Submitted by: Kathy Douglas,
Central School, East Bridgewater Public
Schools, MA
UNIT: Printmaking - Monoprints Jump to lesson
Elementary (all grade levels)
Kathy teaches in
a Choice Based classroom. Printmaking is one of the
centers students may choose to do. Subtractive Monoprint
is one activity set up for students. Shown at right,
students making subtractive monoprints. Students rolled
white or black ink on Plexiglas sheets, then scraped off
ink with assorted tools (sticks,
plastic forks, glue spreaders). Once satisfied, a blank
paper is laid over the inked plate to pull a print. Click
image for larger view.
Click on the images for the full size
Finished 3rd grade prints showing color accents done with colored
pencils and/or Crayola Construction paper crayons. Color is added
to dry prints. Click images for larger views.
Explain what a monoprint/monotype print
is (explain difference in meaning of monoprint and monotype).
Optional: Present some examples of historic monoprints -
Matisse,
Cézanne,Picasso,Degas
and others (see Resources).
Explain what non-objective art is (show
examples if desired. Examples could be show AFTER the art
making for critique/comparison)
Demonstrate the subtractive process
Demonstrate embellishment with color on
dry print (colored pencils and Construction paper crayons.
Note: paint could be used if acrylic is used for ink)
From Kathy Douglas:
MONOPRINT WORKSHOP
I discovered that monoprinting is a good lead in to foam block printing even though the
processes are quite different. That is because I set up four monoprint stations, and one
uses block print ink and brayers. Using the brayers to ink sheets of Plexiglas in
preparation for scratching and then printing designs the students get a lot of play out of
their systems and get used to just how much ink works well with the brayers. So the menu
about monoprinting stresses that the artist needs 1. pigment 2. a printing plate 3. something with which to make the image and 4. a surface on which to print.
Station one is for folded paper monoprint in which a piece of thick paper is folded, with
one side of the paper takes the role of the plate and the other side the surface to be
printed on. The pigment is thick tempera paint and the tool is a paint brush. One color is
brushed quickly on one side of the paper and then the student folds and rubs. After
opening the paper another color can be added and the paper folded once again. Using
one color at a time ensures that the student will fold while the paint is still wet and also
makes some nice layers of color.
The second station is for Tempera monoprints.
At this table students can make a painting on a large sheet
of Plexiglas (the printing plate). Students can erase or change
their painting with a sponge. Working quickly is important
so that the paint does not dry. Plastic sgraffitto sticks as well
as sponges can be used to scrape into the painted area. Paper
is placed on the wet paint and a print is lifted.
Table three has Plexiglas printing plates
and fingerpaint. Students hold a piece of paper behind their
back with one hand and fingerpaint with the other, changing and
erasing until they like their design. Their finger is the
tool, and when they print and lift their paper they may notice
that their image is reversed, an important thing to remember when
printmaking.
The last station is set up with block print ink, brayers, scratching tools and sheets of
Plexiglas. Students ink the Plexiglas, scrape lines into it with the tools and put a paper believe that having multiple monoprint techniques available on the introduction week helps students to see the connections among the various types and to internalize the big ideas of monoprinting... After this introduction (which in my room is optional...usually 1/2 to 3/4 of the students participate after watching a brief demo) plexiglas sheets are always available as one material in the paint center. The fingerpaint monoprint is available by request. Thebrayers, a tube of ink and a sheet of plexiglas are kept in a small box at the printmaking table... up high and out of reach of the younger students. I find that my "control freak" students do not care for the unexpected results common with
monoprinting, but other children adore it.
So that is one sort of printmaking we do. If you do an archive search on this site you will find a very long essay on silk screen printing... let me know if you can't find it. keep up the great work!
Kathy Douglas in Massachusetts, cleaning up after throwing a birthday party.
And now Kathy... how does clean up happen?
do you have lots and lots of plexiglass so that it goes into the palette bucket to soak when done, or does each
child sponge off and return their own plate? Curious minds want to know... ~Nan
Note: This year, Kathy set up white ink on black and
black ink on white. They used the water based block print ink and
assorted scraping tools (sticks, plastic forks, glue spreaders).
I believe that having multiple monoprint techniques available on the introduction week
helps students to see the connections among the various types and to internalize the big
ideas of monoprinting.
