Allison Shilling

August 9, 2017
PRINTMAKING
High School

BIG IDEA

Art can be used to disseminate ideas through cultures and instigate societal change. Original art
is an unstructured idea where artists can produce original and creative work through direct
appropriation from other sources.

Lesson 1: Introduction to Relief printmaking and the use of text

Lesson 2: Introduction to Screenprinting and an exploration of appropriation
Lesson 3: Mixed Media collage and printmaking (or Making art out of mistakes)
 LESSON 1: Introduction to Relief Printmaking and the Use of Text in Art

Mark Andrew Webber ​Amsterdam (​Date unknown, but contemporary)

INTRODUCTION
Students will learn relief printmaking techniques through linocuts, and explore the use of text in
prints.

DIALOG
Essential questions:​ What is the role of the artist in communities? Why is printmaking a
powerful medium for protest and dissemination? How can you express your voice through
printmaking?

Day 1: ​During transferring image and carving block demo​ - Can everyone come around and
practice carving the linoleum block? What do you think will happen to the image when I transfer
it from the linoleum block to the paper? Will it stay the same or will the image flip? Is this
technique good for creating very fine details, or large swaths of bold contrasting colors? Why are
there so many different sizes of carving tools? What would be the benefit of using a number of
different line qualities throughout your print?
During discussion of text in art​ - Will your text be direct and to the point? Will it be subtle,
nuanced, open for interpretation? What kind of barriers or opportunities will you provide for the
viewer through text? Is part of the text covered or obscured? Is it written in a language other than
 English? How is the image
perceived by someone who
can’t read the language of the
text compared to someone who
can? Why do artists not usually
include text in their artwork?
What does text do to disrupt the
viewer’s eye?

Day 2:​ ​During the beginning of class - ​Does anyone want to look over their sketch with me
before they start carving their block? I’m doing another short carving demo. If anyone wants a
refresher then come over here.
During printing demo ​-​ ​How do make sure the image is lined up on the paper when we print?
Can anyone tell me what ​registration​ means? What would different amounts of ink on your
block do to your image?

Day 3:​ What did you think of the process of relief printing? How does it compare to other
mediums of art making you’ve done in the past? What did you think of the prompt? Was it hard
to incorporate text? What was challenging about it?
Additional questions and discussion points: ​What will the font size and shape do to the
meaning of your image? How do you make text with finer lines with these tools? What about
thicker text? Who is your intended viewer? Does the print speak to a personal and unique artistic
identity? Be original and creative in your use of text. Don’t use cliched words or phrases. Or if
you do use a cliched or common phrase or word then have a good reason, be able to defend it.
Why might you want to use a cliched phrase or word?

Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical
context to deepen understanding
 INSTRUCTION
Vocabulary​: ​Bench hooks ​- Wooden hook attached to table for stability when carving a block.
Print-​ Image taken from a plate and transferred to another surface.
Registration-​ Lining-up one color on top of another on the same print and or lining up the paper
on top of the plate.
Pull-​ To make a print by transferring the ink onto
paper either by hand or with a press.
Multiple-​ A work of art that exists in duplicated
examples that are all considered original.
Tack-​ The quality of stickiness in printing ink.
Blanket-​ Woven felt used on press to push paper into
inked lines of metal plate.
Impression​ ​number​ - A number assigned to a print in
edition. Also called serial number.
Original print​- Original, creative art printed from
original plates, blocks, etc. It differs from the
reproduction of an earlier work of art which was
created in a different medium.
Relief printmaking​ - the original flat surface of a
linoleum or wood block is the printing surface. Any
parts of the design not to be printed are cut out,
leading the major raised (in relief). The surface is
inked with a roller, then transferred to paper by direct
pressure. Examples on this method are linocut and
woodcut.
Proofs​ - prints made at various stages during the
creative process to act as guidelines for
further stages to change, correct or improve the image.
Edition-​ a series of prints made from the same plate
Block​ - Linoleum or wood pieced used for printing.
Masa​ ​paper​ - mulberry or kozo/mix pulp paper that is very smooth on one side. Because it has
both internal and surface sizing and can easily be crumpled and re-flattened, this paper is ideal
for printmaking.
Linoleum carving tools ​- Tools used for cutting linoleum blocks
Transfer paper​ - a paper coated with a special preparation for transferring an image to another
surface by pressure
Relief ink​ - a pigmented matter that prints an image ideal for relief printmaking
 Brayers​ - a small roller used to apply the ink to the plate
Palettes​ - a thin glass board on which a printmaker lays and mixes inks.
Palette knife ​- a thin steel blade with a handle for mixing colors
Printing press​ - a machine for printing text or pictures from type or plates.
Bamboo baren ​- an instrument used to create pressure between the plate, ink and paper.
Dissemination - ​the act of spreading something, especially information, widely; circulation.

