
35
5. Students will work largely unassisted that is, through their own personal investigation with the process
of printmaking students will develop their own personal relationship with the medium.
6. Have students pull more than one print off of the same plate have students compare these images Is
there a difference? In most cases the second image will be a lighter ghost image compared to the initial pull.
Ask: How is the process similar or different from other mediums they have experimented in?
Why do you suppose artists choose the technique of printmaking?
How can the process of printmaking be incorporated into your own personal style?
Will your message what you communicate change using the medium of printmaking?
7. Allow students time and space to explore these questions.
8. If students finish more than one monoprint have them start cutting out and collecting resources for their
works. Ask: What do they want to communicate through their print?
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and the creation of a monoprint.

Closure
1.
2.
3.
4.
5.

Remind students to bring materials to work into monoprint for next class.
Properly store images stack images between paper and weights to dry or set aside to dry for next class.
Clean-up the room
Prepare for next class.
Self-Evaluation
A
Lesson:
Outcomes
1.
2.
3.
4.
Monoprint
________
& Collage
Date:
March 4.2004
Art 30
Class: __________
Demonstrate effective listening skills when participating in-group discussions.

Alter existing print in order to implement elements of collage.
Combine multiple techniques (printmaking/collage) in order to create new work.
Compose an image that juxtaposes a variety of imagery to recreate meaning.
Materials
1.
2.
3.
4.
5.
6.
7.
Previously completed monoprints

Mixed media newspaper, magazines, photographs, wall paper, fabric other materials students would like to
incorporate
Pencils, ink pens, paint (watercolour or acrylic)
Glue
Scissors/X-acto blades
PowerPoint presentation
Grading criteria for monoprint/collage project
Set
Time
15
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
Abstract Expressionism (1940-1960). Artist such as Georges Braque, Pablo Picasso, Russian Constructivist artists
and Dadaist artist such as Max Ernst will be shown.
Activities
Questions for students while viewing images:
1.
2.
Is it possible to not create narrative?

How does juxtaposing images together change meaning?
a. Juxtapose: to place or situate side by side or
close together, especially so as to produce or
exhibit a contrasting effect.
3. While you look at each individual work do you believe
the artist was successful in creating new meaning
altering the state of their works?
4. How are elements such as text and fabric used within
these works?
5. How can text be used as graphics within the work? Look at the work of Russian Constructivist artists.
To guide students works ask:
6.
30
How can you create new meaning within your own

works?
7. What would you like to communicate through your
Activities
continued:
individual
work?
Students were requested to bring a variety of materials
from home some materials will be provided for students. They
will have this class time to alter, combine and rearrange their prints.
The teacher will circulate the room answering questions while
students are working. If student are struggling with the work sit
and talk with them direct their attention to their previous works
and what they have communicated through them.
Students will be encouraged to complete more than one
collage if they complete one during class time and if time permits
write about their experience in their sketchbooks.

1.
2.
3.
4.

present new media to class verbally.
Visual aids PowerPoint
presentation with slides of various
artists.
Group discussion students will be
encouraged to share personal
analysis of works shown in class.
Individual analysis each student
will work on individual works.
Time
Assessment
1.
2.
3.
4.
510
Participation in-active listening skills and the creation of monoprint/collage.

Closure
1.
2.
3.
4.
5.

If students are unable to complete the work in todays class it will be assigned for homework.
Remind students that monoprint/collage works will be discussed on Fridays class.
Clean up the room
Self-Evaluation
A
Collage - collected definitions - http://www.collagetown.com/history01.shtml

#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 threedimensional. Introduced by the Cubist artists, it was widely used by artists who followed, and is a familiar
technique in contemporary art.
#3 An artwork made by pasting together heterogeneous materials. The decisive and characteristic
difference between the technique of collage (from French, coller,"to paste") and painting is that in
painting the visual impression is built up by composition of color and line, whereas in collage, bits of
newspaper, labels, buttons, and chickenwire, to mention only a few materials, are attached, ready-made,
to the surface. The French painter Georges Braque and Spanish artist Pablo Picasso made collages for
cubist works in the early 20th century. American pop art of the 1960s introduced the use of large objects,
such as pieces of sheet metal, machine parts, parts from automobiles, and wooden rafters.
Monoprint/Collage Project:
Visual Note:
Student:
Grade:
Date:
Student: Please circle the mark you would assign yourself Justify your assigned mark with a reflective critique.
Note: This is a collaborative mark between student and teacher.
Grade Scale: half marks can be assigned e.g., 4.5
5 = Excellent
Insightful, Thoughtful, Carefully Constructed, Resourceful Technique
4 = Proficient
Clear, Adept, Capable, Considerate work, Good technique
3= Satisfactory
Adequate, Sufficient, attention needed on implementation of media and

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

aspect
1= Inadequate
Incomplete work presented for critique
Visual Critique:
Teacher:
Grade:

5 = Excellent
4 = Proficient
3= Satisfactory
Adequate, Sufficient, attention needed on implementation of media and

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

aspect
1= Inadequate
Visual Critique:
Lesson:
Outcomes
1.
2.
3.
4.
Group Critique
________
Date:
March. 05.2004
Art 30
Class: __________
Demonstrate effective and attentive listening skills by participating in-group critique.

Individually support their work by visually critiquing elements used within work.
Analyze and evaluate their own works in relation to the works of professional artists discussed in class.
Visually interpret the relationship between images incorporated within the works.
Materials
1.
2.
3.
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
Sketchbook and pencils resource list for next class
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
of the weeks events and the final presentation of the completed work.
Activities
Students will be reminded of proper group critique etiquette
before starting visual critiques. That is, comments and
questions regarding individual works must be thoughtful.
Personal attacks and inappropriate behaviour will not be
welcomed.
50
1.
Note: A time limit of 5 minutes will be allotted for each student in

order to complete critique within class time.
Questions to guide critique:
1.
What design problems did you encounter in the creation

of your final work?
2. How has the imagery chosen for the work altered the
meaning?
3. What elements do you enjoy within your work?
4. What elements would you alter within your work?
5. How has the process of printmaking and collage affected
the meaning of your work?
Activities
continued:
6. Were
there any other elements to consider in the creation
of your piece?
7. In relation to other artists how may your work be read?
8. What are you trying to communicate through your work
is there an artistic, personal, social or historical aspect
to be considered?
Each student will have the opportunity to share their works and
comment on their peers works. Teacher will collect all works at the
end of the class for final marking of assignment:
2.
3.
4.
Oral presentation both teacher and

students will participate in a visual
critique of the works created within
the class.
Visual aids students will have the
chance to examine the works
created within the class.
Group discussion students as a
group will share and express their
visual interpretation of works
presented.
have the opportunity to visually
critique their individual works and
provide interpretation and
judgement of their work.
Time
Assessment
1.
2.
3.
4.
Participation in-active listening skills and group discussion.

