Art Lesson Plan: Woodcut and Etching Prints

Woodcut and Etching Prints

Submitted by: Ken Schwab, formerly of Leigh High School, San Jose CA
Unit: Printmaking - Relief Print
Lesson Plan: Woodcut - Gallery of Prints
Grade Level: High school 9 through 12
Ken's Web Site:

http://www.artteacherplans.com/

Plexiglas Engraving Lesson by Jennifer Ievolo

PLEXIGLAS ENGRAVING PRINT LESSON BELOW

 

Objectives: student will

  • Create a wood block print with balance of light and dark

  • Register two color print

  • Exhibit craftsmanship in cutting block and printing

Materials:

Pine boards - Drawing Pencils. - Kneaded Rubber Erasers., Ultra-Fine Point Markers., Straight V Chisel. and U gouges. - Bench hooks (You can get a 11-piece Carving Tool Set. from Amazon if you are serious about wood carving)
Black and white water base Block Printing Inks. - colored ink - Brayers., Inking Plates., Palette Knives. -- Wooden spoons., Rice paper (Sumi). - Also see Japanese Rice Paper., Source of water.

Wood Carving Basics 2 DVD Set. - The projects shown here by master carver and teacher, David Sabol, give the viewer a wide sample of styles and techniques, including carving with a knife, relief carving, chip carving, bark carving, carving decoys and wildlife and power carving.

 

kenwoodcut03.jpg (20555 bytes) kenwoodcut010.jpg (22601 bytes)


kenwoodcut08.jpg (25764 bytes)

 

See Prints Gallery

 

Procedures:

1. Find a piece of wood that has no knots and a light grain.

2. With the size of the wood select a subject to print. You must stylize it down to the most important aspects of it. Make outlines for areas needed and include as much detail as you think you can, however we are using wood and the lines can be only so thin.

 

3. To help in this planning use a black felt tip marker on the wood after transferring the design to make all the lines thick enough to cut. Try to have some large areas of black to help in the composition and to create a strong value pattern.

 

4. In order to have two colors, put a piece of tracing paper over the wood and plan on areas that can have color or gray as a background to the black print. Transfer this to the back side of the wood. These are the same size because the it’s the same wood block.

 

5. Cut out the areas that are not blackened in because they will not print. This is a relief print so only the areas left on the wood will receive ink and print. Cut the color or gray side first. To cut out the wood use an X-acto knife to cut a small trough at the edge of a shape. With U or V gouges wiggle the gouge and push toward the edge along the grain. Stop at the trough and chip out the wood. Do not cut towards you and keep your hands behind the cutting area. We use bench vises.

 

6. Print the color or gray areas first, on a plate spread out some white and then black . Mix these together with a palette knife and smooth out with a brayer. Apply the ink with the brayer using on direction of strokes until an orange peel texture is seen on the surface of the wood. It will make a snapping sound when the ink is thick enough. Drop the paper onto the block and with the smooth side of a spoon press in circular motions until the print is completely smooth and all of the surface are printed. Remove the paper and let dry.

 

7. Cut the other side of the wood now and print it over the first one. Ink up the block and with a piece of board under the paper drop the block by lining up the edges. Drag the board out over the edge of the table and together turn it over, remove the board and print it like the first.

 

8. If they lined up it looks great if not print again.

 

9. Print an edition (determine suitable number) - sign correctly

 

10. Critique finished prints

 

Assessment: (sample rubric adapted from Marianne Galyk)

 

Assessment Rubric

Student Name:

Class Period:

Assignment: Woodcut Relief Print

Date Completed:

Circle the number in pencil that best shows how well you feel that you completed that criterion for the assignment.

Excellent

Good

Average

Needs Improvement

Rate Yourself

Teacher’s Rating

Criteria 1 – shows good balance of light and dark - strong composition composition

10

9 – 8

7

6 or less

Criteria 2 – registers two colors

10

9 – 8

7

6 or less

Criteria 3 – pulls prints of consistent quality - prints an edition - signs correctly

10

9 – 8

7

6 or less

Criteria 4 – Effort: took time to develop idea & complete project? (Didn’t rush.) Good use of class time?

10

9 – 8

7

6 or less

Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the art tools & media?

10

9 – 8

7

6 or less

Total: 50 x 2 = 100
(possible points)

Grade:

Your Total

Teacher Total

 

Student Comments:

Teacher Comments:

 


 

Submitted by: Ken Schwab, formerly of Leigh High School, San Jose CA
Unit: Printmaking - Intaglio Print
Lesson Plan: Dry-point Engraving
Grade Level: High school 9 through 12 (adaptable to middle school)

woodcut etching print

Materials:

Acrylic Sheets. - 1/8th to
1/4 inch (3 to 6.4 mm) thickness
400 grit wet/dry Sandpaper
Files.
Masking Tape.
Newsprint.
Drawing Pencils.
Dowel Rods. - Nails
Etching Inks.
Odorless Paint Thinner
Rives BFK paper.
Large tub for water
Felt. strips
Cheesecloth.
Printing Press.


