☞
Pages 2–3
NOTE: Turn to page 4 for a multiple-choice comprehension quiz about printmaking.
Art News + Notes
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History/cultures
Show of Hands Guido Daniele
lives and works in Milan, Italy. One of his
specialties is using an airbrush to create
hyper-realistic illustrations. • At first
glance, is it easy to tell that Daniele’s
“handimals” are actually painted
hands? What makes them so realistic?
Chuck Bucks Mark Wagner has
also created art from clothing tags and
labels. • What kind of statement might
Mark Wagner be making by destroying
money to create art?
Pencil This In! Dalton Ghetti, a
professional carpenter, does not sell his
pencil sculptures. Instead, he gives them
away to friends. • What everyday object
would you choose to turn into unusual
artwork? How would you do it?
Pages 4-5
extreme etching
with chuck close
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History/cultures
Background
• A helpful trick for students learning
the definition of intaglio printing is
to remember that when making an
“in”taglio print, the ink is “in” the plate.
• Some of the earliest etchings were
produced in Germany and Italy in the
early 16th century. The original etching
plates were made of iron.
• Etching flourished in the Netherlands in
the 17th century, especially in the work
of Rembrandt (1606–1669).
Discussion
• For what type of art is Chuck Close
best known? (gigantic paintings and
prints of human faces)
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• Why is Close’s print considered an
“extreme” intaglio print? (Most intaglio
prints feature fewer than six colors.
However, Close used 12 colors to make
this print. He had to find a way to keep
the paper from breaking down.)
• Why do you think Close is interested
in showing how his prints are made?
(Answers will vary.)
Page 8–9
stencil printing,
chuck close style
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History/cultures
Background
Standards: 2. Structures/functions;
3. Symbols/ideas; 4. History/cultures
• Silk-screen printing originated in
China around 960–1279 a.d. It arrived in
Europe during the 18th century.
• During the 1960s, American artist
Andy Warhol became famous for his
silkscreen prints of Campbell’s soup
cans and other pop-culture images.
Background
Discussion
Pages 6–7
WHAT A RELIEF PRINT!
• The earliest known woodblock prints,
created in China during the Han dynasty
(206 b.c.–220 a.d.), were images of
flowers printed on silk.
• The Lucas print is a European
woodblock print, a technique done
using a thick, oil-based ink. The print is
similar in character to an oil painting.
• Lucas Samaras, whose portrait
appears on pages 6–7, is a Greek
sculptor and photographer who
immigrated to the U.S. in 1959.
Discussion
• What is a relief print? (In a relief print,
the ink is on a raised surface; the area
beneath that surface does not print.)
• What is the woodblock print of Lucas
Samaras based on? (The print is based
on an original oil portrait of Samaras
painted by Chuck Close.)
• How did Karl Hecksher create the
woodblock used to print the portrait
on page 7? (Hecksher carved several
smaller blocks that fit together like
jigsaw puzzle pieces.)
• What did this allow the artist to
do? (It enabled him to ink the blocks
separately; this allowed him to build
layers of color and capture the
characteristics of the original painting.)
• Compare Close’s painting with the
woodblock print. In what ways are
they alike? In what ways are they
different? (Answers will vary.)
• How is a silk-screen print created?
(Ink is forced onto the printing surface
through a tightly stretched mesh
screen.)
• How is the screen made into a
stencil? (The areas of the screen that
are not to be printed are coated with a
sealer that prevents the ink from going
through.)
• What served as the ink for the selfportrait of Chuck Close on page 9?
(wet pulp paper)
• Why do you think the tactile aspects
of making art—like squishing things
with his fingers—are important to
Close? (Answers will vary.)
Page 12
DEBATE: MUST
ARTISTS MAKE
THEIR OWN ART?
Standards: 2. Structures/functions;
3. Symbols/ideas
Background
• Students can vote on this debate
topic and post comments about
their opinions on our web site:
scholastic.com/art
Discussion
• Is it “cheating” for an artist to have
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3710, Jefferson City, MO 65102-3710 or call our toll free number 1-800-387-1437 ext 99. Communications relating to editorial matter should be addressed to Margaret Howlett, Scholastic Art, 557 Broadway, New
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teacher’s edition • december 2010/january 2011
assistants do the actual assembly or
creation of his or her artworks? Why
or why not? (Answers will vary.)
Page 13
CARVING OUT A STORY
visually. Red and blue appear to vibrate
when placed next to each other; this
lends the work emotional intensity.)