Teacher will keep an anecdotal record of students participation within group critique.
Closure
1.
2.
3.
4.
5.
Answer any unresolved questions.

Remind students to collect items for next weeks collagraph lesson items cannot be sharp otherwise they will
tear through the paper.
Students will hand-in their work along with their assigned mark for teacher grading.
Clean up the room.
Self-Evaluation
A
Lesson:
Outcomes
1.
2.
3.
4.
Collagraph
________
Printmaking
Date:
March 8.2004
Art 30
Class: __________
Create a collagraphic plate by implementing various media and resources.

Integrate various mediums in order to create design and texture within work.
Develop and solve design problems within individual works.
Demonstrate active and attentive listening skills during class presentation
Materials
1.
2.
3.
4.
5.
6.
7.
Masonite or heavy cardboard collagraph plate

Sandpaper to soften edges of collagraph plate
White glue for attaching objects and for sealing surface (acrylic medium maybe used as well)
Brushes to apply glue
Various mixed media objects must be low relief on the surface (students resource)
Printmaking books for resource imagery
Teachers portfolio collagraph prints
Set
Time
510
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
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.
Activities
3540
Construction of Collagraph plate:

1. Students will receive a piece of Masonite to construct their
prints.
2. They will need to sand down the edges and corners of their
plate this will prevent the plate cutting into the paper
when pressing.
3. Students will use white glue to secure down various
objects to their plates.
a. Encourage students to take their time when
placing and layering objects on plate what do
they want to achieve from their image?
b. How can design and texture be achieved
through their collagraphic prints?
c. Note: The surface of the plate should not be more
than 3/16 to _ inch at its highest point.
4. Once objects have been secured to plate students are
required to seal the plate with a thin layer of white glue
or acrylic medium.
a. The plates will need to dry overnight.
b. Plates will be printed off during tomorrows
class.
5. If students have additional time have them go through
the printmaking books provided.
Note: A plate larger than the paper can be used, allowing
the print to be made without plate marks. Bleed prints in which
the image areas goes to the very edge of the paper can also be
achieved.
1.
2.
3.
4.

provide minilesson and guide
construction of the collagraph
image.
Visual aids teacher will provide
collagraph examples from portfolio.
encouraged to ask questions
throughout lesson.
have the opportunity to individually
construct collagraph plates for
printing.
Time
Assessment
1.
2.
3.
4.
510
Participation in-active listening skills and construction of collagraph plates.

Closure
1.
2.
3.
4.

Remind students that they must have their plates completed for next class printing of plates.
Clean up the room.
Self-Evaluation
A
Lesson:
Outcomes
1.
2.
3.
4.
Collagraph
________
Printing
Date:
March 09.2004
Art 30
Class: __________
Demonstrates active and attentive listening skills during the minilesson.

Models proper printing procedure when using printing press.
Modifies printing pressure in order to pull a print.
Generates a collographic print by implementing the printing press.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
9.
Completed collagraph plates

Paper - rag paper
Water basin for soaking paper
Printing press
Blotting paper for removing excess water
Plastic sheeting for printing bed (to cover registration paper)
Rolling pin
Newsprints
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
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.
Activities
10
Teacher will begin this lesson by demonstrating a

minilesson on the operation of the printing press:
1.
Teacher will demonstrate the proper technique
of tearing the rag paper (Stonehenge or other
paper) in order to maintain the deckled edge of
the paper.
2.
This piece of paper will then be placed in a
basin of warm water warm water is absorbed
much faster than cooler water.
3.
This paper will need to soak for 20-30 minutes
if using Mayfair paper (an inexpensive
alternative) soak paper for approximately 10
minutes.
a. Teacher may need to stress the importance of
being prepared to print due to time
constraints.
4.
While the paper is soaking - the teacher will go
over the rules of using the printing press.
a. Taking care not to damage the printing bed.
b. Adjusting pressure evenly to ensure the print
pulls properly
c. Cleaning up after each use.
5.
Teacher will demonstrate the removal of paper
from the water basin gently removing paper
allowing paper to drip water free.
a. Paper will be placed between blotting paper
and - using the roller remove excess water.
1.
2.
3.
4.

present minilesson on collagraph
printing.
Visual aids teacher will visually
walk student through the printing
process.
Group discussion as a class
students will critique the process of
using the press when creating their
prints.
have the opportunity to complete
both an inked and non-inked
collagraph.
Time
6.
Next, teacher will demonstrate registration of print by laying marked newsprint onto printing bed
first.
a. Plate is set (face up) onto newsprint.
b. The blotted rag paper will be set onto the plate.
c. Another piece of newsprint will be set on top of the rag paper.
d. Next, the printing blankets will be set over the newsprint ensure blankets do not have any
wrinkles in them wrinkles in the printing blankets may transfer to the print.
e. Run plate through press.
i. Collagraphic plates maybe run through more than once demonstrate to students
that the pressure may need to be adjusted when adjusting the printing rollers
mention to students that pressure must be even to ensure proper pull.
7.
Once demonstration is complete allow time for students to experiment with the press.
8.
Some students may be ready to pull their prints while others may need time to complete their
collagraphic plates the remaining time in the class will be given to working on prints.
9.
Teacher will circulate through the class assisting students and guiding printing press procedure.
10. Remind students that their first (non-ink) collagraphic prints must be completed by the end of the
next class.
30
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and completion of collagraphic print.

Closure
1.
2.
3.
4.

Properly store prints.
Clean up classroom.
Self-Evaluation
A
Evaluation criteria for student work:

COLLAGRAPH PRINTMAKING (no-ink and ink):
Visual Note:
Student:
Date:
Note: You are submitting two prints for this evaluation 1. Collagraph no-ink and 2. Collagraph ink assign a mark for
each print. Additionally note which print you found visually stronger within your visual critique. Why?
5 = Excellent
4 = Proficient
3 = Satisfactory
Adequate, Sufficient, Attention needed on implementation of collagraph technique
2 = Limited
Lacks Development, Needs work technical aspect and visual message
1 = Inadequate
Visual Critique:
Teacher:
Grade:

5 = Excellent
4 = Proficient
3 = Satisfactory
Adequate, Sufficient, Attention needed on implementation of collagraph technique
2 = Limited
1 = Inadequate
Visual Critique:
Lesson:
Outcomes
1.
2.
3.
4.
Collagraphic
________
Printmaking
Date:
March 10.2004
Art 30
Class: __________
Demonstrates proper printing procedure when pulling print on press.