Drypoint Print:

The simplest, most direct form of intaglio printing is the drypoint technique. This process is easily recognizable from the slightly fuzzy lines which it leaves on the paper. It is a method that results in an almost painterly quality. Drypoint printmaking involves the following stages. First, a design is scratched onto a... plate using a sharp, hard needle. This throws up a rough ridge or burr along the incised line. When the plate is inked, the printing ink collects in the grooves and on the burrs. When the print is transferred to paper, the typical fuzzy drypoint lines are left behind. (definition from Rijksmuseum)

 

Procedures:

1. Select the Plexiglas for the print. Use the flies and file down the edges to a 45 degree angle down to the base and round out the corners. Use some masking tape around the edges first to prevent scratches on the surface. Sand it down with 400 grit wet and dry sandpaper until it is shiny and has no lines or marks. This will prevent the plate from cutting the felt pad on the printing press.

 

2. Create your sketch of the subject on some newsprint and make a quick value study to show areas of light and dark.

 

3. Cut the newsprint to the size of the Plexiglas and tape the newsprint picture on to the Plexiglas on the bottom side.

4. Make a tool by hammering a small brad into a ½ inch dowel cut to 5 " in length. Cut off the tip and use the file to create a sharp point. This will be the engraving tool.

 

5. Scratch out lines using cross hatch style over the Plexiglas by looking through to the sketch underneath. Make sure the scratches are deep enough by listening for a sound of scratching on the surface. Do not scratch so much that the surface is completely gone. This will not print as this is an intaglio print and must have a line to keep the ink in. Dark areas still have some spaces of clean glass around them. Too deep can be a problem as well as the paper can not get down to the ink. Finish the scratching.

 

6. Soak a piece of Rives BFK paper. in a tub of water for at least 10 minutes. With a dauber made with rolled felt strips and taped down grab some etching ink and push the ink into the lines on the Plexiglas in a circular motion. Press very hard and get the ink down into the lines. With cheese cloth sections, wipe the ink off softly and gently in one direction change the surface area of the cheesecloth often to keep taking off ink. The flat surface of the Plexiglas will be nearly clean leaving the lines filled with ink. Use a crunched up wad of newsprint to lightly glance off the Plexiglas to take off some of the film. Using Q-tips will take out film in small areas.

 

7. Set the press up with a newsprint piece below followed by the plate then the paper (blotted to get all surface water off), and another sheet of newsprint. Cover with a thin felt blanket and move under the roller in the press. Set the pressure hard and evenly onto the plate and pass it through the press twice. Remove the print and WOW such a deal!

 

8. Sandwich the print in newsprint and leave it under some Drawing Boards. to dry (Or put between blotters). Change the paper every day and it will be flat. If you do not do this it will be wrinkled and unable to mat.

 

Extensions:

Add Chine Collé (See Magical Secrets About Chine Collé.). This paper (Tissue paper. work well) - cut to fit shapes of plate - or abstract. Here is the ArtLex definition for Chine Collé: A technique in printmaking in which an impression is made on a surface at the same time as its opposite side is adhered to a heavier support in the procedure. This process permits printing onto such delicate materials as rice paper and linen, allowing the plate to produce finer details in the printed image than would normally be possible. Once an adhesive (traditionally a solution of rice flour and water) has been applied to the reverse side of the lighter material, the heavier support (typically, such a heavyweight paper as is typically used in printmaking) is placed upon it. In applying the pressure of the press, the reverse side of the lighter material adheres to the support as an image is simultaneously printed onto its obverse side. (pr. sheen koh-lay)

From Judy: I have done chine collé with intaglio printing methods... I used Wheat Paste. as that is what I had on hand. Plate is inked up as usual. Lay cut (or torn shapes) on plate - sprinkle some wheat paste on the back side of the shapes. Carefully place on bed of press and place damp printing paper on top. Run through press - the collage paper will stick and image will be printed on the colored papers.

 

Engravings on a Budget - Use CD's

Nov 2000 Arts and Activities
A NEW SPIN CDs as printing plates: An article from: Arts & Activities

 


 

Submitted by: Jennifer Ievolo
UNIT: Printmaking - Drypoint Engraving
Lesson: Plexiglas Engraving - Illustrate a poem, quote or song lyrics
Grade Level: High School (adaptable to middle school)

 

woodcut etching print Objectives:

Students will understand the significance/importance of printmaking as an art form. Students will be able to identify the work of several printmakers. Students will know the terms and techniques of the printmaking process. Students will create their own prints using Plexiglas dry point engravings created from their original drawings based on a quote, song lyric, or poem.

