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FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 1 OF 26
CONTENT AREA: ART EDUCATION
GRADE/LEVEL:
9-12
COURSE TITLE:
PRINTMAKING II
COURSE NUMBER:
50.0512002
COURSE LENGTH:
SEMESTER
COURSE DESCRIPTION:
Printmaking II develops printmaking skills. A variety of media and tools are explored. The elements
of art and principles of design are used to analyze, design, create, and evaluate prints. The course
combines aesthetics, art criticism, and art history with production of print series.
PREREQUISITE(S): Printmaking I
STANDARDS AND ELEMENTS:
MEANING AND CREATIVE THINKING (Aesthetics)
The student engages in the creative process, finds and solves problems, and pursues open-ended inquiry
through the production of artworks. The student develops aesthetic understanding through the examination of his/her own art and the artwork of others (National Standards 1 & 2).
Description: The student develops creativity, critical-thinking, and problem solving skills. The student engages in aesthetic dialogue, making effort toward constructing meaning as he or she encounters and
produces works of art based on painting approaches.
VAHSPRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,
conceptualizes these ideas by using artistic language and contextual understandings in assessing learning,
and develops a personal artistic voice that gives unique form to these concepts.
a. Identifies artistic styles of a range of contemporary and past printmakers. b. Recognizes personal motivations, process, and interests.
c. Identifies a personal viewpoint to respond to a variety of print media.
d. Selects self-assessment standards. e. Recognizes own emerging artistic voice and what affects their personal voice and aesthetic in
printmaking.
f. Identifies preferred materials and working methods.
VAHSPRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple
options, weighing consequences, and assessing results.
a. Uses sketchbook journal to research and experiment with artistic conventions to communicate ideas. b. Generates more than one solution to a single artistic problem and assesses merits of each.
c. Analyzes, in both written and oral form, the implications of artistic decisions; for example,
delineating between the fine art print aesthetic and the reproduction. d. Solves artistic problems through discussion and interaction with peers.
e. Supports peers though informal, on-going critique of works in-progress.
f. Recognizes and develops printmaking as a risk-taking process that incorporates existing knowledge,
brainstorming, planning, and discovery of unexpected connections.
VAHSPRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.
a. Discusses aesthetic issues, such as what is beauty? What affects my personal aesthetic? b. Writes, reflects, and revises throughout the course personal answers to the following questions: Can
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 2 OF 26
the computer be used to create “fine art” prints? What is the relationship between traditional fine art
printmaking and digital art? What ethics apply to copyright issues, computer art, and the Internet? c. Identifies the ideas and values reflected in the prints of past and present cultures.
d. Explores ideas and values reflected in the way the student’s current culture(s) define and use
printmaking.
e. Researches and analyzes the work of a printmaker and writes about how the artist’s style contributes to the meaning of the work.
VAHSPRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world. a. Compares and contrasts the works of a wide range of contemporary and past printmakers.
b. Identifies values and practices in his or her community culture and world that inform art.
c. Reflects on how his or her personal experience in community, culture, and the world inform his or
her work. d. Identifies the values and contributions of diverse peers, cultures, and communities.
CONTEXTUAL UNDERSTANDING
The student understands art in relation to history and culture (National Standard 4).
Description: The student recognizes the impact of art on history and different cultures and how history and
culture have influenced art. The student plans for and participates in a variety of activities that promote
personal engagement in the study of art history and culture.
VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.
a. Identifies how the issues of time, place, and culture are reflected in selected fine art prints. b. Discusses how understanding the original context of a print or print series affects a viewer’s
connection with and interpretation of the artwork.
c. Recognizes prints, printmaking techniques, and artists and writes and talks about them from a wide range of perspectives, including but not limited to cultural context, formalist, expressionist,
conceptual, functional, and technical.
d. Discusses the importance of art in daily life (e.g. personal significance, social commentary, self-
expression, spiritual expression, planning, recording history, for beauty’s sake, and marketing / advertising).
e. Compares prints from contemporary and past societies for similarities in processes, tools, styles,
content, and functions. f. Identifies, compares, and contrasts prints by significant printmakers from different historical periods
and cultures including but not limited to Hokusai, Rembrandt, Kollwitz, etc.
g. Discusses the role of printmaking in at least two historical cultures; compares and contrasts to
printmaking today. h. Discusses the role of printmaking and artifacts as a visual record of humankind’s history and a
vehicle for gaining understanding of another culture.
VAHSPRCU.2 Demonstrates an understanding of how art history impacts the creative process of art
making.
a. Develops a repertoire of contemporary and historical printmaking exemplars. b. Relates own prints to those of major 19
th and 20
th century printmakers.
PRODUCTION
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The student creates artwork by applying media, techniques, and processes to formulate and express his/her
ideas and conceptual understanding (National Standard 1).
Description: The student applies media, techniques, and processes with sufficient skill, confidence, and
sensitivity to carry out personal intentions in artworks. Through experience in a range of artistic processes,
use of a variety of materials, and development of a repertoire of techniques, the student understands the relationship of process, material, and technique to communication of ideas.
VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and communicate meaning.
a. Uses principles of design to organize elements to communicate meaning and unified compositions
concepts, such as activating negative space, visual weight, paths of movement, non-centered focal
point, dominance and subordination of design elements, and variety within repetition. b. Uses thumbnail sketches and visual/verbal notes to plan compositions.
c. Discusses and applies concepts, such as activating negative space, visual weight, paths of
movement, non-centered focal point, and variety within repetition.
VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking.
a. Develops beginning level mastery of printmaking techniques, including but not limited to monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.
b. Uses mark-making in a conscious way in printmaking.
c. Produces and signs artist proofs and series of prints using collagraph, serigraphy, relief, and/or
intaglio. d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,
etching, engraving, silkscreen, and lithograph.
e. Explores technology for printmaking (e.g. computers, scanners and copy machines) f. Explores digital media as a tool for art production.
g. Recognizes the role of computer technology in art and of visual skills in technology related fields.
h. Practices studio safety, correct care and operation of equipment. i. Demonstrates proper care and safe use of tools and materials.
VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter.
a. Brainstorms multiple solutions before beginning artwork. b. Creates sketches/artwork from formalist, emotionalist, and realist approaches.
c. Uses symbolic representation in work.
d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-solving within given parameters.
e. Uses concepts / ideas from other disciplines as inspiration for artwork.
f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype,
collagraph, relief printing, lithography, intaglio, and/or serigraphy.
VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking.
b. Writes reflections on work, idea generation, and skills progress.
c. Analyzes and critiques works of art – personal, peers, and professional. d. Makes visual/verbal connections.
e. Practices direct observation and reactions in words, images, and symbols.
f. Records artistic research.
g. Collects, develops, and preserves personal ideas and thoughts. h. Records inspirational images, words, thoughts, and ideas.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 4 OF 26
i. Maintains notes and class information.
j. Plans artwork. k. Practices technique.
l. Experiments with media, technique, and color - uses as a process journal.
m. Identifies emerging personal, artistic voice.
VAHSPRPR.5 Develops, plans, and presents an appropriate portfolio of artwork for exhibition.
a. Self-evaluates progress and completes work using criteria such as composition, craftsmanship,
technical skill, meeting goals of work, and progress over time. b. Observes the preparation of art for the purpose of displaying own work.
c. Prepares own artwork to be exhibited in the classroom and school community.
d. Adds preparatory drawings and digital images of ceramic studies developed in this course to
portfolio begun in level one art.
ASSESSMENT AND REFLECTION:
The student critiques works of art, reflecting upon and assessing the characteristics and merits of his or her
work and the artwork of others (National Standard 5).
Description: The student describes and assesses materials, techniques, and processes used to complete a
finished artwork. He or she demonstrates the ability to reflect upon and interpret personal work and the work
of others, expressing personal viewpoint, and constructive criticism.
VAHSPRAR.1 Makes written and oral critiques of own works of art.
a. Reflects on the printmaking process (through journal-keeping, reflective writing, and discussion). b. Reviews portfolio to identify growth over the course of the class, mastery of skills and techniques,
strongest works and what makes them strong, areas needing improvement, and effective
communication of thoughts and ideas. c. Self-evaluates in-progress and complete work using criteria such as composition, craftsmanship,
technical skill, meeting goals of work, and progress over time.
d. Sets high standards for craftsmanship and skill mastery in own artwork.
e. Revises artwork based on input from the critique process.
VAHSPRAR.2 Critiques artwork of others individually and in group settings.
a. Provides respectful and constructive criticism to peers in formal class critiques. b. Develops skills to provide informal feedback to peers on work in process as part of a community of
learners.
c. Uses established criteria to analyze specific strengths and weaknesses of art works based on the
ways technique and composition are used to convey meaning. d. Analyzes how the printmakers’ use of formal qualities (elements/principles) is used to represent
imagery.
e. Discusses the connection between intent and viewer’s interpretation—active participation by viewer to bring personal experience to the interpretation.
f. Discusses content in fine art prints and how it is communicated; ―reads artwork and shares
interpretations and personal responses to representational, abstract and non-objective artwork. g. Verbalizes personal reactions to prints; develops descriptive vocabulary including adjectives,
analogies, and metaphors.
VAHSPRAR.3 Develops multiple strategies for responding to and reflecting on artworks. a. Employs specific printmaking vocabulary, accurately and routinely, to critique prints in discussion
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 5 OF 26
and writing.
b. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works, such as using ―Visual Thinking
Skills or Feldman’s Art Criticism process.
c. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to
printmaking.
CONNECTIONS
Students make connections to other disciplines and the world around them through the visual arts (National
Standard 6).
Description: The student makes connections from the world of art to other areas of learning and personal endeavor. He or she derives inspiration from varied areas of knowledge and life experiences. Through the
study and production of printmaking, the student develops visual and verbal literacy and life and work skills
including appropriate use and development of technology.
VAHSPRC.1 Applies information from other disciplines to enhance the understanding and production of
artworks. a. Uses inspiration from other disciplines to influence idea development in printmaking.
b. Understands how knowledge of art enriches and enhances learning in other core disciplines.
c. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve
understanding in other disciplines. d. Develops the ability to integrate visual and verbal skills to communicate.
e. Identifies visual choices as a part of life.
f. Describes and discusses the importance of aesthetic experiences in daily life.
VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of printmaking. a. Manages goals and time.
b. Directs own learning.
c. Guides and leads others.
d. Works in diverse teams. e. Adapts to change.
f. Uses current technology as a tool.
VAHSPRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom.
a. Discusses how study in art benefits one’s future as an avocation (making, collecting, volunteering);
in art-related careers; and in non-art careers and life skills (application of higher order thinking skills valued by business such as tolerance for ambiguity, judgment in the absence of explicit rules,
finding structure in apparent disorder, etc.).
b. Accesses resources such as museums, Internet, visiting artists, galleries, community arts organizations, and visual culture to research printmaking in the world around them.
c. Identifies various printmaking related careers and post-secondary options.
d. Draws inspiration for artwork from the world and resources outside the traditional classroom.