Day 1: ​Students will receive a demonstration of transferring sketched image onto lino block and
carving lino block (emphasizing proper non-dominant hand placement for safety). Each student
will practice carving on the demo block and experiment making different shaped cuts. The
teacher will lead a discussion on the history of relief printing specifically looking at the ways
printmaking has been used to ​disseminate​ information in cultures, leading into discussion on
text in art (specifically prints). The students will be given the prompt for Print 1, emphasising
incorporating text into their print. Students will look at, discuss, and interpret a variety of prints
from the Diamond Sutra woodcut scroll of Buddhist scripture printed in 868 A.D. to the
contemporary U.S. and Mexico based Justseeds Art Collective. New vocabulary will be
emphasized and students will be encouraged to use the new words at their disposal. If extra time
remains then students will start sketches for Print 1.
Day 2: ​Work day and printing press demo. Students
will start carving their lino blocks. At the beginning
of class the teacher will speak with all the students
who are unclear about their concepts for images. The
teacher will give a short review of carving techniques
with students who want to refresh their memory,
emphasizing new vocabulary through the
demonstration. Emphasize that the image will be
flipped and so will their text when they print! When
the first student finishes carving the whole class will
pause their work to come to the printing press to have
a demonstration on the printing process. They will
learn how to use the press and prepare inks.*
Students can start printing as they finish carving.
Day 3: ​Students will finish printing at least three
editions of their print. The project will end with an
assessment.

*If there is no press in the classroom the demo will be on hand printing using bamboo barens and
wooden spoons.
 Create - conceptualize, develop, plan, and refine.
Anchor Standard 1: Generate and conceptualize artistic
ideas and work.
Anchor Standard 2: Organize and develop artistic ideas
and work.
Respond - perceive, analyze, and interpret
Anchor Standard 7: Perceive and analyze artistic work
Anchor Standard 8: Interpret intent and meaning in
artistic work

DIFFERENTIATION
Accommodation: ​All students will be given additional
resources for the projects; including a step by step
visual aid to note each step starting with transferring
your image onto a lino block to printing on the press.
Pressure of the press will be set for all of the students,
so no one will worry about another variable in the
process. The teacher will provide a written prompt
after the discussion on Day 1 about the project, so students who don’t assimilate verbal
information well will have another means of understanding. If students who tend to rush through
work finish early then they can make additional prints, or rework their plate and reprint it. The
teacher will provide a video with captions on relief printmaking for the class. The teacher will
stand by the printing press and help students register their paper if they lack control with their
hands. If a student struggles cutting linoleum then they can use a rubber block of the same size
as their classmates’ linoleum. A stool will be provided for a student with dwarfism to access the
printing press, or if the press is one of the ones you latch onto a table then it should be adhered to
a low table accessible to all students including students with dwarfism or in a wheelchair. After
Day 2 if the student isn’t done carving they will be allowed extra time to finish carving so they
can print at the same time as the other students at the beginning of Day 3. If a student struggles
assimilating oral instructions because of an Auditory Processing Disorder, then they will be
given a list of questions prior to the assessment so they have an opportunity to assimilate what
will be asked of them prior to the assessment in class. Most of these accommodations the
teacher can provide the entire class, but they’re especially important to keep in mind for students
with greater needs.
Modification​: If a student lacks control of his or her hand, then a larger piece of linoleum will
allow them to be a little looser with their carving and less confined. If a student with ADHD is
always rushing through work, then he or she could carve a second block in a different color and
print on original print. If carving letters is too challenging and frustrating then the student can
carve an image with no text then add pre carved letter blocks.
http://www.michaels.com/recollections-necessities-wood-stamp-set-uppercase-alphabet/1025892
4.html?productsource=PDPZ1
$5 from Michaels, available with different fonts and uppercase and lowercase.