• Do you agree with Boya’s idea that
technology affects our personal
relationships? Why or why not?
(Answers will vary.)
Standards: 2. Structures/functions;
3. Symbols/ideas
Page 16
Discussion
MAKING
WEARABLE ART
• Why did Boya Sun use red and blue in
her linoleum print? (Red and blue are
the colors of 3-D glasses, Boya chose
these colors so the images would “pop”
workshop Lesson Plan
Create a Series of Monoprints
OBJECTIVE: Students will create a
series of monoprint and mixed-media
monoprint portraits.
TIME: Up to 12 hours
VOCABULARY: burnish, ghost
print, monoprint, negative space,
proportion, reverse, sgraffito,
subtractive, viscosity, visual texture
PROCEDURE
Assignment Overview &
Preparation (1 hour)
1. Explain the monoprint process:
The most painterly technique in
printmaking, a monoprint is a non
edition kind of print. It is essentially
a printed painting. This printmaking
technique combines printmaking,
painting, and drawing mediums.
2. To practice contour-drawing skills,
proportion, and placement of facial
features, have students complete one
15-minute pencil blind contour and
one 30-minute ink contour drawing of
the face, neck, and shoulders.
Ink Your Printing Plate (1 hour)
1. Students will create portraits of
a partner. Before they begin, do one
demonstration print for the class.
2. Have students select appropriatesize paintbrushes. Use the palette to
mix water into the paint/ink. The ratio
of water to ink depends on paint/ink
viscosity, type and weight of paper,
humidity, and room temperature. Be
careful not to use too much water.
• What does Kevin Sherry say are the
advantages and disadvantages of
owning a T-shirt design business?
(Advantages: being his own boss,
making art as a career. Disadvantages:
long hours, hard work)
• Would you enjoy owning your own
business? Why or why not? (Answers
will vary.)
comprehension
quiz Answer Key
Standards: 2. Structures/functions;
1. a; 2. c; 3. d; 4. b; 5. c; 6. b; 7. d; 8. a;
9. d; 10. c
Discussion
Standards: 1. Applying media/techniques; 5. Assessing their work and others’
3. Have students paint their first
portraits on the flat printing surface.
They must paint quickly to avoid having
the paint/ink dry out. They may lightly
mist the paint/ink with water to extend
the drying time.
4. Tell students that the pattern
and visual texture created by the
paintbrush will be visible in the final
print. They may use circular, diagonal,
horizontal, or random marks or
patterns as design elements. They may
use a toothbrush to add spattering.
5. Students may use the subtractive
technique, or sgraffito, using a pencil
eraser to scrape away paint/ink. They
may use a sponge to change or erase
part of an image.
6. Students should address negative
space and surface of the face, neck,
and shoulders.
7. Remind students that letters, words,
and numbers will print in reverse.
Make Your Print, Then Start Again
(up to 5 hours)
1. Have students use dry paper for the
first print. They may need to moisten
sulfite and construction paper by
placing it in a shallow container of
water for a few minutes. The paper
should be damp but not soaking.
2. Have students carefully place paper
over the printing surface, allowing
approximately 2-inch margins on each
side. Have them burnish the print
using the palm of the hand in an even,
gentle circular motion.
3. Keeping a firm hand on the paper
so the print does not move, have
students carefully pull back a corner
of the paper from the printing plate.
Have them check to see if there are
areas that need to be reburnished.
4. While the print is still wet, students
may rework lighter, weaker areas by
moving paint/ink around or adding a
little paint/ink.
5. Students may consider making a
ghost print by pulling a second print
without reinking the plate.
6. Students will make two additional
monoprints. They will keep one as it
is and enhance the others with mixed
media. Encourage them to do frontal,
profile, and close-up portraits and
to experiment with color, types of
brushes, weight and type of paper,
painting techniques, and treatment of
negative space and form/mass.
Enhance With Mixed Media
(up to 5 hours)
1. Demonstrate how to use mixed
media to enhance or embellish a
print with Cray-Pas and colored
pencils. Other media might include
watercolors, watercolor markers,
watercolor pencils, colored chalk, etc.
2. Limit use of color; discuss color
theory with students.
3. Have students brainstorm ways
to display multiple images: series,
horizontal, or vertical; single, touching
one another.
—Prepared by Ned J. Nesti Jr.
december 2010/january 2011 • teacher’s edition
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