LESSON 1- Intro to Printmaking, Sound Inspired Monoprints, water based felt pens on transparencies transfered to drawing paper
Project Examples: Karissa Ferrell (2011) waterbased felt pen transfered to drawing paper using transparencies
Description:
This lesson introduces students to the general techniques and processes of printmaking and teaches them the rules and guidelines of the course. As well students will be introduced to the semester long theme: “A Sensory Translation of Place.” Each student will have the chance to experiment with the sensory translation of sound into visual expression (i.e. color, line, shape, pattern, etc.) using basic monoprinting techniques.
Objectives:
Artists' Examples of Sensory Trasnlations of Place -“Objective” & "Subjective" Reality: (see slideshow at bottom of page)
- Ansel Adams, (Photography)
- Casper D. Friedrich, Monk by the Sea, Wonderer Above the Sea of Mist, Wreck of the Hope
- Umberto Boccioni, States of Mind: The Farewells
- Giorgio de Chirico, Metaphysical Interior with the Piazza d’Italia, Philosopher’s Conquest
- Rembrandt, The Storm on the Sea of Galilee
- Fred Mershimer, Eye of the Storm
- Kathleen Rabel, Smoke Shadows
- Julie Mehretu
- Pamela Smith Hudson
- Ding Mou, Vale
- Oldrich Kulhanek, Interregation
- Kevin Fletcher, Varioations on an Industrial Epoch no. 5
Defining Terms:
Objective- of or pertaining to something that can be known; existing independent of thought or an observer as part of reality. Not
influenced by personal feelings, interpretations, or prejudice; based on facts; unbiased. An objective artist is intent on capturing
external things exactly as they appear.
Subjective- pertaining to or characteristic of an individual, existing in the mind; belonging to the thinking rather than to the object of
thought. A subjective artist will place excessive emphasis on his/her own moods, attitudes, opinions, which may distort or
interfere with the subject depicted. Relating to properties or specific conditions of the mind as distinguished from general or
universal experience.
Translation- the rendering of something into another language or into one's own from another language; a change or conversion to
another form, appearance, etc.
Non-representational Art- not resembling or portraying any object in physical nature.
Monoprint or Monotype- the only print made from a metal or glass plate on which a picture is painted in oil color, printing ink, or the
like. Biology: the only type of its group, as a single species constituting a genus.
Synesthesia- a sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain
sound induces the visualization of a certain color.
Materials and Preparations:
Procedures: (5 days)
(DAY 1)
· How do artist use their senses?
· What can we learn and know about the world around us using each of our five senses: sight, sound, touch, taste, smell?
· Is art always about communicating a message?
· How does an abstract or non-representational painting such as, Kandinsky’s Improvisation #8, inform his viewers?- What can we
learn from looking at a painting like this?
3. Teacher will introduce the “Big Ideas for the semester using a few slide examples that address: place, the senses, observation,
translation, non-representational art and subjective experience. - (Powerpoint provided below)
(DAY 3-4)
2. Teacher will pass out supplies (shared in groups of 4-5), and then he/she will play a series of sound clips and instruct the students to create their own monoprint interpretations of each sound. Wet prints should be stored on drying racks.
(DAY 5)
Closure:
Teacher will pass back dry prints and students will have a chance to see the experimentations and combinations of their classmates. Teacher will lead the class in a discussion/reflection looking for similarities between the way individuals have used colors, shapes, patterns, lines, etc.) Teacher will explain how this activity/experience can be foundational research for a larger body of artwork and how the experience of sensory translation is the foundation for many artists’ work.
Guiding questions may include:
- Did you find any of the sounds or monoprinting techniques difficult or challenging?
- What did you observe that surprised you?
- Did you make any connections or see new relationships between how you and your peer’s worked on this activity?
- What was the value for you doing this activity?
- How does this activity relate to the unit theme, “A Sensory Translation of Place?”
- Which of your peer’s work do you find the most visually interesting and why?