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PRINTMAKING II
UNIT 1: Monotypes and Monoprints
PACING: 3-5 weeks of 55-minute class periods
STANDARDS AND ELEMENTS:
MEANING AND CREATIVE THINKING VAHSPRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results.
a. Uses sketchbook journal to research and experiment with artistic conventions to communicate
ideas.
b. Generates more than one solution to a single artistic problem and assesses merits of each. c. Analyzes, in both written and oral form, the implications of artistic decisions; for example,
delineating between the fine art print aesthetic and the reproduction.
d. Solves artistic problems through discussion and interaction with peers. e. Supports peers though informal, on-going critique of works in-progress.
f. Recognizes and develops printmaking as a risk-taking process that incorporates existing
knowledge, brainstorming, planning, and discovery of unexpected connections.
PRODUCTION VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and
communicate meaning.
a. Uses principles of design to organize elements to communicate meaning and unified compositions
concepts, such as activating negative space, visual weight, paths of movement, non-centered focal point, dominance and subordination of design elements, and variety within repetition.
b. Uses thumbnail sketches and visual/verbal notes to plan compositions.
c. Discusses and applies concepts, such as activating negative space, visual weight, paths of movement, non-centered focal point, and variety within repetition.
VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking.
a. Develops beginning level mastery of printmaking techniques, including but not limited to
monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy. b. Uses mark-making in a conscious way in printmaking.
d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,
etching, engraving, silkscreen, and lithograph. h. Practices studio safety, correct care and operation of equipment.
i. Demonstrates proper care and safe use of tools and materials.
l. Develop an understanding of the difference between monoprinting and monotypes by
fully exploring both printmaking techniques.
VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter.
c. Uses symbolic representation in work.
f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype,
collagraph, relief printing, lithography, intaglio, and/or serigraphy.
VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 7 OF 26
collect, develop, and preserve ideas in order to produce works of art around themes of personal
meaning.
a. Understands and applies media, techniques, processes, and technology in printmaking.
c. Analyzes and critiques works of art – personal, peers, and professional.
f. Records artistic research. h. Records inspirational images, words, thoughts, and ideas.
i. Maintains notes and class information.
j. Plans artwork. k. Practices technique.
l. Experiments with media, technique, and color - uses as a process journal
VAHSPRPR.5 Develops, plans, and presents an appropriate portfolio of artwork for exhibition.
b. Observes the preparation of art for the purpose of displaying own work.
ASSESSMENT AND REFLECTION: VAHSPRAR.3 Develops multiple strategies for responding to and reflecting on artworks.
a. Employs specific printmaking vocabulary, accurately and routinely, to critique prints in discussion
and writing.
b. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works, such as using ―Visual Thinking
Skills or Feldman’s Art Criticism process.
c. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to printmaking.
CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the
study and production of printmaking. a. Manages goals and time.
b. Directs own learning.
UNIT RESOURCES:
Text- No text adopted at time of writing.
Power Points: Refer to FCBOE Art Website
Suggested Books:
Monotype: Mediums and Methods for Painterly Printmaking, Julia Ayres (ISBN:
0823031284)
Monoprinting: Printmaking Handbooks, Jackie Newell (ISBN:071366746x)
Notan: The Dark-Light Principle of Design, Dorr Bothwell (ISBN: 048626856x)
The Instant Printmaker: Simple Printing Methods to Try at Home, Melvyn Petterson
(ISBN: 0823025268)
The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy
Hughes (ISBN: 0811862283)
Complete Printmaker, John Ross (ISBN: 0029273722)
Printmaking: History and Process Donald Saff (ISBN: 0030856639)
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 8 OF 26
Printmaking: A Contemporary Perspective, Paul Coldwell (ISBN: 1906155437)
Websites, all current as of March 2010:
www.artcyclopedia.com (research engine)
www.printeresting.org (anything print blog)
www.nobrow.net/nobrow-press (illustrative book arts)
www.yeehawindustries.com (letterpress and reductive)
www.tamarind.unm.edu (anything print)
http://www.daynawillard.com/large-view/Monoprints/72073---5337/Prints.html (Dayna
Willard)
http://www.handprintstudio.co.uk/monotype.htm (Monotypes)
http://redpropeller.co.uk/photo_2924740.html (James Baker)
Suggested Videos/DVD’s:
All About Prints: 500 Years of Prints and Printmaking (2009) Director: Christopher Noey
http://www.youtube.com/watch?v=GVG7b7mVkZ4&feature=PlayList&p=B653424CF32
58401&playnext_from=PL&playnext=1&index=2 (using an old scanner to make
monotypes)
http://www.youtube.com/watch?v=zzvGgM39lug&feature=related (monotypes how-to
demonstration set only to music)
Other:
Advanced Placement Studio Art Poster
Advanced Placement Studio Art Teacher Resource Materials
SUGGESTED INSTRUCTIONAL STRATEGIES:
Suggested Essential Question: How do monoprints and monotypes evolve?
Suggested Unit Focus Questions:
VAHSPRMC.2: How kinds of problems does a printer need to solve in order to create monoprints
and monotypes? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition
and communicate meaning?
VAHSPRPR.2: What different media, techniques, processes, and technology do you need to
create monoprints and monotypes?
VAHSPRPR.3: How can you create a print that reflects a concept, idea, or specific subject matter?
VAHSPRPR.4: How does a visual/verbal sketchbook journal help you to collect, develop, and
preserve ideas for printmaking?
VAHSPRPR.5: How do you prepare your artwork to be exhibited in class, or in the school?
