Lesson Plan Suggestions: Non-Toxic Printmaking Techniques

The following suggestions for developing lesson plans using non-toxic methods are aligned to the Ohio Academic Content Standards for Visual Art as delineated in the side bar. Also, lesson suggestions can be adapted to various grade levels. See the Resources section for a list of local suppliers for highlighted materials.

Basic materials list:

Rubbings and Collagraph Prints á la Robert Rauschenberg

Some of Robert Rauschenberg’s earliest paintings were called “combines” because he combined different materials and techniques in the same piece. These “combinations” seem to carry over into some of his prints. As a means of introducing simple printmaking to students at any age level, begin with a study of Rauschenberg’s work. Look at many examples. Discuss his choice of images, his collage-like method of combining these images, his color schemes, etc. Then proceed with the following:

Additional materials:

*Styrene is inexpensive and comes in a variety of thicknesses: 1/32-inch and up. The thinner pieces can easily be cut with a scissors and glued to the surface plate. White styrene is opaque. Clear styrene is also available, but more expensive.

Basic steps:

Other possibilities:

Monotypes á la Jim Dine and Jasper Johns

As students walk through the LIMITED EDITIONS exhibition, they will probably notice that many of the prints appear as if a pencil, crayon or a paintbrush were used to make the marks on the paper. As we know, the highly technical processes of contemporary printmaking allow the artist to achieve those visual effects in a print. Some of the most striking examples are Jim Dine’s Rancho Woodcut Heart with its gestural black “scribbles” and the Color Numerals series by Jasper Johns whose prints also include a variety of gestural marks. Reproducing those effects in a classroom environment would be challenging but students can easily incorporate drawing and painting elements into their prints using the technique of monotype printing.

Review work by Jasper Johns and Jim Dine (see Resources for a list of books and videos). Discuss their addition of gestural marks to their prints as well as their paintings and sculptures. How do these “marks” give expression to the subject matter? Then proceed with the following:

Additional materials:

*Styrene comes in a variety of thicknesses: 1/32-inch and up. White styrene is opaque. Clear styrene is also available, but more expensive.

Basic steps: additive approach

Basic steps: subtractive approach

Other possibilities:

Intaglio á la David Salle

The David Salle prints included in the IMITED EDITIONS exhibition were produced using the intaglio technique of aquatint, a technique generally reserved for professional printmakers because of the special equipment and chemicals required. The following procedure makes it possible to produce a print that has the look of a psuedo-aquatint with its characteristic tonal patterns in the background.

Introduce the technique to students by viewing several reproductions of aquatints. You can find examples in books on printmaking or look at Salle’s prints on-line. (See Resources for suggestions.) Discuss the advantages of incorporating tonal variations into a print composition. Then proceed with the following:

Additional materials:

*Styrene is inexpensive and comes in a variety of thicknesses: 1/32-inch and up.

Basic steps:

Other possibilities:

Styrene is a versatile material to use with intaglio methods. Older students can easily use a sharp etching needle or a potter’s needle tool to draw directly on the plate. Use small pieces of mat board scraps to spread ink over the plate, forcing it into the incised areas. Use cheesecloth to remove the excess ink and print as directed above. Shapes cut from styrene and glued to the plate can be combined with drypoint lines to produce interesting effects as well. Experiment to find methods that will best convey your ideas.

Ohio Academic Content Standards for Visual Arts:

Historical, Cultural, and Social Contexts
K-4 Benchmarks
A. Recognize and describe visual art forms and artworks from various times and places.
B. Identify art forms, visual ideas, and images and describe how they are influenced by time and culture.
C. Identify and describe the different purposes people have for creating works of art.

5-8 Benchmark
C. Demonstrate knowledge of historical influences on contemporary works of art and make predictions about
influences on the future of visual art.

9-12 Benchmarks
A. Explain how and why visual art forms develop in the contexts in which they were made.
B. Compare works of art to one another in terms of historical, cultural, social, and political influences evident in the works.

Creative Expression and Communication
K-4 Benchmark
A. Demonstrates knowledge of visual art materials, tools, techniques, and processes by using them expressively and skillfully.

5-8 Benchmark
B. Apply knowledge of materials, tools, media, techniques, and processes to communicate subject matter, themes or ideas in a variety of visual forms.

9-12 Benchmark
Create expressive artworks that demonstrate a sense of purpose and understanding of the relationship among form, materials, techniques, and subject matter.

Analyzing and Responding
K-4 Benchmark
A. Identify and describe the visual features and characteristics in works of art.

5-8 Benchmark
B. Present and support an individual interpretation of a work of art.

9-12 Benchmark
A. Apply the knowledge and skills of art criticism to conduct in-depth analyses of works of art.

Valuing the Arts / Aesthetic Reflection
K-4 Benchmark
A. Apply basic reasoning skills to understand why works of art are made and valued.

5-8 Benchmark
A. Demonstrate aesthetic inquiry and reflection skills when participating in discussions about the nature and value of art.

9-12 Benchmark
C. Judge the merit of selected artworks and provide the aesthetic basis for their positions.