PROCESS SUMMARY/ASSESSMENT
Formative Assessment: ​Before students start carving their blocks the teacher will check in with
each of them to discuss their print and how they interpret the prompt. The teacher may offer
further questions and suggestions on style of text or line quality of image so the student can
consider altering their plan before carving.

Summative Assessment:​ Students will explain the compositional choices they made, why they
chose certain fonts and text sizes and language choice, how the texts constructs and influences
the overarching piece of art, and other choices they made as the artist.

Students will arrange themselves in two equally sized circles, one inside the other. Each student
will be holding their print. Each student on the inside circle lines up with a student on the outside
circle. Pairs share a very short discussion about their print and then the outside wheel rotates,
giving students a new partner. During the discussion students will be prompted to reflect on what
they want their classmate to know most about their print. Students will be encouraged to use
their new vocabulary. After the first couple of rotations the teacher will ask students to discuss
more specific topics with their partner as well as the essential questions initially proposed for the
project. In addition to the essential questions, the teacher will pose questions including: What
did you think of the process of relief printing? How does it compare to other mediums of art
making you’ve done in the past? What did you think of the prompt? Was it hard to incorporate
text? What was easy and challenging about it? What did you discover through through
combining two forms of visual language? Students will become comfortable talking about their
artwork with peers, have an opportunity to reflect on their art-making process, and learn from
their peers’ experiences. The teacher will walk around and listen to the students’ discussions in
order to assess how well each student understood the essential questions and concepts of the
project and medium.

Presenting, Interpreting, sharing, communicate

meaning
Anchor Standard 3: Refine and complete artistic work.
Anchor Standard 4: Select, analyze, and interpret artistic
work for presentation.
Anchor Standard 5: Develop and refine artistic techniques
and work for presentation.
Anchor Standard 6: Convey meaning through the
presentation of artistic work.
R​esponding: Understanding and evaluating how
the arts convey meaning
Anchor Standard 7.Perceive and analyze artistic work
Connecting: Relating artistic ideas and work to personal
meaning and external context
Anchor Standard 8: Interpret intent and meaning in artistic
work.
Anchor Standard 9: Apply criteria to evaluate artistic work.
 Lesson 2: Introduction to Screenprinting and an exploration of appropriation

INTRODUCTION
Students will learn silkscreening techniques using hand-painted stencils, and explore Pop Art,
the Rural Electrification Administration, and the history and contemporary use of appropriation
in art and prints.

DIALOG
Essential questions:​ What does appropriation mean? What’s the difference between
appropriation and plagiarism? What is the value in someone else repeating something? What is
originality? What does it mean to be an artist?

Day 1:​ How was screen printing used as a device for dissemination in the 1930’s in rural
America? How can this print be relevant for a contemporary artist? Why would an artist want to
reference artwork and propaganda from a previous time? What is the power of the artist
referencing Lester Beall’s work in the ​Running Poison​ print? What are different ways Pop
Artists use appropriation? (Get students to look at reproduction, juxtaposition, and repetition.)
Does what you appropriate need to be exciting and interesting or can it be an everyday item?
Why would you use a mundane, everyday subject?
 Day 2: ​How does this printing process differ from relief printing? Is it faster or slower? Why
would an artist choose a process that generates multiples quickly?

Day 3: ​Describe your classmates print. How did your classmate use appropriation? Is their use of
appropriation blunt or subtle? What more do you want to know about this print or artist? Andy
Warhol said that “everyone is an artist”. Do you agree or disagree? What makes an artist? What
makes an original piece of art?

Additional questions and discussion points: ​Is it necessary that appropriated art be recognized
by everyone? Does it need to be labeled as an appropriation or does the viewer need to work to
infer it? Can you appropriate something other than visual art or physical objects? What about a
song or movie or person?

Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical
context to deepen understanding

INSTRUCTION
Vocabulary​*:
Silkscreening/Screenprinting/Serigraphy ​- ​a method of
printmaking by pressing ink through a screen onto
paper with areas blocked off by a stencil.
Screen - ​The platen or "printer" for each color of the
image.
Flood​ - Pulling ink over a design and "flooding" the
image before screening it onto the substrate
Mesh​ - The screen itself and how tightly woven it is.
The higher the mesh number, the tighter the little fiber
that make the screen, are woven together.
Print Side -​ Side of the screen that you put your
film/design on. ( Mesh is flush with frame)
Squeegee Side -​ Refers to the side of the screen that
you print ink on and push through with the squeegee. (Mesh is
recessed with frame).
Screen Printing ink​ - Ink used in screenprinting, usually water-soluble.
Print media​ - ​Means of mass communication in the form of ​printed​ publications.
Screen filler ​- fluid used plug “fill” mesh in screen to prevent ink from flowing through screen.
Screen drawing fluid​ - fluid used for drawing printed image on screen
 Squeegee-​ Used in screen printing: A rubber blade with wooden handle to force ink through
screen.
Appropriation​ - ​the use of pre-existing objects or images with little or no transformation applied
to them.
Pop art ​- A movement composed of initially British, then American artists in the 1950s and
1960s, which was characterized by references to imagery and products from popular culture,
media, and advertising.