VAHSPRAR.3: What is the best way to develop multiple strategies for responding to and
reflecting on artworks?
VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you
have learned through printmaking
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 9 OF 26
Suggested Artists References and Historical Correlations: Historical Periods/Movements:
o 18th /19
th/ 20
th Century Printmakers
o Impressionism
Historical Artists:
o Edgar Degas
o Giovanni Benedetto Castiglione
Contemporary Artists:
o Bill Jacklin
o Judy Pfaff
o Kiki Smith
o Jim Dine
Suggested Visual and Verbal Journal Prompts and Activities
Personal research, reflection, aesthetic questions and idea generation should be
emphasized through students’ journal/sketchbook.
Research should include both contemporary and historic printmakers, styles, and
approaches to art.
Suggested Activities, Assignments and Projects:
Students should develop an understanding of the difference between monoprint and
monotype:
o Monoprint: A print pulled from an etching, woodblock, or collagraphy plate that
has been altered, making it unique.
o Monotype: A print pulled in an edition of one from a painted plate that has no
permanent markings on it, usually plexiglass, glass, or metal.
Course may be organized into units similar to Printmaking 1, but with varied and more in
depth techniques, media, multi-color editions, mixed media variations, and similar ideas
to build on students’ Printmaking 1 experiences and skills.
When appropriate, Printmaking 2 students may deepen understanding by serving as peer
teachers to printmaking 1 students.
Students should bring a portfolio of work and practice self-evaluation of working
processes, goal setting, and achievement, artwork and personal growth throughout the
semester.
Some students may be ready to pursue a “mini-concentration” with prints which explore
an ongoing theme or concept (see Advanced Placement Studio Art materials for additional
information on concentrations.)
Students should continue to study a broad range of art and develop skills in composition
and sensitivity to nuances of design.
Suggested lesson ideas:
o Develop a personal concept and print it different ways using monotype techniques.
o Use a print plate from Printmaking 1 and create monoprints from it.
o Create a series of monoprints based on the same image, or concept, altering the
image each time.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 10 OF 26
o Create monotypes with a focus on painterly techniques. Have students working in
additive and subtractive methods and incorporate more than one color or layer to
the image.
o Create monotypes using stencils.
Students should display best works in a formal critique and discuss the different methods
employed to achieve the monoprints and monotypes. The student should be able to
explain the progression of methods used.
Refer to FCBOE Art Website-Teacher Resources
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 11 OF 26
PRINTMAKING II
UNIT 2: Collagraphs
PACING: 3-5 weeks of 55-minute class periods
STANDARDS AND ELEMENTS:
MEANING AND CREATIVE THINKING VAHSPRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world.
a. Compares and contrasts the works of a wide range of contemporary and past printmakers.
b. Identifies values and practices in his or her community culture and world that inform art. c. Reflects on how his or her personal experience in community, culture, and the world inform his or
her work.
d. Identifies the values and contributions of diverse peers, cultures, and communities.
CONTEXTUAL UNDERSTANDING VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.
c. Recognizes prints, printmaking techniques, and artists and writes and talks about them from a wide range of perspectives, including but not limited to cultural context, formalist, expressionist,
conceptual, functional, and technical.
d. Discusses the importance of art in daily life (e.g. personal significance, social commentary, self-expression, spiritual expression, planning, recording history, for beauty’s sake, and marketing /
advertising).
PRODUCTION VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and
communicate meaning. a. Uses principles of design to organize elements to communicate meaning and unified compositions
concepts, such as activating negative space, visual weight, paths of movement, non-centered focal
point, dominance and subordination of design elements, and variety within repetition. b. Uses thumbnail sketches and visual/verbal notes to plan compositions.
c. Discusses and applies concepts, such as activating negative space, visual weight, paths of
movement, non-centered focal point, and variety within repetition.
VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking. a. Develops beginning level mastery of printmaking techniques, including but not limited to
monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.
d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,
etching, engraving, silkscreen, lithograph. h. Practices studio safety, correct care and operation of equipment.
i. Demonstrates proper care and safe use of tools and materials.
m. Create a collagraph series.
VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter.
d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-
solving within given parameters.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 12 OF 26
e. Uses concepts / ideas from other disciplines as inspiration for artwork.
f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.
VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking.
e. Practices direct observation and reactions in words, images, and symbols.
f. Records artistic research.
h. Records inspirational images, words, thoughts, and ideas. i. Maintains notes and class information.
j. Plans artwork.
l. Experiments with media, technique, and color - uses as a process journal.
CONNECTIONS VAHSPRC.1 Applies information from other disciplines to enhance the understanding and production of artworks.
a. Uses inspiration from other disciplines to influence idea development in printmaking.
b. Understands how knowledge of art enriches and enhances learning in other core disciplines. c. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve
understanding in other disciplines.
d. Develops the ability to integrate visual and verbal skills to communicate.
e. Identifies visual choices as a part of life. f. Describes and discusses the importance of aesthetic experiences in daily life.
VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of printmaking. a. Manages goals and time.
c. Guides and leads others.
d. Works in diverse teams.
