GOLD
SEAL
LESSON
Subject(s)
Visual Art
Printmaking
Printmakers to Printmaking: Relief Printmaking
K
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Rigor/Relevance
Framework
1
Grade Level 9-12
Instructional
Focus
Student
Learning
6
5
4
3
2
1
C
D
A
B
2 3 4 5
Application
Reading: Students read a variety of grade level materials, applying
strategies appropriate to various situations
Writing: Students write for a variety of purposes and audiences with
sophistication and complexity appropriate to the grade level.
Listening: Students listen for a variety of purposes appropriate to the
grade level.
Speaking: Students speak for a variety of purposes and audiences with
sophistication and complexity appropriate to the grade level.
Language Arts Integration: Students synthesize individual language
arts skills.
Students will:
 Examine linocut and woodcut prints to determine the
characteristics of a quality relief print and analyze effective
black to white ratios in the linocut/woodcuts of other artists.
 Participate in a linocut printing demonstration to understand
how to integrate the tools, materials and techniques to support
artistic purpose (language from standard) and what tools and
papers are suitable for relief printmaking.
 Create a relief print to communicate their opinion on a relevant
issue (language from standards)
 Revise their artwork based on artistic intent and using multiple
sources of critique and feedback (language from standard)
 Understand and appropriately use the vocabulary of the art form
 Examine and analyze the work of Emil Nolde and her influence
as a German Expressionist on relief printmaking. (Multicultural
Implementation)
 Critique work of others and provide feedback to others
 Write a reflective statement(s) about artistic intent used in a
personal relief print and how the feedback of others influenced
revision.
 Compare and contrast the relief prints of Nolde, Mock, and
Paone. (See resource attachment for the artwork examples)
1
Performance
Task
Overview
Students will examine linocuts and woodcuts to determine the
characteristics of a quality relief print; students will also participate in a
linocut printing demonstration. The students will make a linocut relief
print and do an edition series of prints. The disciplinary sources
employed include: art production, art scanning, and art history. The
disciplinary concepts include:
• Art Critics compare and contrast qualities within the artwork
• Artists make technical and aesthetic decisions as they work
• Artists develop skills in working with media
Description
1. Introduction- (PowerPoint)
Materials: Linocut tools, gouges, inks, linoleum rubber blocks,
newsprint paper, rollers (Brayers), plexiglass sheets (palettes)
Vocabulary: Printmaking (involves two aspects, the block and paper;
Relief Print, type of printmaking in which the carved out areas do not
print whereas the rest of the surface does; Registration Guide, a key that
contains paper size and lino block size and a guide that keeps each print
looking exactly the same.
Multicultural Implementation: Analyze the prints of Emil Nolde and
research relief prints from other historical/cultural period (such as work
from Monk and Paone) for composition and ratio of black and white in
the composition.
2. Assignment:
Create two original relief prints:
An edition of prints from a 4x6 inch block with the subject of either a
design using geometric or organic design. The edition will include three
prints plus one artist proof. The student will become comfortable with
tools, explore the carving possibilities and develop control for carving.
An edition of prints from an 8x10 inch block with the subject being
either a landscape or portrait. Forms should be recognizable.
Photographs can be used as reference. The edition will include five
prints plus one artist proof.
3. Steps in Relief Print Projects:
1. Sketch ideas and include them in sketchbook for both prints
2. Create an image on the block by drawing directly on the
linoleum
3. Carve the plate, remembering that whatever is carved away will
be white
4. Make a registration guide that will help reproduce accurate
replicas from the same block. (a. Rip down paper to finished
print size having it have a margins of at least one inch from the
block size, b. trace finished print size on a piece of newsprint,
trace block size on same newsprint c. trace block size, d. align
margins of the print, e. pull proof image)
5. Using the proof print, gather feedback from peers and
teacher. Record their feedback in your sketchbook and in a
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Essential
Skills
Scoring Guide
final reflection or in an artist statement explain how your
revisions after the proof print were based on your artistic
intent and the feedback from others.
6. Correct mistakes and add details.
7. Create final prints on good paper
8. Sign your work in the bottom corner, edition size, in the center
bottom, and title on the bottom left. Sign proofs “Proof”
9. Clean plate, tools and work area.
E15
Demonstrate ability to select and use appropriate technology or
media for presenting information to the target audience for the
specific purpose.
E6
Collect and focus thoughts about the writing activity
(brainstorming, listing, drafting, etc.).
Rubric see attached
Minnesota State Standards in Visual Arts
9.1.2.5.1.
1. Integrate the characteristics of the tools, materials, and techniques of a
selected media in original artworks to support artistic purposes.