Assists other students during the printing procedure.
Alters printing procedure when using press to achieve proper pressure.
Generates a collagraphic print by using the printing press.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
9.
Completed collagraphic plates

Paper rag paper
Printing press
Blotting paper for removing excess water
Plastic sheeting for printing bed
Rolling pin
Newsprint
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
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.
Activities
45
While students are working in the printing lab teacher

will circulate through the room. Students will be encouraged to
develop and refine printing skills during lab/studio time. Teacher
may wish to ask questions to guide reflective student responses
encourage students to use visual vocabulary (elements of art and
principles of design) used within the class to discuss prints:
1.
How do the medias used in the collagraphic
print read once they have been transferred to
paper?
2.
As you examine your print what areas draw
the viewers eyes in? What stands out within
the pulled print?
3.
If you experimented with this process more
how would you modify this process to fit your
artistic practise?
Students may browse through printmaking books provided
to explore a variety of techniques and process available this will
act as personal research for possible prints. Students will be
encouraged to record their reflective thoughts throughout class
Activities
continued:
within
their sketchbooks.
1.
2.
3.
4.

assist students when in need of help.
Visual aids as prints are pulled
students will set prints on display
for the class to see.
Group discussion students will
work as a team when using the
printing this will enable the
process of printing to run smoothly.
individually create a collagraphic
print using the printing press.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and the completion of a collagraphic print.

Closure
1.
2.
3.
4.
5.

Remind students that tomorrows class will be using ink to complete their second prints.
Clean up classroom.
Self-Evaluation
A
Lesson:
Outcomes
1.
2.
3.
4.
Collagraphic
________
Printmaking
Date:
March. 11.2004
Art 30
Class: __________
Demonstrate active and attentive listening skills during minilesson.

Share resources and time during the printing procedure.
Modify collagraphic print to incorporate an inked technique.
Generate a collagraphic print using an inked plate.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Collagraphic prints
Printing ink (oil-based or water-based) brayers, trowels, matt board, paper towels/rags, telephone book paper
Paper rag paper
Printing press
Blotting papers
Rolling pin
Newsprint
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
demonstration of printing using ink. Teacher will need to stress the importance of maintaining a clean work
environment to ensure that ink will not be transferred to another surface in addition, ink must not be transferred to the
printing blankets as this will ruin the blankets and possibly stain other prints.
Activities
1015
Teacher will begin inking demonstration (after students

have placed their rag paper into soak):
1.
The collagraphic plate (same plate as used in
the non-inked) is inked differently from the
normal intaglio plate.
2.
You may apply ink directly to the surface of
the plate with a paintbrush (to reach difficult
spaces) and/or paint roller.
3.
Remember to check the plate carefully to
ensure ink has been evenly distributed.
4.
Excess ink may be removed with a piece of
matt board or rag.
5.
You may continue to hand wipe the plate with
paper wipes (telephone book paper) to ensure
the surface of the plate is fully inked.
6.
If individually decides to add more than one
colour of ink the second colour may be
applied using a surface roller
7.
Wipe edges of plate to ensure there is no ink
built up.
8.
Plate then can be set onto the printing bed
using the same procedure as when using the
non-inked technique.
1.
2.
3.
4.

orally deliver a minilesson on ink
application.
Visual aids teacher will also
visually demonstrate the inking
procedure for the class.
encouraged to assist each other
during the printing procedure.
individually pull a print using the
printing press.
Time
35
9.
Collagraphic plate must be cleaned up after use depending on the printing ink used varsol/paint
thinner for oil-based and water for water-based ink.
10.
Ensure proper disposal/storage of rags after clean up.
Teacher may ask students if there are any questions before proceeding with their individual prints.
Allow students the rest of the class to experiment with both techniques.
Students will need to share resources and printing press so ensure that they have enough class time to
complete their prints.
Have students compare their non-inked collagraphs with their inked collagraphs: How has the use of ink
changed the visual composition of the print? Does your print read differently than the non-inked print?
Have students store their finished print (between two pieces of newsprint).
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and completion of a collagraphic print.

Closure
1.
2.
3.
4.
5.

Remind class that next class will be the final class for completing collagraphic prints.
Clean up classroom.
Self-Evaluation
A
Lesson:
Outcomes
1.
2.
3.
4.
Collagraphic
________
Printmaking
Date:
March. 12.2004
Art 30
Class: __________
Demonstrate proper printing procedure when pulling prints on press.

Assists other students during the printing procedure.
Modify collagraphic print to incorporate an inked technique.
Generates a collagraphic print using the printing press.
Materials
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Collagraphic plates
Printing ink (oil-based or water-based) brayers, trowels, brushes, rags, telephone books
Paper rag paper
Water basin
Printing press
Blotting papers
Rolling pin
Newsprint
Rubber gloves
Printmaking books - sketchbooks
Set
Time
This class will be used to complete the final prints for the collagraphic lesson. Students will be encouraged to
use their class time to complete both the non-inked and inked prints for their portfolio. Teacher will circulate
throughout the class assisting students and holding individual critiques of works that have been completed. Students
that have both prints completed will have the opportunity to browse through printmaking sources and plan for the next
printing technique: woodcut relief prints. Students may sketch print ideas in their sketchbooks.
Activities
45
Teacher will be available throughout the class for

assistance and questioning. Students that have completed both
prints will sit and conduct individual critiques with teacher. The
students will present their work for the teacher and using the
visual components elements of art and principles of design
critique their individual works.
Questions:
1.
2.
3.
4.
What message(s) are you trying to convey

within your work(s)?
How have you used the media to convey your
message?
Are there areas you wish to pursue within this
work?
How can this work be further developed?
Have students record their reflections in their sketchbook

for next class. Give students time and space to critically reflect on
the pieces they have created.
Remind students that their prints must be completed for
next class a group critique will guide the final analysis of the
works.

1.
2.
3.
4.

circulate through the class
answering any questions.
Visual aids prints that have been
completed within the class will be
set up for display.
work as a team while completing
their prints with limited resources.
individually work on completing
their collagraphic prints.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and completion of collagraphic prints.

Closure
1.
2.
3.
4.
5.

For next class have students write a brief reflective critique of both their prints and bring to next class for
discussion.
Clean up classroom.
Self-Evaluation
Lesson:
Outcomes
1.
2.
3.
4.
5.
Group critique
________
Date:
March. 15.2004
Art 30
Class: __________
Visually interpret group works presented within the class.

Support individual works by using the visual vocabulary when considering Elements of Art and Principles of
Design.
Describe various visual elements within works presented within the class.
Demonstrate attentive and thoughtful behaviour when considering peers works.
Develop a visual vocabulary by participating in-group critique.
Materials
1.
2.
Completed collagraphic prints

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
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.
Activities
45
Teacher will lead group critique by posing questions for

student reflection remind students that comments should be
thoughtful and well-constructed:
1. Describe the picture/image? Tell what you see. Talk
about the subject, the medium, and the title if there is one to
consider. (Description)
2. How do you visually read the work? Consider the
elements of art and principles of design when using analysis.
(Analysis)
3. Invite the students to express their opinions about
what you think the artist is trying to say. (Interpretation)
4. What do you think about this piece of work? Is it
successful? (Judgement)
Allow students time to consider these elements within the
works. What are they trying to communicate through their works?
Is there work effective in conveying this message to others?
Take time with the students to work on group critique
Activities
continued:
sessions.
Developing
a visual language may be difficult for some.
Promote an atmosphere of growth and support throughout this
experience ensure that all students are able to participate and not
one student alone dominates the conversation. Teacher may need to
impose time restrictions on each work to ensure that all works have
equal time for discussion during the class.
If there is time remaining in the class allow students to
record their thoughts in their sketchbooks and prepare for next class
woodcut relief prints.
1.
2.
3.
4.
Oral presentation both students

and teacher will discuss visual
elements that exist within the works.
Visual aids students will bring
completed collagraphic prints to
class to discuss.
thoughtfully discuss individual
works for presentation.
individual critique and explain their
works to the class.
Time
Assessment
1.
2.
3.
4.
Participation in-active listening skills and participation in group critique.