UNIT RESOURCES:
Text: No text adopted at time of writing
Power Points:
Refer to FCBOE Website
Suggested Books: Print Liberation: The Screen Printing Primer, Nick Paparone (ISBN: 1600610722)
Notan: The Dark-Light Principle of Design, Dorr Bothwell (ISBN: 048626856x)
The Instant Printmaker: Simple Printing Methods to Try at Home, Melvyn Petterson (ISBN:
0823025268)
The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy Hughes
(ISBN: 0811862283)
Complete Printmaker, John Ross (ISBN: 0029273722)
Printmaking: History and Process Donald Saff (ISBN: 0030856639)
Printmaking: A Contemporary Perspective, Paul Coldwell (ISBN: 1906155437)
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 13 OF 26
Websites, all current as of March 2010:
http://www.londonmet.ac.uk/services/sas/library-services/commercial/exhibitions-commercial-road-
ilrc/exhibitions/david-skingle-collographs-and-monoprints.cfm (David Skingle)
http://www.kettererkunst.com/bio/RolfNesch-1893-1975.shtml (Rolf Nesch)
www.artcyclopedia.com (research engine)
www.printeresting.org (anything print blog)
www.warhol.org
www.cannonballpress.com (reductive)
www.nobrow.net/nobrow-press (illustrative book arts)
www.yeehawindustries.com (letterpress and reductive)
www.tamarind.unm.edu (anything print)
www.drivebypress.com (reductive)
Suggested Videos/DVD’s:
All About Prints: 500 Years of Prints and Printmaking (2009) Director: Christopher Noey
http://www.youtube.com/watch?v=JUOkZw2FFCQ (collagraph and relief printing)
Other:
Advanced Placement Studio Art Poster
Advanced Placement Studio Art Teacher Resource Materials
SUGGESTED INSTRUCTIONAL STRATEGIES:
Suggested Essential Question: What techniques do you need to learn in order to make
collagraphs?
Suggested Unit Focus Questions: VAHSPRMC.4: How can a print demonstrate an artist’s relationship to his or her community,
culture, or the world?
VAHSPRCU.1: How can a printer show ideas and universal themes through collagraphs? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition
and communicate meaning?
VAHSPRPR.2: What different media, techniques, processes, and technology do you need in printing
collagraphs?
VAHSPRPR.3: How can you create a print that reflects a concept, idea, or specific subject matter?
VAHSPRPR.4: How does a visual/verbal sketchbook journal help you to collect, develop, and
preserve ideas for printmaking?
VAHSPRC.1: What other disciplines can you learn about from the collagraph process?
VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you have
learned through printmaking.
Suggested Artists References and Historical Correlations:
Historical Periods/Movements: Gyotaku Fish Prints
Examine prints that incorporate textile or botanical textures. Consider how those textures
incorporate a documentary process of the historical time frame and region.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 14 OF 26
Evaluate the importance of collagraph as a means of communication between cultures.
Historical Artists: Michael Ponce de Leon
Rolf Nesch
Contemporary Artists: Barbara Garrison
Eunice Kim
Helen Shaddock
David Skingle
Mary Wardle
Carla Trujillo
Anthea Toorchen
Suggested Visual and Verbal Journal Prompts and Activities
Make small collagraph plates and print them in journal. Use pages as a process journal and write
about what works with each mini-plate.
Create a notan page to prepare of working with the positive and negative shapes of the collagraph
plate.
Make a design of different rubbings as a collage page.
Suggested Activities, Assignments and Projects: Introduce and/or review and discuss terms:
o Artist’s proof
o edition
o solvent o stencil
o pull
o registration marks
o marks o texture
o shellac
o brayer
Introduce different inks, papers, and solvents that may be used in collagraph.
Create designs from experimental texture rubbings to emphasize collagraph technique and
compositions.
Discuss the impact of positive and negative space in compositional decisions. Relate the creation of
a collagraph to different textured surfaces and how they relate in a composition.
Collect different textured materials to create a collagraph- fabric, sand paper, corrugated cardboard,
string, etc. Compile materials onto a backing to create a collagraph plate, then shellac over top to seal before printing.
Consider embossment of the paper from behind - how is the printed image on the front
impacted by embossing the plate on the back?
Display best collagraph and discuss what textures worked best, what ink combinations
worked best, and how well was the positive and negative space used.
Refer to FCBOE Art Website-Teacher Resources
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 15 OF 26
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 16 OF 26
PRINTMAKING II
UNIT 3: Advanced Relief Prints
PACING: 3-5 weeks of 55-minute class periods
STANDARDS AND ELEMENTS:
MEANING AND CREATIVE THINKING VAHSPRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.
a. Discusses aesthetic issues, such as what is beauty? What affects my personal aesthetic?
b. Writes, reflects, and revises throughout the course personal answers to the following questions: Can the computer be used to create “fine art” prints? What is the relationship between traditional fine art
printmaking and digital art? What ethics apply to copyright issues, computer art, and the Internet?
c. Identifies the ideas and values reflected in the prints of past and present cultures. d. Explores ideas and values reflected in the way the student’s current culture(s) define and use
printmaking.
e. Researches and analyzes the work of a printmaker and writes about how the artist’s style contributes
to the meaning of the work.
CONTEXTUAL UNDERSTANDING VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.
a. Identifies how the issues of time, place, and culture are reflected in selected fine art prints. b. Discusses how understanding the original context of a print or print series affects a viewer’s
connection with and interpretation of the artwork.
f. Identifies, compares, and contrasts prints by significant printmakers from different historical periods and cultures including but not limited to Hokusai, Rembrandt, Kollwitz, etc.
g. Discusses the role of printmaking in at least two historical cultures; compares and contrasts to
printmaking today. a. Discusses the role of printmaking and artifacts as a visual record of humankind’s history and a
vehicle for gaining understanding of another culture
VAHSPRCU.2 Demonstrates an understanding of how art history impacts the creative process of art
making. a. Develops a repertoire of contemporary and historical printmaking exemplars.
b. Relates own prints to those of major 19th and 20
th century printmakers.