Review vocabulary​ - positive space, negative space, reproduce, juxtapose, repeat, value
*Many terms from Lesson 1 will be reinforced in this lesson.

Day 1: ​Students will be introduced to the topic of

screen printing and discuss the history of screen
printing by discussing the Rural Electrification
Administration and the work of artists like Lester
Beall. The teacher will show images of Lester
Bealls prints and the students will discuss how
they think the work was printed and how
printmaking is used as propaganda and
campaigning thinking back to their previous
lesson. Then the students will begin a discussion
on appropriation. The students will be guided
through the essential questions and other
discussion questions relating to the history of
appropriation in art focusing primarily on Pop Art
and screen prints from Roy Lichtenstein and
Andy Warhol. Students will compare how the two artists
use appropriation differently. The teacher will then describe the prompt of Project 2 to the
students emphasising the creative incorporation of appropriation. More work will be shown
including the print referencing Lester Beall’s print and the print of a sticker found on the street.
The artist incorporated a hand drawn person into the sticker print which emphasize the very
different ways the prompt can be interpreted. Following the discussion, the students will see a
demonstration on painting with drawing fluid onto a screen. The teacher will emphasis the
single value achievable through silkscreen and how it’s important to keep in mind as students
think about what they want their image to look like. Students will practice using the drawing
fluid on the demonstration screen.
Day 2: ​Students will paint the drawing fluid onto their screens, as the teacher circulates to
check-in with students on their images and concepts. When the first couple of students finish
painting their screen all students will be given a demonstration on printing. Students will be
 taken through the steps of registering the paper, mixing ink, flooding the screen, and pulling a
print. New vocabulary will be emphasized including squeegee, print side, and squeegee side.
Vocabulary from the previous lesson will be reinforced. The teacher will emphasise how helpful
it is to work with a partner when you pull prints, and encourage students to offer their help to a
peer who is printing. Each student will practice pulling a print and helping the person after them
on the example print.
In Between Day 2 and 3: ​If optimizing class time is imperative, then the teacher may consider
coating the screens with screen filler after the drawing fluid has dried, and washing out the
drawing fluid once the screen filler dries. This way students will have time on Day 3 for
printing, clean up, and an assessment.
Day 3: ​Print day and Assessment. ​ ​Students will print at least five editions of their print. The
teacher will check-in with students to make sure they are using correct techniques when printing.
The teacher may give a second demonstration to students who need to refresh their memory on
pulling prints. After students finish printing they will clean off their screens. The project will
end with an assessment.