Students will hand in work with attached grading criteria.
Teacher will keep an anecdotal record of the students participation in-group critique.
10
Closure
1.
2.
3.
4.

Remind students to sketch visual ideas for next class: woodcut relief prints.
Clean up classroom.
Self-Evaluation
A
The Art Critiquing Process:

Taken from: http://www.brigantine.atlnet.org
1. Description: simply means to describe the picture. Tell
what you see. Talk about the subject, the medium and any
information you have gotten from reading the credit line
(information such as the name of the artist, the title of the
artwork and what medium or combination of mediums was
used to create the work), if there is one. This is not the
place to add your opinions. You must be objective not
subjective.
2. Analysis: Here is the section where you will express your
thoughts about what the message of the artwork is. What
ideas does the work represent? This section relies on your
knowledge of the Elements of Art (Line, Colour, Texture,
Shape, Form, Space, Value) and the Principles of Design
(Harmony &Unity, Emphasis &Variety, Proportion,
Balance, Rhythm &Movement).
3. Interpretation: Here you are invited to express your
opinions about what you think the artist meant. Now you
have the opportunity to discuss what this work means to
you.
4. Judgment: Here you can express your opinions. What do
you think about this piece of work? Is it successful? Do you
like it? You should be able to give some reasons as to why
you like or do not like a work of art.
Lesson:
Outcomes
1.
2.
3.
4.
Woodcut relief
________
prints
Date:
March 16.2004
Art 30
Class: __________
Demonstrate active and attentive listening skills during the PowerPoint presentation.
Develops skill and technique by experimenting with a variety of traditional tools within work.
Composes a work that explores personal depth and style.
Generate a work that implements the woodcut relief technique.
Materials
1.
2.
3.
4.
Soft wood pine, poplar, basswood or plywood can be used cut into small squares.
Variety of tools: woodcut knife, gouges & sandpaper
Bench hooks
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
1015
Students will participate in a brief PowerPoint presentation highlighting the Woodcut relief technique. The
influence of Japanese woodcuts ukiyo-e - on European and Western artists will be noted within the presentation.
Students will be asked: The ukiyo-e style was based on the pleasures of everyday life how did European and Western
artists translate this style into their works? Look at the flat pictorial space, angles of vision, abstract patterns, cropped
images, lyrical line, flattened colours, calligraphy, theatricality, shortened perspective, economy of form, atmospheric
effects, preoccupation with nature and compelling human emotions. (p.34 Saff&Sacilotto).
Ask: Two artists in particular: Paul Gauguin and Edvard Munch were influenced by the Japanese ukiyo-e
technique. In the images seen here (Te Atua and The Kiss) describe/identify the themes developed in these particular
woodcuts.
Activities
35
Ask students: Simply, the term ukiyo-e means

depictions of popular pleasures of town life. Can you identify
some sources of imagery within your life/town?
: How can you translate this imagery into
your woodcuts?
Before students begin their work it is important to stress
the importance of safety in particular when working with sharp
carving tools. Remind students: to use bench hooks to secure their
wood in place. Additionally when using tools tools should be
carved away from the individual. Students will also be required to
share resources if limited carving tools exist. Students will begin
by hand sanding their block of wood looking at the grain of the
wood and other marks they may find in their woodcut blocks.
1.
Students may draw their images onto their
wood before they start in pencil (students will
focus on imagery found in their everyday life
a contemporary ukiyo-e focus) or they may
simply want to start carving.
2.
When carving students should take their time
to become familiar with the knives and gouges
used with the woodcut technique.
Students will have the opportunity to focus on their
woodcuts for the remaining time in class. Teacher will circulate
within the room assisting students that require help. Promote
problem-solving strategies if students encounter difficulty by
having them (re) examine the medium they use.
1.
2.
3.
4.

guide woodcut relief prints by
providing
Visual aids teacher will provide a
brief PowerPoint presentation on
some of the artist that use the
woodcut techniques.
required to share resources and
participate in visual planning
strategies in order to complete their
works.
have the opportunity to work on
their woodcuts and personally
experience the woodcut technique.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and preparation of woodcut relief block.

Closure
1.
2.
3.
4.

Remind students that they will have one more period to work on their woodcuts before printing.
Clean up classroom.
Self-Evaluation
A
Note:
For an alternative to Woodcut relief prints:
Plaster Relief Prints
From: History and Process: Printmaking, Donald Saff/Deli Sacilotto. Published by University of South Florida,
1978, pp. 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: 0-03042106-3.
Lesson:
Outcomes
1.
2.
3.
4.
Woodcut relief
________
prints cont.
Date:
March 17.2004
Art 30
Class: __________
Demonstrate commitment to their individual explorations with woodcut technique.

Implement a variety of tools within their works to create design and texture.
Exhibit a personal style through implementation of traditional woodcut techniques.
Generate a woodcut print by implementing the woodcut process of printmaking.
Materials
1.
2.
3.
4.
5.
Woodcut blocks
Variety of tools: woodcut knives and gouges
Bench hooks
Printmaking books for student resources
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
and further their independent research with their materials.
Activities
45
As the teacher circulates through the classroom teacher

may begin conducting individual critiques with students. That is,
the teacher may begin to ask students to think about their works
focusing on the Elements of Art and Principles of Designs.
Teacher may ask:
What idea(s) does this work represent?
How do your lines strengthen the composition?
Looking at the space within the composition how does
this affect the mood within the work?
When you examine the image can you see/feel a sense of
flow/unity within the work?
Where can you take this work? How can you expand on
this composition?
Are there other areas that need to be explored further
within the composition?
How does the medium limit you as an artist?
How does the medium expand your process of image
making?
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.
1.
2.
3.
4.

circulate through the classroom
assisting students.
Visual aids teacher will display
printmaking books to further
students encounters with art.
required to share resources and
participate in visual planning
strategies in order to complete their
works.
continue their work exploring the
woodcut technique.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and completion of woodcut relief block.

Closure
1.
2.
3.
4.