PRODUCTION VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and
communicate meaning. a. Uses principles of design to organize elements to communicate meaning and unified compositions
concepts, such as activating negative space, visual weight, paths of movement, non-centered focal
point, dominance and subordination of design elements, and variety within repetition. b. Uses thumbnail sketches and visual/verbal notes to plan compositions.
c. Discusses and applies concepts, such as activating negative space, visual weight, paths of
movement, non-centered focal point, and variety within repetition.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 17 OF 26
VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking.
a. Develops beginning level mastery of printmaking techniques, including but not limited to
monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy. c. Produces and signs artist proofs and series of prints using collagraph, serigraphy, relief, and/or
intaglio. d. Recognizes characteristics of print categories including monoprint, woodcut, linocut, collagraph,
etching, engraving, silkscreen, lithograph.
h. Practices studio safety, correct care and operation of equipment.
i. Demonstrates proper care and safe use of tools and materials.
m. Create a series of relief prints in more than two colors including the following methods but not
limited to reduction linoleum, multiple plates, and/or woodcut.
VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter. a. Brainstorms multiple solutions before beginning artwork. b. Creates sketches/artwork from formalist, emotionalist, and realist approaches.
f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype,
collagraph, relief printing, lithography, intaglio, and/or serigraphy.
VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking. d. Makes visual/verbal connections.
f. Records artistic research.
g. Collects, develops, and preserves personal ideas and thoughts.
i. Maintains notes and class information. j. Plans artwork.
ASSESSMENT AND REFLECTION VAHSPRAR.2 Critiques artwork of others individually and in group settings.
a. Provides respectful and constructive criticism to peers in formal class critiques.
b. Develops skills to provide informal feedback to peers on work in process as part of a community of
learners. c. Uses established criteria to analyze specific strengths and weaknesses of art works based on the
ways technique and composition are used to convey meaning.
d. Analyzes how the printmakers’ use of formal qualities (elements/principles) is used to represent
imagery. e. Discusses the connection between intent and viewer’s interpretation—active participation by viewer
to bring personal experience to the interpretation.
f. Discusses content in fine art prints and how it is communicated; ―reads artwork and shares interpretations and personal responses to representational, abstract and non-objective artwork.
g. Verbalizes personal reactions to prints; develops descriptive vocabulary including adjectives,
analogies, and metaphors.
CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of printmaking. a. Manages goals and time.
UNIT RESOURCES:
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 18 OF 26
Text: No text adopted at time of writing
Power Points:
Refer to FCBOE Art Website
Suggested Books:
German Expressionist Woodcuts, Shane Weller (ISBN: 0486280691)
Wood Engraving and Linocutting, Anne Hayward (ISBN:1861269986)
Notan: The Dark-Light Principle of Design, Dorr Bothwell (ISBN: 048626856x)
The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy
Hughes (ISBN: 0811862283)
Complete Printmaker, John Ross (ISBN: 0029273722)
Printmaking: History and Process Donald Saff (ISBN: 0030856639)
Printmaking: A Contemporary Perspective, Paul Coldwell (ISBN: 1906155437)
Websites, all current as of March 2010:
www.artcyclopedia.com (research engine)
www.printeresting.org (anything print blog)
www.cannonballpress.com (reductive)
www.nobrow.net/nobrow-press (illustrative book arts)
www.yeehawindustries.com (letterpress and reductive)
www.tamarind.unm.edu (anything print)
www.drivebypress.com (reductive)
Suggested Videos/DVD’s:
All About Prints: 500 Years of Prints and Printmaking (2009) Director: Christopher Noey
http://www.youtube.com/watch?v=rIso5PrJTq0 (Linoleum process set to music)
http://www.youtube.com/watch?v=4vo1EuT5Yi0 (Woodcut process)
Other:
Advanced Placement Studio Art Poster
Advanced Placement Studio Art Teacher Resource Materials
SUGGESTED INSTRUCTIONAL STRATEGIES:
Suggested Essential Question: What techniques can be learned in relief printing?
Suggested Unit Focus Questions:
VAHSPRMC.3: Why is a relief print considered “fine art”?
VAHSPRCU.1: How can a relief printer show ideas and universal themes in his or her prints?
VAHSPRCU.2: How can studying historical relief prints impact the creative process? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition
and communicate meaning?
VAHSPRPR.2: What different media, techniques, processes, and technology do you need to create
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 19 OF 26
relief prints?
VAHSPRPR.3: How can you create a print that reflects a concept, idea, or specific subject matter?
VAHSPRPR.4: How does a visual/verbal sketchbook journal help you to collect, develop, and
preserve ideas for printmaking?
VAHSPRAR.2: What can you learn about your own artwork from critiquing other students’ prints?
VAHSPRC.2: Name some 21st century life and work skills and habits of mind for success you have
learned through printmaking.
Suggested Artists References and Historical Correlations:
Historical Periods/Movements:
Japanese wood block prints
German expressionist woodcuts
Examine the impact of Gutenberg’s press and movable type on society.
Consider the impact of opening Japan trade in the 1800’s and the influence of Japanese
woodcuts on Western art and style.
Historical Artists:
Katsushika Hokusai
Ernst Ludwig Kirchner
Albrecht Durer
Edvard Munch
Contemporary Artists:
Cannonball Press
Elizabeth Catlett
Suggested Visual and Verbal Journal Prompts and Activities
Compare relief prints by different artists with a similar subject matter and discuss how each
artist reflected their culture and times in a different way (ex- Elizabeth Catlett,
Sharecropper and Jacob Lawrence, Underground Railroad, Fording a Stream).
Use thumbnail sketches from Unit 1 for inspiration. Plan prints using objects from nature or
the art room.