9.2.1.5.1
1.Create a single, complex artwork or multiple artworks to express ideas
9.2.1.5.2.
2. Revise artworks based on artistic intent and using multiple sources of
critique and feedback
Submitted by: James Sullivan, Cambridge Isanti High School, [email protected]
Standards
.
3
Relief Print
Printmaking
DUE:
Assignment:
 Find a portrait-style photo with a strong composition, or generate your own picture with the
digital camera. Either draw or photo transfer your image on the linoleum block. Carve out your
block and print an edition of three prints.
Note: If you have other ideas, have them Okayed by me. Typically, your ideas will be more difficult
than the ones assigned in the projects. There will be no easy outs.
Criteria:
 Your photo must be of a person’s face.
 Sketches are to be done previous to carving in order to find the best composition.
 Your print should have a high degree of contrast. (70/30 or 60/40 black to white ratio)
 Your print should have a wide range of detail from large to small.
 Registration guide will be turned in with your best print.
 Finished print will be mounted on matt board.
Criteria
Composition
Craftsmanship of
Print
Effort/
Perseverance
Personal Voice
(Able to
communicate
intent)
(1) Needs Work
(2) Novice
(3) Intermediate
Photo is not
recognizable. Too
close up, or far
away. Lacking
necessary
features.
The photo is
recognizable. No
evidence of
generating a more
effective
composition.
Clean edges. Not
enough or too
much ink used to
capture all the
details. Slightly
textured.
Student has
sketches/
alternative ideas.
Print contains high
contrast, but
lacking in detail
Smooth inking.
Some spots turned
out better than
others. Lacking
consistent inking.
Finished project
could have been
improved with
more effort.
Student worked
hard and completed
project, lacking
finishing touches
Explored ideas of
communicating
intent. A bit
confusing.
Evidence of intent.
Could have been
clearer.
Finished print
used too much
ink; finger prints
around edges.
Highly textured
ink.
Project completed
with minimum
effort.
No evidence of
intent.
(4) Advanced
Exceptional
Composition. Strong
contrast, wide range
of detail.
Artwork was
beautifully and
patiently done.
Not a marking on the
print paper.
Gave more effort
than required of,
project as complete
as student could
make it.
Personal voice is
clearly
communicated.
Revision Evaluation
Exemplary- Revision in the final print were based on thorough, thoughtful consideration of the student’s
intent, the proof print and the feedback from critiques.
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Proficient- Revisions in the final print were based on complete consideration of the student’s intent, the
proof print and the feedback from critiques.
Novice- Revisions in the final print were based on mechanical or limited consideration of the student’s
intent, the proof print and the feedback from critiques
Emerging- Revisions in the final print were based on personal likes and dislikes; and/or lacks
consideration of the feedback from critiques
Skills Demonstrated:
Exemplary- Integrated uses of materials/tools/techniques are seamless and fluent in supporting the
student’s intent.
Proficient- Integrated uses of materials/tools/techniques are complete and accurate in supporting the
student’s intent.
Novice- Integrated use of materials/tools/techniques are selective/and or limited in supporting the
student’s intent.
Emerging- Integrated uses of materials/tools/techniques are inconsistent or inaccurate in supporting the
student’s intent.
Original artwork Criteria:
Exemplary- Original work demonstrates highly developed artistic wholeness, precise technical skills, and
expresses a multi-layered artistic idea.
Proficient- Original work demonstrates developed artistic wholeness, accurate technical skills, and
expresses a complete artistic idea.
Novice- Original work has a limited degree of artistic wholeness, mechanical technical skills, and
expresses a limited or incomplete artistic idea.
Emerging- Original work lacks artistic wholeness, demonstrates inconsistent or flawed technical skill and
lacks an artistic idea
5
Printmaking
Relief Unit
Grading Criteria Guide (1—4 Scale)
Student: _______________________________________________
Subject/ Theme: _________________________________________
______ Created an effective composition by generating high contrast, varied sizes, and creative
positioning of the subject matter.
______ Craftsmanship.
a) Clean print.
b) Consistent inking is evident
______ Effective use of class time.
______ Strong personal voice established, shown by:
a) Creative selection of subject matter.
b) Unique point of view established.
c) Effective communication of intent.
______ Total Points Achieved
6
CIHS-Art
Mr. Sullivan
Class: Printmaking
Block:
Objective:
Students will examine linocut and woodcut prints to determine the characteristics of a quality relief print;
students will also participate in a linocut printing demonstration.
Activity: Printmaking on linocut.
Disciplinary Sources Employed: Art Production, Art Scanning, and Art History
Disciplinary Concepts:



Art critics compare and contrast qualities within an artwork.