Assessments:
Extensions:
Students can work back into their dry monoprints using various materials. Cutting the image into quarters creating small works with a “readymade” ground in which to do a small drawing, folding prints into a “one page book” then creating a story related to the sounds, trading prints with another student and altering or intervening onto their prints are a few ideas to get students started. Students could also look up various artists who have used sound as a starting point for their works: Wassily Kandinsky, E.E. Cummings, Adolph Gottlieb, John Cage, etc. These artists will be introduced further in Lesson 5: Soundscapes and Rhythm.
This lesson introduces students to the general techniques and processes of printmaking and teaches them the rules and guidelines of the course. As well students will be introduced to the semester long theme: “A Sensory Translation of Place.” Each student will have the chance to experiment with the sensory translation of sound into visual expression (i.e. color, line, shape, pattern, etc.) using basic monoprinting techniques.
Objectives:
- Students will understand basic categories of printmaking techniques: Stamping, Collograph, Frottage, Relief, Photocopy Transfer, Silkscreen and Intaglio.
- Students will learn and be responsible for the class expectations and guidelines, as well as assessment and grading policies.
- Students will experience and explore a variety of methods of artistic translation and mark making as a record of their perceptions and observations of sound.
- Students will open their minds to various possibilities and be inspired by their senses and the world around them.
Artists' Examples of Sensory Trasnlations of Place -“Objective” & "Subjective" Reality: (see slideshow at bottom of page)
- Ansel Adams, (Photography)
- Casper D. Friedrich, Monk by the Sea, Wonderer Above the Sea of Mist, Wreck of the Hope
- Umberto Boccioni, States of Mind: The Farewells
- Giorgio de Chirico, Metaphysical Interior with the Piazza d’Italia, Philosopher’s Conquest
- Rembrandt, The Storm on the Sea of Galilee
- Fred Mershimer, Eye of the Storm
- Kathleen Rabel, Smoke Shadows
- Julie Mehretu
- Pamela Smith Hudson
- Ding Mou, Vale
- Oldrich Kulhanek, Interregation
- Kevin Fletcher, Varioations on an Industrial Epoch no. 5
Defining Terms:
Objective- of or pertaining to something that can be known; existing independent of thought or an observer as part of reality. Not
influenced by personal feelings, interpretations, or prejudice; based on facts; unbiased. An objective artist is intent on capturing
external things exactly as they appear.
Subjective- pertaining to or characteristic of an individual, existing in the mind; belonging to the thinking rather than to the object of
thought. A subjective artist will place excessive emphasis on his/her own moods, attitudes, opinions, which may distort or
interfere with the subject depicted. Relating to properties or specific conditions of the mind as distinguished from general or
universal experience.
Translation- the rendering of something into another language or into one's own from another language; a change or conversion to
another form, appearance, etc.
Non-representational Art- not resembling or portraying any object in physical nature.
Monoprint or Monotype- the only print made from a metal or glass plate on which a picture is painted in oil color, printing ink, or the
like. Biology: the only type of its group, as a single species constituting a genus.
Synesthesia- a sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain
sound induces the visualization of a certain color.
Materials and Preparations:
- Handout: Printmaking Syllabus & Course Contract
- Water soluble markers
- Drawing paper (white 80-100lb) 8.5x11 or 9x12- 4-6 sheets per student, have them write their name on each before they begin printing.
- Transparencies (re-usable per period)- at least one per student
- Spray bottle with water
- Paper towels or cloth for blotting
- Variety of music/sound clips- played streaming from websites (Sample sites provided below)
- Brayer or Baren for applying pressure to transferring the image
- Simple green or other cleaning solution
- (Optional) ELMO for projecting mark making and monoprinting demonstrations
Procedures: (5 days)
(DAY 1)
- Teacher will pass out the Syllabus and Course Contract to each student. Teacher will go through the information point by point, showing examples of each process and answering questions throughout.