Keep class notes, research, reflections, ideas for future prints, results of experimental
printing in Visual Verbal Journal.
Experiment printing with surfaces that have a relief texture.
Create a sample of variable line qualities to use as a bank to create texture and visual
interest in prints (ex- what type of lines show: wood grain, cotton, slime, linen, etc).
Research should include both contemporary and historic printmakers, styles, and
approaches to art.
Suggested Activities, Assignments and Projects:
Discuss features of relief printing processes such as linoleum cut or wood block and discuss
other approaches to relief printing than traditional methods.
Demonstrate the variable carving tools and each capacity for line and mark making.
Introduce different inks, papers, and ways to add color to relief prints.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 20 OF 26
Discuss the emergence of artistic voice: when one begins to develop one’s own style,
approaches to printmaking, and communication of personal message.
Discuss differences between Realism, Abstraction, and Nonobjective art.
Discuss aesthetic issues related to printmaking:
o Does the fact that many prints may be pulled from one plate make the print less
valuable as an artwork? Why or why not?
o Why does an artist’s pencil signature on the print make the work more valuable?
Should it?
o Why would a “signed in the plate” print be less valuable than a print signed after it
was pulled?
Develop ideas, plan, and produce editions of relief prints:
o At least three subjects from a variety of objective, abstract, and nonobjective
techniques.
Refer to FCBOE Website-Teacher Resources
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 21 OF 26
PRINTMAKING II
UNIT 4: Alternative Processes
PACING: 3-5 weeks of 55-minute class periods
STANDARDS AND ELEMENTS:
MEANING AND CREATIVE THINKING VAHSPRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,
conceptualizes these ideas by using artistic language and contextual understandings in assessing learning,
and develops a personal artistic voice that gives unique form to these concepts. a. Identifies artistic styles of a range of contemporary and past printmakers.
b. Recognizes personal motivations, process, and interests.
c. Identifies a personal viewpoint to respond to a variety of print media. d. Selects self-assessment standards.
e. Recognizes own emerging artistic voice and what affects their personal voice and aesthetic in
printmaking.
f. Identifies preferred materials and working methods.
CONTEXTUAL UNDERSTANDING VAHSPRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.
e. Compares prints from contemporary and past societies for similarities in processes, tools, styles, content, and functions
PRODUCTION VAHSPRPR.1 Uses formal qualities of art (elements and principles) to create unified composition and
communicate meaning. a. Uses principles of design to organize elements to communicate meaning and unified compositions
concepts, such as activating negative space, visual weight, paths of movement, non-centered focal
point, dominance and subordination of design elements, and variety within repetition. b. Uses thumbnail sketches and visual/verbal notes to plan compositions.
c. Discusses and applies concepts, such as activating negative space, visual weight, paths of
movement, non-centered focal point, and variety within repetition.
VAHSPRPR.2 Understands and applies media, techniques, processes, and technology in printmaking.
a. Develops beginning level mastery of printmaking techniques, including but not limited to monoprint, monotype, collagraph, relief printing, lithography, intaglio, and/or serigraphy.
b. Uses mark-making in a conscious way in printmaking.
e. Explores technology for printmaking (e.g. computers, scanners and copy machines) f. Explores digital media as a tool for art production.
g. Recognizes the role of computer technology in art and of visual skills in technology related
fields.
n. Develops a series of prints using alternative printmaking methods including but not limited
to lithography, photo transfer to intaglio plates, chin-colle with intaglio, and/or combining
printmaking methods.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 22 OF 26
VAHSPRPR.3 Creates artwork reflecting a range of concepts, ideas, and subject matter.
d. Works to find individual voice (creativity within guidelines); understands that creativity is problem-solving within given parameters.
f. Adapts subject matter or concept to different printmaking processes like monoprint, monotype,
collagraph, relief printing, lithography, intaglio, and/or serigraphy.
VAHSPRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Understands and applies media, techniques, processes, and technology in printmaking.
b. Writes reflections on work, idea generation, and skills progress.
f. Records artistic research.
g. Collects, develops, and preserves personal ideas and thoughts. h. Records inspirational images, words, thoughts, and ideas.
i. Maintains notes and class information.
j. Plans artwork. m. Identifies emerging personal, artistic voice.
VAHSPRPR.5 Develops, plans, and presents an appropriate portfolio of artwork for exhibition.
a. Self-evaluates progress and completes work using criteria such as composition, craftsmanship,
technical skill, meeting goals of work, and progress over time. c. Prepares own artwork to be exhibited in the classroom and school community.
d. Adds preparatory drawings and digital images of ceramic studies developed in this course to
portfolio begun in level one art.
ASSESSMENT AND REFLECTION: VAHSPRAR.1 Makes written and oral critiques of own works of art.
a. Reflects on the printmaking process (through journal-keeping, reflective writing, and discussion).
b. Reviews portfolio to identify growth over the course of the class, mastery of skills and techniques,
strongest works and what makes them strong, areas needing improvement, and effective communication of thoughts and ideas.
c. Self-evaluates in-progress and complete work using criteria such as composition, craftsmanship,
technical skill, meeting goals of work, and progress over time.
d. Sets high standards for craftsmanship and skill mastery in own artwork. e. Revises artwork based on input from the critique process.
CONNECTIONS VAHSPRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of printmaking.
a. Manages goals and time. b. Directs own learning.
e. Adapts to change.
f. Uses current technology as a tool.
VAHSPRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom. a. Discusses how study in art benefits one’s future as an avocation (making, collecting, volunteering);
in art-related careers; and in non-art careers and life skills (application of higher order thinking skills
valued by business such as tolerance for ambiguity, judgment in the absence of explicit rules,
finding structure in apparent disorder, etc.). b. Accesses resources such as museums, Internet, visiting artists, galleries, community arts
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 23 OF 26
organizations, and visual culture to research printmaking in the world around them.
c. Identifies various printmaking related careers and post-secondary options. d. Draws inspiration for artwork from the world and resources outside the traditional classroom.
UNIT RESOURCES:
Text: No text adopted at the time of writing
Power Points:
Refer to FCBOE Art Website
Suggested Books:
Tamarind Techniques for Fine Art Lithography, Marjorie Devon (ISBN: 0810972425)
Intaglio Printmaking: Printmaking Handbooks, Mychael Barratt (ISBN: 0713673885)
Intaglio: Acrylic-Resist etching, Collagraphy, Engraving, Drypoint, Mezzotint, Robert
Adam (ISBN: 0500286612)
Notan: The Dark-Light Principle of Design, Dorr Bothwell (ISBN: 048626856x)
The Printmaking Bible: The complete Guide to Materials and Techniques, Ann d’Arcy
Hughes (ISBN: 0811862283)
Complete Printmaker, John Ross (ISBN: 0029273722)
Printmaking: History and Process Donald Saff (ISBN: 0030856639)
Printmaking: A Contemporary Perspective, Paul Coldwell (ISBN: 1906155437)
Websites, all current as of March 2010:
www.artcyclopedia.com (research engine)
www.printeresting.org (anything print blog)
www.cannonballpress.com (reductive)
www.nobrow.net/nobrow-press (illustrative book arts)
www.yeehawindustries.com (letterpress and reductive)
www.tamarind.unm.edu (anything print)
www.drivebypress.com (reductive)
Suggested Videos/DVD’s:
All About Prints: 500 Years of Prints and Printmaking (2009) Director: Christopher Noey
Other:
Advanced Placement Studio Art Poster
Advanced Placement Studio Art Teacher Resource Materials
SUGGESTED INSTRUCTIONAL STRATEGIES:
Suggested Essential Question: What processes can be considered alternative in printmaking?
Suggested Unit Focus Questions:
VAHSPRMC.1: What is the creative process?
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 24 OF 26
VAHSPRCU.1: How can a printer show ideas and universal themes through alternative processes? VAHSPRPR.1: How can you use the Elements and Principles to help create a unified composition
and communicate meaning?
VAHSPRPR.2: What different media, techniques, processes, and technology do you need to create
prints with alternative processes?
VAHSPRPR.3: How can you create a print that reflects a concept, idea, or specific subject matter?
VAHSPRPR.4: How does a visual/verbal sketchbook journal help you to collect, develop, and
preserve ideas for printmaking?
VAHSPRPR.5: How do you prepare your artwork to be exhibited in class, or in the school?
VAHSPRAR.1: What can you learn from critiquing your own prints? VAHSPRC.2: Name some 21
st century life and work skills and habits of mind for success you have
learned through printmaking.
VAHSPRC.3: What are some ways you can use printmaking outside of the art classroom?
Suggested Artists References and Historical Correlations:
Historical Periods/Movements:
18th /19th/ 20th Century Printmakers
French/ Parisian graphic arts
Historical Artists:
Henri de Toulouse- Lautrec
Alphonse Mucha
Eduard Vuillard
Contemporary Artists:
Jasper Johns
Jill Marlar
Judy Pfaff
Lothar Osterburg
Suggested Visual and Verbal Journal Prompts and Activities
Personal research, reflection, aesthetic questions and idea generation should be emphasized
through students’ journal/sketchbook.
Research should include both contemporary and historic printmakers, styles, and
approaches to art.
Suggested Activities, Assignments and Projects:
Students should bring a portfolio of work and practice self-evaluation of working processes,
goal setting, and achievement, artwork and personal growth throughout the semester.
Some students may be ready to pursue a “mini-concentration” with prints, which explore an
ongoing theme or concept (see Advanced Placement Studio Art materials for additional
information on concentrations.)
Students should continue to study a broad range of art and develop skills in composition and
sensitivity to nuances of design.
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 25 OF 26
Display work for a formal critique and discuss alternative processes used.
Suggested lesson ideas:
Lithography: as stone lithography is not readily available, introduce students to plate
lithography using pronto plates and Xerox toner.
Plate lithography can be printed using sharpies on the plate, or even a greasy litho
crayon to draw on the plate.
Students may also be introduced to spray paint aquatint.
Print an intaglio plate to chin-colle paper
FULTON COUNTY BOARD OF EDUCATION PRINTMAKING II 26 OF 26
SAMPLE ASSESSMENTS: For all units
Suggested Types of Assessments:
Observation essays interviews
performance tasks exhibitions demonstrations
portfolios rubrics teacher created tests
self evaluation peer evaluation journals
criteria-based evaluations class critiques written art criticism
graphic organizers
Incorporate formative and summative self-assessment as an on-going part of all lessons/units.
Explicitly teach students how to self-assess processes and work. The goal is for students to grow
into independent learners and to monitor own journey to excellence.
Formative Assessments:
Use observations during class projects to make sure students are learning project
objectives
Set performance tasks for students to meet
Check journals for meaning and context
Mini-critiques
Semester portfolio self-evaluation based issues such as these: What is your strongest
work? Why? Area of greatest growth? Which print is most expressive of you as a
person? Why?
Summative Assessments:
Project rubric for grading color project, include a self-grading section
Rubric for grading journal assignments
Unit test over techniques and concepts learned