ERIC ED390750: Spoon Printing Lithography: A Printmaking Experience for Elementary Students. AMACO[R] Lesson.

5 Pages·1994·0.17 MB·English

by  ERIC

DOCUMENT RESUME
SO 025 610
ED 390 750
Gamble, Harriet; Gamble, David
AUTHOR
Spoon Printing Lithography: A Printmaking Experience
TITLE
for Elementary Students. Amaco Lesson #3.
American Art Clay Co., Inc. Indianapolis, IN.
INSTITUTION
PUB DATE
(94]
5p.; For other lessons in this series, see SO 025
NOTE
611-614.
American Art Clay Co., Inc., 4717 W. 16th St.,
AVAILABLE FROM
Indianapolis, IN 46222.
Teaching Guides (For
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*Art Activit'ies; *Art Education; Art History;
DESCRIPTORS
Creative Expression; Elementary Education; Graphic
Arts; *Printmaking
ABSTRACT
This lesson resource focuses on simple elements of
design and composition and encourages uses of a variety of drawing
techniques in the production of a one-color lithograph print.
Materials suggested for use are simple and commercially available.
The lesson incorporates a brief historic overview of the printmaking
art. The prints of famous artists are to be used as inspiration and
motivation for personal expression. This plan includes: lesson goals
and objectives; background preparation; a glossary of terms; a list
of supplies; optional supplies; and instructions for implementation
of two lessons. Additional suggestions provide technical and cleanup
tips. Follow-up ideas are given for lesson extension.
(MM)
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Spoon Printing Lithography
A Printmaking Experience for Elementary Students
Elementary students can learn the lithographic
printmaking process safely and easily without
using printing presses or dangerous tools and
of paper
chemicals. With Litho-Sketch
, a system
plate lithography that is safe for children to use,
and a wooden spoon, elementary art teachers
are able to offer even their youngest students the
opportunity to explore an important, sophisti-
cated art technique that is normally never avail-
able to this age group. This simple, easy-to-teach
lesson combines important background art his-
tory and appreciation material and basic ele-
ments of design and composition with an excit-
ing, engaging hands-on art experience. In addi-
tion, the lesson can be taught successfully in two
50-minute classes with results that will make both
teacher and students proud.
2
BEST COPY AVAILABLE
Lesson spa Is
the alteration or blurring of
Distortion
the natural shape, form, or surface.
and obiectives:
Lithography the art of printing from a flat
stone or metal plate. The design which is
1. Students will create one-color (black)
to be printed is put on the surface with a
ographic prints of a design or draw-
nk
medium to which ink will adhere and the
ing of their choice.
blank areas are treated with a medium
that repels the ink.
2. The lesson will incorporate art history,
aesthetics, criticism, and personal ex-
Master
the term for the paper plate on
pression.
which the original design is drawn.
The lesson will focus on simple ele-
3.
Negative space
unoccupied or empty
ments of design and composition and
spaces in a drawing or composition.
will teach a variety of drawing tech-
niques.
Plate the treated lithographic surface on
which the original design is drawn (metal
plate or paper plate).
-
Background and
Plate solution a special product used
Preparation:
with paper plate lithography that allows
to understand the process. Also, create
the printing ink to adhere to the drawing
several final prints in the exact size stu-
and repels ink from the rest of the plate.
dents will be using as additional ex-
1. Teacher should present a ve, y brief,
simplified historical overview of
amples. Before students begin work, dem-
Positive space definite forms and shapes
printmaking in general, and lithography
onstrate the steps from beginning to end.
in a drawing or composition.
in particular. Explain to students that
This will also help make the total process
lithography is a type of art that was first
more understandable for young students.
Printing ink special inks used for making
discovr.red in the late 1700's when it was
prints.
4. Explain to students that the printed
found that stone tablets treated with spe-
cial chemicals could be used to print
image will be the reverse or mirror image
Printmaking the art of making prints; an
images on paper. Many artists and print-
of what is drawn
what is drawn on the
art form that uses a graphic medium
ers worked on developing this process,
right will appear on the left, that numbers
(etching, engraving, lithography, wood-
improving it over the next hundred years.
and letters will be backwards. If students
cutting, silk screening, block printing, etc.).
