Inspiration:
There are times when the richness of texture is not fully explored in high-school level printmaking. This happens naturally, as we devote attention to the development of the image, composition, accurate cutting of the plate, and pulling quality prints. The focus on this process was to have students really push the development of texture in their printmaking imagery.
Visual Problem:
Students will chose a single subject and focus on varied textures to create a two-color overprinted block printed image.
Materials:
newsprint paper and print making paper
linoleum block or flexible printing plate (6" X 6") (4" X 6") (6" X 8")
a variety of gouging tools
Portfolio Series ink
6 inch brayers, wooden spoons
press (optional)
Resources:
The Complete Manual of Relief Printmaking by Katie Clemson and Rosemary Simmons, Alfred A. Knopf, Publisher, New York
The History of Prints and Printmaking From Durer to Picasso, American Heritage Press ( a division of McGraw-Hill Book Company,New York)
Color Woodblock Printmaking (The Traditional Method of Ukiyo-e) by Margaret M. Kanada,Published by Shufunotomo Co., Ltd.
Examples of Japanese block prints for their overall quality and texture created through overprinting. Also other specific examples such as: Albrecht Durer's (1515) The Rhinoceros ; Edward Munch (1897) The Kiss ; Ben Shahn: Blind Botanist (1961 and 1963)
Process:
Share several examples of printmaking to show how texture can greatly influence the depth and richness of the developed image. Point out varied textures in the examples.
Students are given a precut sheet of newsprint paper, the size of the printing plate, for a rough drawing of their chosen subject. This basic line drawing establishes placement of the subject and overall composition.
Have students transfer their developed image onto the plate using pencil, either free hand or by tracing. As students handle the plate, the pencil lines can easily be smudged so a fine line permanent marker or ball point pen can help. The marker is used before the gouging process is begun.
Discuss safety concerns regarding gouging tools before beginning this process. Always direct the tool away from the hand holding the plate. Instruct students to turn the plate rather than the tool. Too often the tool can be directed to the opposite hand and any slip of the tool has the potential to create an injury. Also the tool needs to glide across the plate, gouging a relatively shallow depth.
Students can begin the gouging process by removing any lines or shapes they wish to remain unprinted. All gouged lines or shapes will remain the color of the paper in the first printing, since a thin layer of ink is applied to the surface and the gouged areas retain no ink. Students need to realize that even distribution of ink on the brayer will allow even distribution on the plate, and that thin and even layers of printer's ink will produce good print results in overprinting. After an even layer of ink is rolled onto the plate, a sheet of thin printing paper is carefully placed on the inked plate. A wooden spoon or baren is used to apply pressure to the paper, as an alternative to using a printing press. The paper can be lifted carefully to check to see if enough ink is applied before the print is actually pulled. Additional ink can be added to the plate, carefully avoiding the brayer from coming in contact with the printed image.
A series of at least five single color prints are pulled before additional gouging. For overprinting, encourage students to gouge and thoughtfully remove a generous amount of the plate before the second printing. They need to consider that the direction of the gouging can enhance the texture. This process will produce a even greater sense of texture in the final overprinted image. A second mixed color is evenly applied to the surface of the plate. The first print is carefully aligned before pressure is applied, and the printed image is pulled for the second time.
Students can choose to gouge and remove even more of their plate and overprint a third time if the ink is thin enough in the first two layers. Their best three prints are submitted for evaluation.
Student Choices:
subject matter
color and number of overprints
Evaluation:
Ask students:
When viewing the classes' prints, which ones show the most texture and how was that visually accomplished?
How does direction of the gouging, use of color, and layers of overprinting affect texture in the presented image?
Can you see how this information can affect even your drawing in the future?
Time:
Total of 10 (46 min. classes)
2 classes: introduction, preliminary drawing, transferring image to the plate
2 classes for the initial gouging
2 classes to pull five single color prints
2 classes to continue to gouge more of the subject matter
2 classes to over print
Results and Observations:
Choice of subjects greatly varied
Texture is easily overlooked. This project brought greater awareness of texture's value in the overall design.
Students saw how rich texture can enhance the overall image and create greater depth in even the simplest of subjects.
Conclusion:
Students often create one image, which they view as precious. Therefore students are unwilling to really push the imagery to its fullest. Overprinted images offer the opportunity for a richer and fuller development. By repeating their subject, students develop a less "precious" approach to their work. There is a willingness to experiment and push the image. If one print comes out completely unacceptable, they realize all is not lost. With reminders, this understanding will increase their awareness and positively affect their future work. The fullness of developed texture in any subject matter, combined with personalized mixed color, will add to the overall richness of the imagery.
National Standard:
create art works that use organizational principles and functions to solve specific visual arts problems.