Artists make technical and aesthetic decisions as they work.
Artists develop skills in working with media.
Condition:
Students will make a linocut relief print, and do an edition series of prints.
Materials:
 Linocut tools
 Linoleum rubber blocks
 Newsprint paper
 Rollers
 Plexiglass sheets
Vocabulary:



Printmaking—Involves two aspects, the block and the paper.
Relief Print—type of printmaking in which the carved out areas do not print whereas the rest of
the surface does.
Registration Guide—a key that contains the Paper size and lino block size. Used to keep each
print looking exactly the same.
Multicultural Implementation:
Female German Expressionist artist, Emil Nolde, is featured as an exemplar of the relief print.
(Show PowerPoint to Introduce Relief Printmaking)
Demonstration:
Introduce materials—gouges, roller, ink, ink plate (Plexiglas plate).
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“The key to a successful relief print is high contrast in value. Let’s look at some examples.
1st step: Create an image on the block by drawing directly on the linoleum.
2nd step: Carve the plate. Remember whatever you carve away will be white.
3rd step: Make a registration guide. A registration guide will help you reproduce accurate replicas from
the same block. Two steps: (1) Rip down paper to finished print size. Finished print size has a margin
of at least one inch from your block size. (2) Trace finished print size on a piece of newsprint. Then,
trace block size on same newsprint. Align the margins of your print.
4th step: Pull a proof image. Use newsprint. This helps you develop a more interesting print; you can
correct mistakes, or add details.
5th step: Print on good paper. If printing multiple prints, there is no need to clean in-between prints.
7th step: Sign your work in the bottom right corner, edition size, in the center-bottom, and title on the
bottom left. Sign your proofs, “proof.”
8th step: Clean plate, tools, and work area. Leave your prints in drying rack over night.
Fun Option: Cut linoblock into shapes and print each shape with different colors, or patterns.
Assignment:
Create two original relief prints. Print an edition of three final prints plus one artist proof for the 4”X6”
block, and five final prints plus one artist proof for the 8”X10” block.
Evaluation:
Prints will be evaluated under the following criteria:
1. Degree of difficulty.
2. Creative Vision and carrying out original artwork.
3. Edition print of three final prints. Degree of sameness; Degree of difficulty.
4. Registration guide was used.
5. Basic: composition/ use of line/ shape/ color/ texture/tonal values.
6. Cleanliness of prints (the final prints—not the proofs).
7. Exploration—rewarded for trying new, and uncomfortable things.
8
Relief Print—Handout
Printmaking
Assignment:
Create two original relief prints (one on a 4”X 6” block, and one on a 8”X 10” block). Print an
edition of three final prints plus one artist proof for the 4”X6” block, and five final prints plus one artist
proof for the 8”X10” block.
 The 4”X 6” block: Create a geometric or organic design. Get used to the tools. Experiment
with carving capabilities and control.
 The 8”X 10” block: Create a landscape scene or portrait. Forms should be recognizable. Can
work from photo.
NOTE: See me if you have other ideas.
Steps: (Sketch ideas and include them in your sketchbook)
1st step: Create an image on the block by drawing directly on the linoleum.
2nd step: Carve the plate. Remember whatever you carve away will be white.
3rd step: Make a registration guide. A registration guide will help you reproduce accurate replicas from
the same block. Two steps: (1) Rip down paper to finished print size. Finished print size has a margin
of at least one inch from your block size. (2) Trace finished print size on a piece of newsprint. Then,
trace block size on same newsprint. Align the margins of your print.
4th step: Pull a proof image. Use newsprint. This helps you develop a more interesting print; you can
correct mistakes, or add details.
5th step: Print on good paper. If printing multiple prints, there is no need to clean in-between prints.
7th step: Sign your work in the bottom right corner, edition size, in the center-bottom, and title on the
bottom left. Sign your proofs, “proof.”
8th step: Clean plate, tools, and work area. Leave your prints in drying rack over night.
Prints will be evaluated under the following criteria:
1.
2.
3.
4.
5.
6.
7.
CRAFTSMANSHIP.
Creative Vision and carrying out original artwork.
Edition print of three/or five final prints. Degree of sameness; Degree of difficulty.
Registration guide was used.
Basic: composition/ use of line/ shape/ color/ texture/tonal values.
Cleanliness of prints (the final prints—not the proofs).
Exploration—rewarded for trying new and uncomfortable things.
Remember: Your image will print backwards!
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Emil
Nolde
Dr. P.
(Profile)
Woodcut
Richard Basil Mock
Insight Whisper II, 1985
Linocut, 26” X 30”
Peter Paone
The Garden,
1989
Linocut,
26” X 30”
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