One of the most famous lithographers
want numbers or letters in their drawings
was Toulouse Lautrec who created very
they must draw them in reverse for them
to darken certain areas of a
Shade
posters in the late
exciting, colorful
to print correctly. For young students this
picture to show shadows or the absence of
concept is both difficult to understand
1800's. Paper plate lithography was first
light.
and to execute, and it is often wise to
developed in the late 1930's, and through
advanced technology, has progressed to
discourawa 'heir using numbers or letters
the quality available today.
in their drowiligs.
2. Show students as many examples of
prints and printmaking techniques by
famous artists as available
Toulouse
Glossary:
Lautrec, DUrer, Escher, and Munch,
among others. Show examples of prints
by Oriental masters and,
if possible,
a roller used to apply printing
Brayer
show original prints created by local
ink to the master.
artists. Discuss how prints are different
the putting together of differ-
from other types of art, such as painting,
Contrast
sculpture, and photography. Ask stu-
ent elements in a work of art, such as light
dents to share their ideas about what
and dark, positive and negative space,
they like and don't like about the prints
etc.
they see and how some of the prints make
them feel.
creating tonal or shad-
Cross hatching
3
ing effects by applying closely spaced
3. Prepare examples of each stage of the
parallel lines drawn in cne direction and
process to share with stu-
then drawing another group of lines that
Litho-Sketch
dents. These examples will help students
cross the first at an angle.
2
the children to v ork with and more ezo-
Supplies:
nomical for the teacher.
Products:
Litho-Sketch
After providing background informa-
2.
Paper Masters:
tion and giving the students a demonstra-
4" x 6" (Catalog # 12307G)
tion, have students, using a ruler, draw a
11" x 14" (Catalog #12304D)
15" x 20" (Catalog #12305E)
one inch frame or border on the practice
22" x 30" (Catalog #12316S)
paper. If the size you are using is 6" by 8",
25" x 36" (Catalog #12306F)
this border reduces the drawing space to
Plate Solution (Catalog #12308H)
5" by 7". This border provides handling
black (Catalog #12328G)
inks
space when working on the paper master
Reproducing crayons
and prevents running the brayer to close to
(Catalog #12338T)
the edge when printing, thus getting ink on
Rubber Brayer
(Catalog #12331K)
the work space.
6" Polyetherene Brayer
(Catalog #12330J)
Cotton Pads (Catalog #12302B)
pencil drawing is done lightly on the mas-
Flat bowl wooden spoons
(Catalog #12339V)
ter, it will not effect the print.
glazed ceramic tile
Inking slab
(Catalog #113395)
Using black fine point or ultra fine
7.
Mineral spirits (Catalog #63539N)
point Sharpie Permanent Markers or black
Black Sharpie markers
crayons, the students should go over their
Pencils
drawings on the master, working on shad-
Rulers
ing and colnring in areas in black.
Newspaper
ask*
Plain paper to use for practice drawings
Printing paper
Set up a printing station where the
8.
students can bring their masters when their
drawings are complete. Depending on the
age of the students, the time allotted, and
Optional Supplies:
the judgment of the teacher, either the
students themselves or the teacher can per-
Gum Solution (Catalog #12310K)
form steps #8 and #9. The masters are de-
Talk to students about contrast and
3.
Hand Soap (Catalog #12315R)
sensitized with Litho-Sketch. Plate Solution.
positive and negative space in a drawing
Brush Flush' (a new non-toxic cleaner for
The plate solution bonds the drawing to the
oil-based inks, Catalog #12343A)
and explain their importance in a black
master and allows ink to adhere only to the
and white print. Show how to use shad-
drawing part of the plate. This solution must
ing una cross hatching effectively. Em-
be applied before each inking with a cotton
phasize the concept that the drawn im-
wipe.
age will appear in reverse on the finished
print. Urge students to keep their draw-
Black ink is rolled onto the brayer. A
9.
ings simple, but that they should fill up the
plain white glazed tile makes a perfect
entire drawing space.
inking slab. The black ink is applied with
the brayer to the master.
Second Lesson
Be sure students have created a de-
4.