Create - conceptualize, develop,

plan, and refine.
Anchor Standard 1: Generate and
conceptualize artistic ideas and
work.
Anchor Standard 2: Organize and
develop artistic ideas and work.
Respond - perceive, analyze, and
interpret
Anchor Standard 7: Perceive and
analyze artistic work
Anchor Standard 8: Interpret intent and
meaning in artistic work
 DIFFERENTIATION
Accommodation: ​All students will given additional resources for this project, including a step
by step visual aid of the printing processes with accompanying text on prominent view in the
classroom. The teacher will provide a written prompt after the discussion on Day 1 about the
project, so students who don’t assimilate verbal information well will have another means of
understanding. If a student is more comfortable working with technology, then they may design
their image on the computer and print it out and use it
as a stencil for their drawing fluid work. The teacher
will provide a video with captions on screen printing
for the class. The teacher will make sure students have
properly prepared all of their materials before
beginning printing. A student with dwarfism or in a
wheelchair will need their screen to be on a very low
table during printing so they can reach the top of their
screen with the squeegee. If a student has poor
strength in their arms or is missing an arm or hand,
they might need another student or the teacher to pull
their print, but they can use their mouths or a head
latch for the painting process. After Day 2 if the
student isn’t done filling their screen they will be
allowed extra time after class to finish painting so they
can print at the same time as the other students at the
beginning of Day 3. Most of these accommodations
the teacher can provide the entire class, but they’re
especially important to keep in mind for students with
greater needs. If a student on the autism spectrum
struggles socially in class then the teacher will assign
everyone a partner to print with instead of letting them
choose. If a student needs extra time and tools for processing information and sorting their ideas,
then for the assessment they will be told which print they will present on prior to the critique
starting. They will be allowed additional time and given a list of questions and space to write
down their notes and answers. When it’s their turn to talk to the class they will be prepared to
present thus reducing anxiety about coming up with ideas on the spot and presenting them to
their peers.
Modification​: Most significant modifications will be avoided. If a student will be more
comfortable using a larger screen in order to optimize their control, then they may use a larger
screen and paper. To reduce time spent dealing with the frustration of registration the student
may print on larger paper. The student can choose to cut down his or her paper to the standard
 size of the rest of the class, then this would be an accommodation, as ultimately his or her print
will be the same. Discussion concepts on appropriation may be simplified and clarified for a
student with down syndrome or another neurological condition limiting their ability to process
the topics discussed.

PROCESS
SUMMARY/ASSESSMENT
Formative
Assessment:​Throughout Project 2
the teacher will have multiple
opportunities to check-in with
students to gauge their
understanding of topics and
reinforce key concepts. ​ ​Before
students start painting their screens
the teacher will check in with each
of them to discuss their print and
how they interpret the prompt. The
teacher may offer further questions
and suggestions on the use of appropriation or
composition of image so the student can consider altering their plan before painting.

Summative Assessment:​ Students will explain how they used appropriation in their piece.
Students will interpret their peers’ artwork. Students will further push their concepts on
appropriation and plagiarism and intellectual property. Students will assess the criteria that
defines real art and rethink how we construct the identity of an artist. Students will reflect on
their own role as an artist and their artistic voice and what drives them to make art.
Students will be asked to hang one edition of their print on the wall. Students will be asked to
present on each other’s work. One student will begin by describing what they see in their
classmate’s print. They will explain the compositional choices their classmate made. They will
interpret what the appropriation is and how the student’s work sheds new light and opinion of the
appropriated subject. The rest of the class can join in and voice their opinions and interpretations
and ask questions, but the artist will stay silent until the end when he or she can confirm or
dispute the class’s ideas and give a brief description of the print. Throughout the critique, the
teacher will prompt the class with further questions appropriation and what is art and who is an
artist. The teacher will listen to the students’ interpretations of their classmate’s work in order to
assess how well each student understood the essential questions, concepts of the project, and
medium. Attention will be placed on the student’s ability to use new vocabulary and draw
connections between the work of their peers and the work seen during the beginning of the
lesson.

​Presenting, Interpreting, sharing, communicate meaning

Anchor Standard 3: Refine and complete artistic work.
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
Anchor Standard 5: Develop and refine artistic techniques and work for presentation.
Anchor Standard 6: Convey meaning through the presentation of artistic work.
R​esponding: Understanding and evaluating how the arts convey meaning
Anchor Standard 7.Perceive and analyze artistic work
Connecting: Relating artistic ideas and work to personal meaning and external context
Anchor Standard 8: Interpret intent and meaning in artistic work.
Anchor Standard 9: Apply criteria to evaluate artistic work.
 Lesson 3: Mixed Media collage and printmaking (or Making Art out of mistakes)

INTRODUCTION
Students will create expressive mixed media artworks that demonstrate a sense of purpose and
understanding of the relationship among various forms, materials, techniques, and subject
matters incorporating printmaking and collage. Students will demonstrate a reinforced and
extended knowledge of a previously used printmaking technique and push their understanding of
what makes good art.

DIALOG
Essential questions:​ How can two different mediums complement one another? What is
originality? How can we grow and become better artists from our mistakes? How can pre
structured images spark creativity? How can we be thoughtful curators of the work we present?

Day 1:​ Will you use text? If so, will you use your old or make new text or make a combination
of new and old text? How much collage do you want to include? Do you want the new print to be
the focus or to support the collage? What does mixed media do for the viewer that a traditional
print doesn’t? Which printmaking process would better suite your idea for the print? What line
quality conveys what meaning to the viewer? How important is considering composition and
color? How can you unify the concept of your artwork from multiple mediums?