 

Materials:

Visual aids/hand-outs
Quotes, literary, music references
Drawing Pencils. / Drawing Paper.
Inking Plates.
Wood Carving Tool Set. (tools can be made using small nails and dowel rods)
Sandpaper, Files.
Block Printing Inks.
Brayers.
Cheesecloth/small pieces of Mat board. / Newsprint. paper
Watercolor Paper. / Rives BFK paper. printing paper
Printing Press.
pan for water, blotters

 

Motivation:

Students will visit a museum (teacher selected --- based on available/ appropriate exhibits) to view prints/lithographs/etchings. After viewing examples, students will have the opportunity to observe authentic etching plates from the 1940’s & 50’s. (owned by Ms. Levolo--- Grandfather was a professional engraver) Teacher will facilitate a discussion and demonstration of the tools and the printing process.

 

Procedure:

a- Teacher will display printmaking tools and visual examples of prints to elicit observational discussions.

b- Students will be encouraged to draw connections between the tools and techniques used and the resulting printed image.

 

Essential Questions:
1 - What do you observe in the work? What details, shapes, lines and textures?
2 - How do you assume each of these works were created?
3 - What tools were used to create the various effects?
4 - What elements are present in the tools that indicate to you the type of print they will produce?

c- After observation and hypotheses, teacher will lead a discussion and review of the terms, tools and techniques of printmaking. (hand-out)

d- Teacher will emphasize drypoint engraving for this lesson. (Note: etching refers to acid method of making lines)

e- Students will choose a quote from a song or poem and create an original drawing based on the sentiment of the quote.

f- Teacher will demonstrate the engraving process and the proper use of the engraving tools.

g- Students will scratch/engrave their Acrylic Sheets. (Plexiglass is hard to find now) with the engraving tools by securing their original drawings under the Plexiglas.

h- After the drawing is engraved completely, students will sand the edges of the plates at a 45 degree angle and round the corners. (this will prevent the plate from tearing the paper when run through the press)

i- Teacher will demonstrate how to evenly distribute the Screen Printing Ink. on to the plate with the brayer.

j- Teacher will demonstrate how to clean the excess ink off the surface of the plate.
1- using a small piece of mat board, scrape the excess ink off the plate while pushing
the ink into the scratched lines.
2- Using Cheesecloth, in a circular motion, remove the excess ink.
3- Remove the remaining ink from the surface of the plate with newsprint.
4- Clean the edges of the plate with a wet Q-Tip.

k- During the cleaning process, student should be soaking a piece of Rives BFK paper. printing paper in water for 10 minutes.

l- After a demonstration of how to use the printing press, students will blot their paper to remove excess water.

m- Students will place the plate on the surface of the press bed, the paper on top of the plate, in between sheets of newsprint. All items will be covered with Felt. and run through the press.

n- The finished print should be lifted off the plate carefully and put aside to dry.

o- Students will be encouraged to produce an edition and number prints correctly.

 

Vocabulary:

Printmaking
Lithography
Monoprint
Silkscreen printing
Woodcut/Wood engraving
Brayer
Lino-cut Edition
Intaglio
Chine Collé
Engraving
Etching
Drypoint
Mezzotint
Aqua-tint
Stipple

 

Closure:

The critique process will serve as closure to this unit and will be divided into several stages. The first critique will be an assessment of the original drawings/designs. The second critique will be an assessment of the etching plate, and the final critique will be an assessment and discussion of the edition of prints.

 

Assessment: Rubric adapted from Marianne Galyk

 

Assessment Rubric

Student Name:

Class Period:

Assignment: Dry Point Engraving Print

Date Completed:

Circle the number in pencil that best shows how well you feel that you completed that criterion for the assignment.

Excellent

Good

Average

Needs Improvement

Rate Yourself

Teacher’s Rating

Criteria 1 – drawing for print - illustrating poem, quote or song lyrics

10

9 – 8

7

6 or less

Criteria 2 – engraving of plate - cross hatching/textures to show range of values

10

9 – 8

7

6 or less

Criteria 3 – pulls prints of consistent quality - prints an edition - signs correctly

10

9 – 8

7

6 or less

Criteria 4 – Effort: took time to develop idea & complete project? (Didn’t rush.) Good use of class time?

10

9 – 8

7

6 or less

Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the art tools & media?

10

9 – 8

7

6 or less

Total: 50 x 2 = 100
(possible points)

Grade:

Your Total

Teacher Total

 

Student Comments:

 

Teacher Comments:

 

 


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