Remind students that next class there will be a demo on how to print the block.
Clean up the room.
Self-Evaluation
A
Evaluation criteria for student work:

WOODCUT RELIEF PRINTS:
Visual Note:
Student:
Date:
5 = Excellent
4 = Proficient
3 = Satisfactory
Adequate, Sufficient, Attention needed on implementation of woodcut technique
2 = Limited
1 = Inadequate
Visual Critique:
Teacher:
Grade:

5 = Excellent
4 = Proficient
3 = Satisfactory
Adequate, Sufficient, Attention needed on implementation of woodcut technique
2 = Limited
1 = Inadequate
Visual Critique:
Lesson:
Outcomes
1.
2.
3.
4.
Woodcut relief
________
print cont.
Date:
March 18.2004
Art 30
Class: __________
Demonstrate active and attentive listening skills during minilesson.

Adapts rubbing technique in order to pull print(s) from woodblock.
Displays careful and thoughtful application of technique within work.
Generates a woodcut print by implementing the woodcut technique.
Materials
1.
2.
3.
4.
5.
6.
7.
Completed woodcut blocks

Vellum or rice paper
Wooden spoons for rubbing
Ink (oil-based or water-based)
Brayers (rollers)
Glass or acrylic plates for rolling ink
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
of woodcut. Have student gather around for a brief minilesson on the application of ink and rubbing of woodcut in
order to pull print.
Activities
10
Teacher will demonstrate a brief minilesson on the process

of pulling a woodcut print using a wooden spoon (traditionally a
Japanese rice spoon would be used in this technique but a wooden
spoon with a rounded back will also work):
1. Spread some ink onto acrylic/glass surface.
2. Using brayer/roller work the ink back and forth at
different angles until a thin layer of ink has been
achieved.
3. Check the woodblock for any loose pieces of wood or
wood dust remove any particles.
4. Roll the ink onto the surface of the block using a
brayer/roller.
5. Check woodcut surface if ink appears on gouged
surface remove pieces with woodcut tools.
6. When ink is evenly distributed onto surface of the
block you may lay your piece of paper onto the
inked surface of the block (carefully place paper onto
block center paper registration will be needed
when pulling final print for presentation).
Activities
7. continued:
Using either a burnisher wooden spoon, Japanese
baren or other device you may proceed to rub the
surface of the woodblock.
8. Follow the surface of the wood.
9. The pressure applied to burnisher will affect the print
when using vellum or other Japanese paper the
image will show through revealing the areas that have
printed.
10. Once image is completed carefully remove paper from
surface of woodblock and examine print.
1.
2.
3.
4.

orally present a demonstration on
printing the block.
Visual aids teacher will visually
demonstrate pulling the print using
a wooden spoon.
encouraged to ask questions during
the demonstration.
individually explore pulling a print
from the woodcut they created.
Time
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.
35
Remind students that they must clean the surface of their block at the end of their printing.
Have students store their prints between newsprint and either in their portfolios or assigned draws for next
class.
Additionally: students may need to be reminded that they must maintain a clean working surface in order to avoid
transferring ink to other surfaces and to other prints.
Have students work on the process for the remaining class. They must pull an edition of 5 prints for this
particular module. These will be signed by the artist and editioned: 1/5, 2/5, 3/5 etc
Teacher will continue to circulate the room providing assistance and guidance when needed.
Encourage students to work in pairs or as teams in order to assist each other in the printing process it is a
good practice to have one individual with clean hands available to transfer paper and image.
Assessment
10
1.
2.
3.
4.
Participation in-active listening skills and completion of an edition of woodcut relief print.
Closure
1.
2.
3.
4.

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.
Clean up classroom.
Self-Evaluation
Lesson:
Outcomes
1.
2.
3.
4.
Group critique
________
Woodcut prints
Date:
March 19.2004
Art 30
Class: __________
Demonstrate effective and attentive listening skills by participating in-group critique.

Individually support their work by visually critiquing elements used within work.
Analyze and evaluate their own works in relation to the works of professional artists discussed in class.
Visually interpret the relationship between images incorporated within the works.
Materials
1.
2.
3.
Completed woodcut prints

Grading criteria sheet will be returned with artwork.
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
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.
Activities
Students will have become familiar with the group critique
procedure by this point in the unit. Initially the teacher guided the
critique through structured questioning. For this group critique
students will be encouraged to lead the discussions. Students were
requested to prepare questions to guide discussion in the critiquing
of students work.
Remember: Description, Analysis, Interpretation, and
Judgment
45
If students still find group critiques difficult have them

start by comparing the imagery to works presented within the class
created by other artists either historical or contemporary.
E.g., The work reminds me of
This work incorporates media that reminds of the
work of
Encourage thoughtful debate surrounding imagery. Due to
the restricted time limit students will have roughly 5 minutes each
Activities
to
discuss andcontinued:
present their works.
Teacher will keep watch over time to ensure that all
students have the opportunity to participate within the discussion.
Additionally the teacher will keep a running anecdotal record of
participation and questioning throughout the class this
information will be used within the final grading of the unit as
Individual participation.
1.
2.
3.
4.
Oral presentation both teacher and

students will participate in a visual
critique of the works created within
the class.
Visual aids students will have the
chance to examine the works
created within the class.
Group discussion students as a
group will share and express their
visual interpretation of works
presented.
have the opportunity to visually
critique their individual works and
provide interpretation and
judgement of their work.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and participation in-group critique.

Teacher will keep an anecdotal record of the students participation within the group critique.
Closure
1.
2.
3.
4.

Remind students that next class we will be working on installing the works into the student gallery.
Have students hand-in grading criteria with work.
Clean up the room.
Self-Evaluation
Lesson:
Outcomes
1.
2.
3.
4.
Gallery
________
Installation
Date:
March 22.2004
Art 30
Class: __________
Select an individual work that best represents artistic endeavour.

Generate a series of completed compositions presented for public display.
Visually document individual works selected for the exhibition.
Actively participate in-group installation (naming) of student exhibition.
Materials
1.
2.
3.
4.
5.
6.
Selected student works

Digital camera students will be required to digitally photograph their work in addition to the gallery
Frames and mattboard, title (didactic labelling)
Easels for display
Glass cleaner and paper towels
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
out a label for the work(s) they submit. In addition to installation the students will document their works through digital
photography and decide on an exhibition title for the works presented for the school.
Activities
30
15
Once students have selected their works for gallery

installation they will have to select a frame depending on the
amount of frames available and matt their work for the show.
Students will be encouraged to work as a team in the installation of
the student show. Glass cleaner and paper towels will be available
to clean up glass/plexi in the frames. In addition to framing and
matting of work, students must fill out at label form in order to
identify the individual works within the show.
Once students have their works up they may visually
document their work through digital photography. Since there is
only one-camera available students must share the camera during
this time. The digital images will be saved to disk later on for
students who participated in the exhibition a digital resource for
their portfolio of a group exhibition.
After all works have been installed and students
individually photograph their works the class must decide on an
exhibition title for their show. What meaning is reflected in the
title of the exhibition?
1. Teacher will survey the room for suggestions.
Activities
2. continued:
As titles are generated for the exhibition teacher will
write these onto the board for the class to view.
3. Students will be given a slip of paper to vote for the
title they wish to select for the exhibition.
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.
1.
2.
3.
4.

assist students in the installation of
work in the student gallery.
Visual aids the prints selected for
the exhibition will guide the gallery
installation.
work as a group on the installation
of student work. Students will
additionally decide on a title for
their exhibition.
select the work they wish to exhibit
in the exhibition and digitally
photograph their work in relation to
the exhibition for the building of
their portfolio.
Time
Assessment
1.
2.
3.
4.
10
Participation in-active listening skills and installation participation in student gallery.