10. Without touching the ink, the students
sign or drawing with which they are
take their inked masters back to a newspa-
satisfied. Give them Litho-Sketch Mas-
per covered table. A piece of plain, smooth
ters. Again instruct them to draw the one
white paper is placed over the inked mas-
inch border in pencil and reminded never
ter. Using the flat bowl of a wooden spoon,
to put their fingers or hands on the mas-
the students should carefully rub over the
ter. The oils and dirt on fingers will mark
paper. They need to apply pressure, and
the master and appear on final prints.
they need to go over the image many times
Instructions:
to effect the transfer. Remind students that
To hold the master while drawing
they must not move or remove the paper
5.
First lesson
and to protect it, the students should place
from the master if they wish to avoid blur-
a clean scrap paper between their fingers
ring and distortion.
Have the Litho-Sketch Masters and
1,
and the master.
the practice and printing papers cut to the
11. Many first prints will be outstanding,
exact same size. Although masters are
but quality will improve with subsequent
available in a variety of large sizes,
Instruct the students to transfer their
6.
inkings and prints.
pencil drawings lightly to the master. If the
cutting them to a smaller size is easier for
3
4
Additional
soap or a new non-toxic cleaner called
be matted and framed and used as holiday
Both will safely remove ink
or Mother's Day gifts. Holiday or note
Brush Flush`
Suggestions:
.
from the brayer, the inking slab, and
cards can also be made. Drawings can be
hands. Mineral spirits on cotton pads can
printed on one half of good quality, heavier
To prevent the blurring or distortion of
also be used. Throw away all cotton pads
weight paper that is twice the size of the
1
.
the printed image, instruct students to hold
and newspaper when finished.
master. The paper can then be folded in
the paper on the master very securely and
half to create the cord. If each child draws
to not let the printing paper move or slip. If
Prints that are completely dry can be
7.
a scene from around the school, one card
colored with color pencils, crayons, or
students want to check to see if the image
from each student in the class can be put
is printing clearly, show them how to hold
water colors, if desired.
together to make a collection of note cards
paper tightly against the master and to lift
as a gift to the principal or classroom
carefully one corner to check printing
teacher. For more information on paper
progress. Urge students not to check too
Follow-up Ideas:
plate lithography and additional ideas for
often or too soon, as this invites slippage
using Litho-Sketch'
send for a completely
,
and consequent blurring.
illustrated litho-Sketch instruction manual
These prints will certainly attract attention.
from American Art Clay Co., Inc., 4717W.
Display them in the art room, in showcases,
Excessive pkite solution on the mas-
2.
Sixteenth Street, Indianapolis, IN 46222.
and on walls around the school. P-nts can
ter can be transferred to the printing
paper causing a slight yellowing. Allow
the plate solution to evaporate after ink-
ing the master and before printing.
3.
If you wish to save the master (a week
or more) For future printing, print the ink off
the master by using scrap paper and
rubbing it with the spoon. Do this several
times until no ink appears on the scrap
paper. Then apply a coat of gum solution
with a cotton pad or sponge to the entire
plate. The gum solution will allow the plate
to be stored and will come off when the
master is de-sensitized with plate solution.
To prevent smearing of the final
4.
prints, be sure to put prints in a clean,
safe place to dry. Because Litho-Sketch.
ink is AP Non-Toxic, it does not contain
the ingredients that promote speedy dry-
ing. The prints will dry slowly in approxi-
mately two to three days.
The number of prints from a Litho-
5.
Sketch Master' will vary depending on
the detail in the drawing and the drawing
materials used. Approximately 1 0 to 20
prints can be expected from each master.
6.
Clean up can be fast and easy. Much
of the ink on the brayer can be removed
by rolling it on newspaper. The remain-
der can be removed with a special hand
Examples of filished prints are by art students from Mary Adams Elementary School, Indianapolis, Indiana, Joe Rohrman, Art Teacher.
This is one lesson in a series of art plans for elementary and secondary programs using American Art Clay Co
products Successful lessons will be considered
, Inc
for future publication
Send your ideas and slides to David Gamble, Notional Marketing Director, American Art Clay Co, Inc
{IWO
5
American Art Clay Co., Inc.
4717 West Sixteenth Street
Indianapolis, Indiana 46222
[phone]
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