After this introduction (which in my room is optional...usually 1/2 to 3/4 of the students
participate after watching a brief demo) Plexiglas sheets are always available as one
material in the paint center. The fingerpaint monoprint is available by request. The
brayers, a tube of ink and a sheet of Plexiglas are kept in a small box at the printmaking
table...up high and out of reach of the younger students.
I find that my "control freak" students do not care for the unexpected results common with
monoprinting, but other children adore it.
From Judy Decker: You might want to have
another center with gadget printing/stamp printing. These are
monoprints too. Collect a variety of objects for stamp printing
(even old tennis shoes are nice). You could have limited colors
for the printing. When prints are dry, color negative spaces with
oil pastels for more interest. Another monotype method to
introduce is the trace method. Plexiglas plates are inked (I used
black ink) with uniform layer of ink. Place a clean paper over the
plate and draw on the back (being careful not to rest hand on
paper as smudges will transfer). Lift paper and see that lines
have transferred to the paper. Use pencils or ball point pens
(pens will give a finer line). A drawing on thin paper done in
advance could be used as a guide by placing it on top of the
printing paper and tracing over the lines of the drawing. If a
drawing is used, ball point pens work best for making the print.
Cezanne, Gaugin, Degas, Picasso and Matisse are all artists who
used this method of printing.
Resources:
Kathy used a sample print by Judy Decker
(see digital image and detail).
You may select a variety of non-objective art for the critique.
Kandinsky would be a good choice.
DVD
Monotype and Monoprints- The printmakers in this production demonstrate how different plates can be drawn on or painted with waterbased mediums. Some of the techniques used include subtractive, additive, templates, ghost prints, and handworking the finished print. 41 minutes.
Get Plexiglas cut to manageable sizes. Many
window shops may donate scraps. Set up stations for white ink (with
black paper) and stations for black ink on white paper. Put a
variety of scraping tools at each station. Students can also make
their own tools using scrap cardboard and old credit cards. Cover
tables with newspaper (or roll paper). Have plenty of newspaper on
hand to recover tables as needed. Note: white acrylic silk
screen ink works well with black paper.
Procedures:
Roll ink out onto Plexiglas plates (ink
should make a slight zipping sound). Cover plate evenly
Use assorted tools to scratch a design in
plate. Focus on scratching an interesting pattern of line.
Scrap off different thicknesses of lines for variety.
Once satisfied - place clean paper over
plate (make sure plate has been moved to a clean section of
newspaper). Rub back of paper to transfer ink.
Look at print and plate - compare. How
has image changed? Put prints on drying rack to dry.
Explore other types of printmaking set up
in the room (or make more subtractive prints).
Embellish dry prints with colored pencils
and/or Construction paper crayons. If an acrylic ink was used,
students could embellish prints with paint.
Critique works of art. Compare student
work to other examples of non-objective art/artists.
Students are embellishing finished prints
with crayons and colored pencils. Click images for larger views.
Sample Assessment
Project: Monoprint -Subtractive
Method Name______________________ Class __________
Criteria
Goal
Mastery
– 3 pts
Advancing
–2pts
Novice – 1 pt
Score
Developing
skills at grade level – Shows growth -
takes risks to discover
I
produce high quality, creative work. I show originality
and take risks to learn new.
Understanding
and application of Art Concepts and lesson objectives
I
apply all art concepts, especially those stressed for the
project. I solve problems myself.
Participation
and effort
I
always participate in class and always use class time well
Use
and care of Materials
I
used all materials appropriately with no reminders. I
always clean up
Behavior
I
always follow all classroom rules and never cause a
classroom disturbance. I am Always helpful.
S+=15-11
S=10-6
NI=5-0
Total
Art
Concept(s):
A Monotype is when only one print is made from a
inked surface.
Non-objective art does not resemble any object - living or man
made.
When a print is made from a plate the image is reversed.
Lesson
Objectives:
Students made a non-objective print(s) using the
subtractive method. They made a pleasing image using line and
color. They learned the elements and principles of design are
important in non-objective art, too
The Incredible Art Department is for art teachers, art students, parents, homeschoolers and artists. IAD includes
information on art jobs, art careers, art schools, art education, lesson plans, visual art news, and art resources.
(cut to approx. 5" x 7" to 8 x 10) [12.7 x 17.7 cm to 20 x 25.5 cm], 
and others (see Resources).