Day 2: ​What additional materials could you use in your artwork? I want you to look around your
environment. Are there places you'd like to photograph and include in your collage? Are there
discarded images or items you could recycle? Also, think about your theme. Think about what
you want to say and how you are going to say it. How are you going to show artistic
accomplishment in your failed work and in your classmates’ failed work?
 Day 3: ​What materials did you include in your print? To what extent did you incorporate
collage? Describe the image you created. How did you incorporate collage and printmaking?
What did you do differently in your print compared to the last two projects? What makes an
original piece of art? How can text and appropriation be incorporated into this process?

Additional questions: ​What is good composition? How can we plan our artwork so that we
create a successful composition? What is our criteria for good composition? Will you tear paper
or cut it or use whole prints?
Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical
context to deepen understanding

INSTRUCTION
Vocabulary​*:
Balance - ​the ways in which the elements
(lines, shapes, colors, textures, etc.) of a
piece are arranged (symmetrical &
asymmetrical)
Mood​ - the general atmosphere, or state of
mind and feelings, that a work of art
generates
Mixed media ​- ​A technique involving the use
of two or more artistic media, such as ink
and pastel or painting and collage, that are
combined in a single composition.
Chine colle ​- A technique for gluing smaller pieces of paper onto a print while you are printing
it.
Review vocabulary​ - collage, composition, abstract, representational, overlapping
*Many terms from Lessons 1 and 2 will be reinforced in this lesson.

Day 1: ​Students will be introduced to the topic of mixed media art. The students will discuss the
importance of making mistakes in art and that we can not only learn and grow from those
mistakes, but we can also make great art out out of them. Students will look at artists who
combine collage and printmaking to make mixed media artwork. Students will discuss the
power of mixed media artwork and discuss how it can influence and develop their prints.
Students will be told their next print will include one new printed element and collage elements
from either or both of the previous prints. Students will be encourage to keep their failed prints
 through the previous two projects along with their pull
taps and preliminary sketches and notes. Students will
discuss how they can used these “failures” and
unresolved ideas and turn them into a stronger piece of
art. For the one new printed element students can
choose to print either relief or silkscreen. Students will
be encouraged to make a choice if they want to work
abstractly or representationally. Students should think
about if they want collage overlaying ink or ink
overlaying collage or the two aspects of the work not to
touch each other or some combination of the three.
Students may include any additional elements to their
artwork like hand drawing, collaging with additional
paper, or chine colle. Students will be encouraged to
donate failed prints to a pile where classmates can find
elements for their own work - highlighting the collaborative nature of printmaking. A written
prompt describing Project 3 will be handed out to the class. Students will begin planning their
work by making sketches for the print, cutting collage pieces, and starting compositional and
thematic ideas.
Day 2: ​Students will begin preparing their matrix for the printed element of their work.
Silkscreen students will paint the drawing fluid onto their screens. Relief students will carve
their linoleum blocks. The teacher will circulate to check-in with students on their images and
concepts, and make sure relief students remember safe carving techniques and that you have to
flip your image when you carve the block. New vocabulary will be emphasized and vocabulary
from the previous two lessons will be reinforced.
In Between Day 2 and 3: ​For Silkscreen students: If optimizing class time is imperative, then
the teacher may consider coating the screens with screen filler after the drawing fluid has dried,
and washing out the drawing fluid once the screen filler dries. This way students will have time
on Day 3 for printing, clean up, and constructing their collage.
Day 3: ​Students will pull their prints and compose their collages. The teacher may do a
demonstration on pulling a relief print and a silkscreen to remind the students. The teacher will
demonstrate chine colle for relief students who want to see it. After the students compose their
work they will have an assessment.
 Create - conceptualize, develop, plan, and
refine.
Anchor Standard 1: Generate and
conceptualize artistic ideas and work.
Anchor Standard 2: Organize and develop
artistic ideas and work.
Respond - perceive, analyze, and interpret
Anchor Standard 7: Perceive and analyze
artistic work
Anchor Standard 8: Interpret intent and
meaning in artistic work