Teacher will keep an anecdotal record of student participation.
Closure
1.
2.
3.

a. Have students transfer their images from the digital camera to their school file for documentation.
Clean up classroom and gallery.
Self-Evaluation
Unit Exam
Printmaking Unit
Rationale & Test
Rationale:
The final unit exam developed for Art 30s Printmaking Unit
focuses on both the visual aspects of the works discussed in class as
well as the conceptual processes that have guided the works.
Throughout the unit students will have been exposed to a variety of
artists and artworks both contemporary and historical. Students are
encouraged to ask questions throughout their visual encounters with
these artists and these artworks that result in the topics of
discussions they wish to further explore through guided and
individual research.
This unit has been built on the three major components of visual
learning as outlined by the Alberta Education: Program of Studies Art curriculum (10-20-30). That is: Drawings or delineations;
Compositions or structures; and Encounters with art - are
incorporated throughout this unit. It is important to note that these
areas are essential elements within the program of study. That is, not
only the technical and skills aspects are explored but also the
affective and conceptual aspects of artists and artworks are

introduced within the unit study.
We are surrounded by visual information. Sometimes the
information presented to us is not always clear but by fostering a
classroom environment that supports visual learning students are
encouraged to take direction and ownership of their own
work/research that furthers the individual creative process. Skills
alone do not define a work but skills and knowledge together widen
the possibilities of artwork and arts integration within the wider
social context. This final unit exam is not meant to frustrate or
intimidate the students instead; this exam will act as a personal
inventory of the information covered throughout the unit.
Alberta Education: Program of Studies

Senior High School
Art 30
Revised 1986
Drawing
Students will:
Investigate
DEVELOP AND REFINE DRAWING SKILLS AND STYLES.
Concepts:
B. Explorations of a technical or creative nature may lead
individuals into highly personalized work sessions.
Communicate
EXHIBIT A PERSONAL STYLE THROUGH IN-DEPTH STUDIES.
Concepts:
B. A series of complete compositions presented for public display
provides a visual statement about an artist.
Articulate and Evaluate

USE THE VOCABULARY AND TECHNIQUES OF ART CRITICISM TO ANALYZE AND
EVALUATE THEIR OWN WORKS IN RELATION TO THE WORKS OF PROFESSIONAL
ARTISTS.
Concepts:
A. An understanding of major 20th century artists and movements
adds to the ability to evaluate ones own work.
B. Identification of similarities and differences between the
students and professional artists enhances analysis of their own
work
Compositions
Students will:
Components
USE PERSONAL EXPERIENCES AS SOURCES FOR IMAGE MAKING.
Concepts:
B. Planned and spontaneous methods of working are ways of
developing visual images.
Relationships
USE THE VOCABULARY AND TECHNIQUES OF ART CRITICISM TO ANALYZE AND

EVALUATE THEIR OWN WORKS IN RELATION TO THE WORKS OF PROFESSIONAL
ARTISTS.
Concepts:
A. Criteria such as originality, organization, technique, function
and clarity of meaning may be applied in evaluating works of
art.
B. Artworks may be analyzed for personal, social, historic or
artistic significance.
Encounters
Students will:
Sources of Images
RESEARCH SELECTED ARTISTS AND PERIODS TO DISCOVER FACTORS IN THE
ARTISTS ENVIRONMENTS THAT INFLUENCED THEIR PERSONAL VISIONS.
Concepts:
A. Personal situations and events in artists lives affect their

personal visions and work.
B. Historical events and societys norms have an affect on an
artists way of life and work.
Transformations
Through
Time
ANALYZE THE FACTORS THAT GENERATE A WORK OF ART, OR AN ARTISTIC

MOVEMENT: THE EXPERIENCES OF THE ARTISTS AND THE IMPACT OF THE
CULTURE.
Concepts:
B. A specific artistic movement and its works of art influence
later artistic movements.
Taxonomic
Level
(Breadth)
Predominant
Content
Demonstrates
understanding of
printmaking
principles by
applying these
principles within
works. (Ap)
Combines personal
elements to create
individualized
work. (S)
Quiz 15%
Develops and refines

individual
compositions
throughout unit.
(Ap)
Contributes
thoughtfully to
group critiques
and selfreflections. (E)
Supports
printmaking
techniques used
within individual
works through
group/individual
critique. (E)
Compiles research
(individual
endeavor) on
selected artists
and art
movements. (Ap)
Analyzes artworks
for personal,
social, historic or
artistic
significance. (An)
Generates a series
of complete
compositions
Analysis,
Synthesis,
Evaluation
(Depth)
Projects 75%
Four (4)
projects
(18.75% each):
Each project will
build on the
previous lesson
and incorporate
elements from
the predominant
content outlined:
1. Monoprint
/Collage
2. Collagraph
no ink
3. Collagraph
ink
4. Woodblock
print
Table of Specifications
Grade 12 Art 30: Printmaking Unit
Taxonomy and
Content
Evidence of Learning
Note: Students contribution to class critiques, exhibition

installation and cultivation of personal work ethic
(that is,
individual research and work through sketchbook activity)
during the unit. Total: 10%
Unit Exam Blueprint

Grade 12 Art 30: Printmaking Unit
19 Questions
40 Marks
Cognitive Domains
Time: 60 minutes (full class)
K
11
(1)
14
(1)
16
(1)
12
(1)
13
(1)
15
(1)
Applica Content
tion
Analysi
s
Synthes
is
Identify historical
origins (timeline) of
printmaking
Identify visual
processes within
printmaking
techniques
Recognizes and
identifies visual
terminology
Weighting 15%
Matching M u l t i
ple
Choic
e
Short
Answ
er
Total
11 (1)
1 (1)
14 (1)
16 (1)
2 (2)
12 (1)
13 (1)
15 (1)
3 (3)
(1)
17 (4)
18 (4)
19
(16
)
1-10 (1)
6
(6)
1
(16
)
12 (18)
Distinguishes
between printmaking
processes by
identifying main
components of each
Recognizes and
outlines major
components within
fine art topics of
debate
Summarizes
printmaking
techniques and
processes
Applies previous
knowledge of artists
and artworks to
novel situations
Totals
Legend:
K - Knowledge
C - Comprehension
# - Number of question
(#) - Weighting of question
17 (4)
1 (4)
18 (4)
1 (4)
19 (16)
1 (16)
1-10 (1)
10 (10)
10
(10)
6 (6)
3 (24)
19
(40)
Art 30
Printmaking Unit Test
Spring 2004
Name:
__________________________
Date:
___________________________
Mark: ______________ (Out of 40 marks)