- Teacher will also address general procedures for the course, give a tour of the classroom, assign a seating chart, assign clean up duties, discuss supplies, and give some historical background of printmaking.
- Teacher will assign seats and give a general tour of the equipment in the classroom before introducing the first technique.
- In small groups students will brainstorm responses to the following questions leading students to consider the theme of the semester.
· How do artist use their senses?
· What can we learn and know about the world around us using each of our five senses: sight, sound, touch, taste, smell?
· Is art always about communicating a message?
· How does an abstract or non-representational painting such as, Kandinsky’s Improvisation #8, inform his viewers?- What can we
learn from looking at a painting like this?
3. Teacher will introduce the “Big Ideas for the semester using a few slide examples that address: place, the senses, observation,
translation, non-representational art and subjective experience. - (Powerpoint provided below)
(DAY 3-4)
- The teacher will demonstrate (using an ELMO if possible) the basic monoprinting techniques that students will use in the following activity.
- Students will hear a sound and associate that sound with a color and a sense of rhythmic vibration creating a pattern, shape or line on their transparency. Students can change colors and work one layer on top of another until the end of that sound (1-2 minutes)
- To make their monoprint students will wet and blot their paper (using plugged sink, bucket or spray bottle, and towels) then placing the damp paper on top of the inky side of the transparency, students will rub a baren or brayer on the back of the paper. The pressure will transfer the ink onto the paper creating a replica (reverse) of their design.
- Students will continue with the next sound and continue to experiment with different printing techniques. Student can work directly on the desks, wetting the ink and then pressing the paper, or experiment with different wetness of paper or do the drawing on the paper and then wet it. All variations of these techniques are encouraged.
2. Teacher will pass out supplies (shared in groups of 4-5), and then he/she will play a series of sound clips and instruct the students to create their own monoprint interpretations of each sound. Wet prints should be stored on drying racks.
(DAY 5)
Closure:
Teacher will pass back dry prints and students will have a chance to see the experimentations and combinations of their classmates. Teacher will lead the class in a discussion/reflection looking for similarities between the way individuals have used colors, shapes, patterns, lines, etc.) Teacher will explain how this activity/experience can be foundational research for a larger body of artwork and how the experience of sensory translation is the foundation for many artists’ work.
Guiding questions may include:
- Did you find any of the sounds or monoprinting techniques difficult or challenging?
- What did you observe that surprised you?
- Did you make any connections or see new relationships between how you and your peer’s worked on this activity?
- What was the value for you doing this activity?
- How does this activity relate to the unit theme, “A Sensory Translation of Place?”
- Which of your peer’s work do you find the most visually interesting and why?
Assessments:
- Formative Assessment: The teacher will monitor students’ experience with the activity to make sure they are staying on track and trying new techniques
- Summative Assessment: Students will earn up to 10 points mainly for their willingness to explore the material and create at least 4 prints. The post-activity discussion and sharing time will provided feedback on the student’s understanding, students who actively participate in both the activities and the discussion should receive full credit.
Extensions:
Students can work back into their dry monoprints using various materials. Cutting the image into quarters creating small works with a “readymade” ground in which to do a small drawing, folding prints into a “one page book” then creating a story related to the sounds, trading prints with another student and altering or intervening onto their prints are a few ideas to get students started. Students could also look up various artists who have used sound as a starting point for their works: Wassily Kandinsky, E.E. Cummings, Adolph Gottlieb, John Cage, etc. These artists will be introduced further in Lesson 5: Soundscapes and Rhythm.
Audio Clip Sites:
- The Nature Sounds MP3 Downloads: http://nature-downloads.naturesounds.ca/ (3 second preview clips)
- Free Loops.com: http://free-loops.com/
- Dolphin Sounds: http://www.everythingdolphins.com/SoundsPG.htm
Click to Download Printmaking
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printmaking_syllabus.pdf | |
File Size: | 1536 kb |
File Type: |
sensory_translation_of_place.ppt | |
File Size: | 5963 kb |
File Type: | ppt |