DIFFERENTIATION
Accommodation: ​A visually impaired student will be encouraged to use textured collage
elements and three-dimensional components of their piece. The student may consider
silkscreening onto a material other than paper.* If students need additional time composing their
work, then they will be able to do so between classes 2 and 3. For students with ADHD or a
learning disability that would make it difficult to remember all of the steps from the previous
projects then they will stand next to me during the short “refresher demonstration” and be my
helper to reinforce previously learned material. All of the resources from lessons 1 and 2 will be
displayed during the project, including step-by-step images and written content prominently
displayed for both printing processes. The teacher will provide a written prompt after the
discussion on Day 1 about the project, so students who don’t assimilate verbal information well
will have another means of understanding. A printing station will need to be set up for a student
with dwarfism or in a wheelchair. For relief students - if a student struggles carving linoleum
then they may carve a rubber block of the same size. The student may be given pre-cut collage
pieces if they have difficulty using scissors. Alternatively, an aid, the teacher, or an idle
classmate can cut the desired collage pieces for the student.
 *I hope this option could be opened to the entire class, but if the students seem to need more
structure then this might need to be a modification for the student.

Modification​: Most significant modifications will be avoided.

For Silkscreen students: If a student will be more comfortable using a larger screen in order to
optimize their control, then they may use a larger screen and paper. To reduce time spent
dealing with the frustration of registration the student may print on larger paper. If the student
then chooses to cut down his or her paper to the standard size of the rest of the class, then this
would be an accommodation, as ultimately his or her print will be the same.
For Relief students: If a student lacks control of his or her hand, then a larger piece of linoleum
might allow them to be a little looser with their carving and less confined.

PROCESS SUMMARY/ASSESSMENT
Formative Assessment:​Throughout Project 3 the teacher
will have multiple opportunities to circulate and check-in
with students to gauge their understanding of topics and
reinforce key concepts. Before students start painting their
screens and carving their blocks the teacher will check in
with each of them to discuss their print and how they
interpret the prompt and how they imagine their anticipated
result. The teacher may offer further questions and
suggestions on the integration of collage or composition of
the work so the student can consider altering their plan
before beginning.

Summative Assessment:​ Students will display all three of

their prints on the wall. They will chose the order and
composition of how their work is displayed. After the
work is hung, students will silently walk around the room
looking at their peers’ work for a couple of minutes.
Then the class will convene around the work and each student will describe their final print to
class. Each student should describe what their print looks like, where their inspiration came
from, and how their work evolved from the original two prints. The class will then be asked to
respond to their classmate’s work in the form of questions. They won’t be allowed to make
statements about their classmates’ work, but must pose everything in the form of questions. The
teacher will guide the students through the first few projects but they should catch on relatively
 soon. Throughout the critique, the teacher will prompt the class with further questions to push
their reflection. Some guiding questions the teacher can use as examples include; “How did you
decide to use this great moment in your work?”, “Why did you chose to incorporate so much text
in your work?”, “If you could add another printed element to the piece what would add and
why?”. The teacher will encourage questions geared around the essential questions.
Students will discuss how they re-worked and reconsidered their original prints to push their
artwork into a different medium. Students will explain how they used elements of collage in
their piece. Students will express how they felt combining two very different mediums.
Students will describe the challenges and opportunities of both printmaking and collage and how
they worked together. Students will compare their experiences between those who used
silkscreening and those who used relief. Students will further push their concepts on
appropriation, plagiarism, intellectual property and who is an artist. Students will assess the
criteria that defines real art and rethink how we construct the identity of an artist. Students will
reflect on their own role as an artist and their artistic voice and what drives them to make art.
Students will discuss the value of failed artwork and how it can make us stronger artists and
learners.
The teacher will listen to the students’ questions and interpretations of their classmate’s work as
well as their reflections on their own work in order to assess how well each student understood
the essential questions, concepts of the project, and medium. Attention will be placed on the
student’s ability to use new vocabulary and synthesize concepts from the three lessons.

Presenting, Interpreting, sharing, communicate

meaning
Anchor Standard 3: Refine and complete artistic
work.
Anchor Standard 4: Select, analyze, and interpret
artistic work for presentation.
Anchor Standard 5: Develop and refine artistic
techniques and work for presentation.
Anchor Standard 6: Convey meaning through the
presentation of artistic work.
 R​esponding: Understanding and evaluating how the arts convey meaning
Anchor Standard 7.Perceive and analyze artistic work
Connecting: Relating artistic ideas and work to personal meaning and external context
Anchor Standard 8: Interpret intent and meaning in artistic work.
Anchor Standard 9: Apply criteria to evaluate artistic work.