You have the full class period (60 minutes) to complete
your final unit exam. Take your time and carefully read
through the entire exam before you start. Complete all
questions. If you have difficulty with any particular

question skip over the question and return back to the
question later. Once you have completed your exam please
quietly hand your test to your teacher and you may
continue working on any projects you have left to
complete. Breath, relax and have fun Good luck!
Match the Artwork with the Artist

Directions: We have discussed a variety of artists and their works
throughout this unit. Although each work in Column I have not been
shown in class - qualities about each artist and their work have been
discussed and featured throughout the unit study. Note - Carefully
examine the individual style of each work. Look beyond the visual
components in the work for assistance. Please match the artwork in
Column I (numbers) with the correct artist - in Column II (letters). You
may use the artists names more than once. Hint: There will be two
(2) artists left over. (10 marks total 1 mark each)
Column I
II
Column
1. __________
A. Margaret Shelton
B. Andy Warhol
C. Ernst Ludwig
Kirchner
D. Max Beckmann
E. Edgar Degas
F. Claes Oldenburg
G. Jim Dine
H. Roy Lichtenstein
I. Edvard Munch
J. Chuck Close
K. Josef Albers
L. Henri Matisse
2. ________
Note: There are more works on the next page.

Continuation of Matching Column I
3. ___________
7.
________
4. __________
________
8.
5. __________
9.
________
6. _________
10.
________
Multiple
Choice:
Directions: Please circle the best possible response for the

following questions. (6 marks total each question is worth 1 mark
each)
11. The history of printmaking in Japan could be traced back to the:

a. 5th century
b. 6th century
c.
7th century
d.
8th century
12. The Japanese term ukiyo e means:

a.
b.
c.
d.
compositions
depictions
diagrams
publications
13. The word lithography, derived from the Greek, means:

a.
b.
c.
d.
stone
stone
stone
stone
washing
carving
writing
printing
14. Which process of printmaking requires the printmaker to use

tools such as chisels, gouges, and knives:
a.
b.
c.
d.
woodcut techniques
collagraph techniques
intaglio techniques
lithography techniques
15. This type of proof is sometimes known by its French name,

preuve dartiste:
a.
b.
c.
d.
artists proofs
presentation proofs
printers proofs
state proofs
16. This Japanese tool is used to apply pressure in the printing of

woodcuts:
a.
b.
c.
d.
Short
brayer
baren
rocker
squeegee
Answer:
Please answer each question to the best of your

ability. Hint: Look at the marks assigned to each
question for direction and scoring that is how many
points should be discussed in order to receive the
full marks.
17. An exhibit of Relief prints has just opened in Brooks. You have
decided to take your family to this exhibition. While you and your
family are walking around the gallery admiring the beautiful works
one of your family members asks you: What is the difference
between a woodcut print and a wood engraving? With your
extensive background knowledge in printmaking techniques you
provide your family with an answer by distinguishing between the
two techniques.
Hint: A visual cue to answer the question (4 marks)
Wood cut
Wood engraving
18. There is an on going debate about what constitutes an

original print. We have briefly touched on these issues throughout
our unit. Please outline the main criteria you may do so in point
form - that compose an original work of art/print raised in the field
of fine arts. You may use illustrations to further support your answer
or compare print to reproductions. (4 marks)
19. You have just completed a series of prints for your portfolio,
which explored and incorporated the techniques of: monoprint
making, collagraph (no ink and ink), Dry point printmaking and
woodblock processes. Briefly summarize aspects of each technique
four processes in total. Your answer should include 1. Materials used
in each process, 2. Tools needed (if any) e.g., printing press and 3.
Resulting visual components/elements of each; e.g., is there a
reversal of image that results from that particular technique. You
may use point form to construct your answer. If you need more space
please use the back of the exam booklet. If you continue your
answer on the back of the exam booklet - remember to clearly
identify the question you are answering.

for each technique)
(16 marks total 4 marks
Art 30
Printmaking Unit Test
Spring 2004
Time: 60 minutes
Total Marks: 40
Exam Key
Match the Artwork with the Artist (Out of 10
marks 1 mark each)
1.
2.
3.
4.
G Jim Dine
J Chuck Close
I - Edvard Munch
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
Artists left: Edgar Degas and Henri Matisse
Multiple Choice: (Out of 6 marks 1 mark

each)
11.
12.
13.
14.
15.
16.
d. 8th century
b. depictions
c. stone writing
a. woodcut techniques
a. artists proof
b. baren
Short Answer:
(Out of 24 marks: 4 marks for #17, 4 marks
for #18 and 16 marks for #19)
Answers may contain the following elements
in order to receive the full marks.
Note: If question is worth 4 marks student 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.
18.What is the difference between a Woodcut and
Wood Engraving? 4 marks 4-point s need to be
presented in order to receive full marks from the
following 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:
In this type of printing a piece of boxwood is cut

perpendicular to the grain of the wood. Since the resulting
end grain offers a smoother and more uniform surface
than in regular woodcuts, little or none of the wood
texture is seen in the print. Wood engravings are almost
always small, usually under 5 x 6 inches because boxwood
does not grow very large. Larger blocks can be made by
laminating small pieces of wood together. This technique is
seldom used today. In the past it was used mostly for book
illustrations in hand printed volumes mainly because the
block can last for hundreds or even thousands of copies,
and this process produces an image of very fine detail.
There was a large revival of this technique in the 1930's
among many American WPA artists.
In very general terms, this means that a wood
engraving will contain finer detail than a wood cut.
18. What is an Original Print? 4 marks student

needs four points in their answer to receive full
marks.
Original print:
An original print is one printed from a matrix on which
the design was created by hand and issued as part of the
original publishing venture or as part of a connected,
subsequent publishing venture. For fine art prints the
criteria used is stricter. A fine art print is original only if
the artist both conceived and had a direct hand in the
production of the print. An original print should be
distinguished from a reproduction, which is produced
photomechanically, and from a restrike, which is produced
as part of a later, unconnected publishing venture.
One school of thought contends that an Original Print must
be entirely produced by hand by the artist, which combines
a considerable degree of skill, artistic ability, and technical
knowledge.! Another group states that the choice of
whatever type of press,!process, or medium is used is just
an artistic tool.! Some purists don't always agree that the
above techniques are acceptable for producing original
prints since there is far less physical work and, sometimes,
no technical knowledge involved in producing an edition.
The image may be hand drawn, but it may not be hand
printed.
An original print is made when the artist creates a new
piece of work by working with one (or more) of the
printmaking media. Unlike a reproduction, where an original
painting is photographed and then mechanically printed enmass resulting in what is essentially a poster, not an
original print.
Note students may also draw an illustration of a print

highlighting the artists signature in pencil in the lower
right hand corner, edition number (that is 1/6) is the
opposite corner or proof and other identifiable marks such
as the chop mark or dry stamp identifying mark impressed
on a print by the printer or workshop.
19.
Student must have 1. Materials involved in
process; 2. Tools needed and 3. Resulting visual
elements and/or components to the technique to
receive full marks for each.
Monoprint: Essentially a monoprint is a one-of-a-kind
printed image. Creating a monoprint utilizes some of same
qualities as drawing and painting. On a glass or acrylic
surface the printer will apply ink (the type of ink may vary
due to resources or type either water-based or oil-based
inks may be used. Note: Water based inks will dry out
quicker than oil-based inks) with a brayer the printer
may roll the ink in this case the printer must check to
see if the ink is evenly distributed - or simply paint on the
ink with a brush or other object. More than one colour can
be used at one time during this process. The printer then
may use a variety of implements to draw into the ink
such as brushes, trowling spatulas, cotton swabs etc. The
gesture or mark will build the surface of the ink. Paper
may be printed dry or dampened. Additionally, the print
maybe simply rubbed (similar to the relief method of
printing) in a circular motion with a baren or sent through
a printing press.
Collagraph: 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 processes of most
intaglio techniques. Pieces of cardboard mat board, fibers,
fabrics, string, and so on are glued to the surface of a base

plate Masonite or heavy cardboard. Once the glue has
dried and all of the objects are secured to the surface of
the plate and encased in a thin layer of glue prior to
printing the plate maybe inked up in the same manner as
other printing techniques and sent through a printing press
the paper used must be soaked in water prior to printing
in order to accept the image. In addition to printing the
collage the correct pressure must be attained before a
proper print can be pulled from the service of the plate.
Because of the building up of layers on the plate the
collagraph print will achieve a distinct graphical element
that is textured or embossed effect may be achieved
through this print technique.
Dry point: This is a type of intaglio technique in which a
sharp needle scratches the surface of the plate (which can
be copper or zinc), creating a burr that yields a
characteristically soft and velvety line. Fine lines or
corrections can be made by using a burnisher. A pen or
hard pencil maybe used to draw onto the plate prior to
using the etching needle. Remember: the image will be
reversed upon printing so considerations must be made
when preparing the image. Once the image has been
completed the printer will prepare the ink by rolling the
ink with a brayer/roller evenly on a glass surface this
will ensure that the ink has been worked out. The ink may
be applied with a brayer or pulled across the surface of
the plate with small pieces of mat board. Once ink is on the
plate-using using paper even pages from a telephone
book to remove excess ink. Prepare press for printing
plate remove paper from water (should soak roughly 20
minutes prior to print a dampened paper is much more
sensitive to the impression) and remove excess water by
using blotting papers and a roller. Make sure the pressure
of the press has been checked prior to first print this may
need to be adjusted later. Lay plate and paper onto press

cover with paper and then cover again with printing
blankets. Roll through the press once.
Woodblock: A variety of woods can be used in the wood
cut technique woods such as fruitwoods, hard woods and
soft woods such as pine, poplar, basswood and plywood
may be used. The grain of the woods will lend itself to the
prints unique character. A variety of tools maybe used in
particular knives, gouges and chisels are implemented in
the removal of surface area. It is important to note that
the image on the plate will be reversed when printed so
in the case of lettering one must remember to write the
letters in mirror image and then transfer to the plate. The
printmaker may sketch out their work prior to cutting into
the wood or they may just begin without restrictions. Once
the plate is ready the printmaker will use a brayer or
roller to prepare the ink for plate surface. When plate is
ready to print the paper will be set onto the wood surface
at this point the printmaker can either rub the print with
a baren or Japanese wooden rice spoon or send the image
through the printing press. The paper does not need to be
soaked in water prior to pulling the print. A distinct wood
grain finish maybe achieved but due to multiple techniques
some surfaces will not bleed through. The lines created by
the knives, gouges and chisels are highly identifiable and
lend itself to part of the process of woodblock printing.
Printmaking Unit
Resources:
Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Japan:
Shufunotmo, 1989.
Peterdi, Gabor. Printmaking: Methods Old and New. New York: The Macmillan Company, 1971.
Platzker, David et al. Hard Pressed: 600 years of prints and process. New York: Hudson Hills Press,
2000.
Sacilotto, Deli & Saff, Donald. History and Process: Printmaking. New York: Holt, Rinehart and
Winston, 1978. *
* This book is an essential printmaking guide to history and process. Highly recommended and an
invaluable source of information regarding printmaking.

Printmaking Unit Plan

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Printmaking Unit

Art 30 60 Minute Lessons

Lesson 5: Critique of Monoprint and collage prints

Lesson 11: Group Critique Collagraph(s)

Unit Exam Printmaking

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

Develop a visual vocabulary through participation in presentation.

PowerPoint presentation prepared images: both historical and contemporary

Questions to ask students while viewing the PowerPoint

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

Question for the class:

The Great Bateman Debate:

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

Participation in-active listening skills.

Answer any final questions.

Four Major Printmaking Techniques

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

Water-based inks watercolours used for this particular lesson

Essentially monoprint techniques are closer to

Oral presentation teacher will

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

Demonstrate the processes of creating a monoprint to the class.

Participation in-active listening skills and the creation of a variety of monoprints.

Answer any final questions.

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

Printmaking inks and glycerine is using water-based inks

Today a brief minilesson will be demonstrated on the

Oral presentation teacher will

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

Answer any final questions.

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

Demonstrate effective listening skills when participating in-group discussions.

Previously completed monoprints

Questions for students while viewing images:

Is it possible to not create narrative?

How can you create new meaning within your own

Variety of methods/strategies can be

Oral presentation teacher will

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

Answer any final questions.

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

Insightful, Thoughtful, Carefully Constructed, Resourceful Technique

Clear, Adept, Capable, Considerate work, Good technique

Adequate, Sufficient, attention needed on implementation of media and

Lacks Development, Unclear visually restricted, Needs work technical

Incomplete work presented for critique

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

Insightful, Thoughtful, Carefully Constructed, Resourceful Technique

Clear, Adept, Capable, Considerate work, Good technique

Adequate, Sufficient, attention needed on implementation of media and

Lacks Development, Unclear visually restricted, Needs work technical

Incomplete work presented for critique

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

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

Completed monoprint/collage works

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

What design problems did you encounter in the creation

Oral presentation both teacher and

Participation in-active listening skills and group discussion.

Answer any unresolved questions.

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

Create a collagraphic plate by implementing various media and resources.