- Of even greater importance is the need to ensure that, after pupils have tried and experimented with the technique, they use appropriate imagery, either from their sketchbooks or drawn directly from first hand sources, as a basis for their work. It is possible to produce drawings of great subtlety and complexity. For example, sliced cauliflower pieces or small scale machinery such as one finds inside a transistor radio, or direct drawing of portraits using a mirror, can all be used as appropriate starting points.
- With a process like this it is best to have a go yourself first and enjoy the technique, trying out the possibilities and experimenting with ideas to pass on to the pupils.
More ideas about art connections:
- Those pupils especially at the Advanced level, will show interest in the full range of print-making techniques. Why stop at monoprint (or monotype) when there is also aquatint, drypoint, engraving, etching, intaglio, lino-cut, lithograph, mezzotint, photomechnical, planographic, relief, serigraph (silk-screen), stencil and woodcut?
- Perhaps the closest we can come to the above approach is through Rolf Nesch and Georges Rouault, 'Clown and Monkey' (1910).
- For a full range of these techniques, look out for Michael Rothenstein. There is a useful collection of his prints at the Drumcroon Centre, Wigan.
Monoprinting is the simplest form of direct printing that can beintroduced to children. Other units describe abasic monoprinting activity, but though this can produce excitingeffects, its simplicity also imposes limitations. With older childrenthe procedure of drawing directly into a layer of ink can be seen tobe a somewhat crude process, but though this can be a good startingpoint even for older pupils, more subtle effects can be produced bythe following 'advanced' process.
Roll a layer of ink onto any non-absorbent surface. A plateglass slab, a sheet of formica, or even a drawing board with thickpolythene sheet stretched tautly over and stapled underneath, can beused. Take care to use as little ink as possible, rolling it outevenly until there is a thin film completely covering thesurface.
Drop a sheet of newspaper, or newsprint, lightly onto the surface and rub very gently. Remove this sheet, which should havepicked up any surplus ink, and lightly drop another sheet onto thesame surface. This time do not rub or touch it, but lift the sheet upimmediately and inspect it for a film of ink. Repeat this processuntil you can drop a sheet of paper onto the surface and remove itwithout it picking up any ink unless pressure is applied.
Take a sheet of good quality smooth paper, a different colour fromthe inked up surface, and lightly drop it onto the printing plate.Using a soft pencil, a crayon or oil pastel, or a range of different drawing tools, draw the desired image onto the paper surface. As the success of this process relies on printing ink being picked upon the non-visible side of the paper with pressure from the drawing tool, it is important not to rest any part of the hand on the paper as this will produce unwanted marks. This may take a little practice and sometimes children will forget, but they will eventually master the technique.
Lift the paper carefully from the printing surface and inspect the image on the other side. What should be produced is a soft, grainy graphic image of great subtlety, similar to a soft-ground etching.
It is now possible to ink up a plate with a different colour (one organisational method is to encourage children to swap different colours by exchanging printing plates) and lay the drawing back down onto the new colour and continue the drawing process. You can produce a two, three or multiple colour print, and where one colour is worked on top of another, the colours will mix producing interesting effects.
- It is absolutely essential for the success of the process to use a very small amount of ink. So pupils must test the surface with a sheet of newspaper, ensuring that no ink adheres to it unless pressure is applied, before the finished drawing is attempted. This is particularly important where a half completed drawing is put onto the plate as too much ink on the second plate will obliterate the first coloured drawing.
- For this process good quality water based inks and proper rollers are essential. It will not work well with ordinary paint as this will dry too quickly.
- It is possible to combine this process with simpler monoprinting by taking a monoprint that has been produced by the simpler process and, using the method described, drawing on top of it. The simpler process cannot be done after this more complicated process as it will obliterate the drawing.
- Some initial practice in the types of effects that can be gained by using different drawing tools is desirable, as this will extend pupils' understanding of graphic materials.
- Of even greater importance is the need to ensure that, after pupils have tried and experimented with the technique, they use appropriate imagery, either from their sketchbooks or drawn directly from first hand sources, as a basis for their work. It is possible to produce drawings of great subtlety and complexity. For example, sliced cauliflower pieces or small scale machinery such as one finds inside a transistor radio, or direct drawing of portraits using a mirror, can all be used as appropriate starting points.
- With a process like this it is best to have a go yourself first and enjoy the technique, trying out the possibilities and experimenting with ideas to pass on to the pupils.
More ideas about art connections:
- Those pupils especially at the Advanced level, will show interest in the full range of print-making techniques. Why stop at monoprint (or monotype) when there is also aquatint, drypoint, engraving, etching, intaglio, lino-cut, lithograph, mezzotint, photomechnical, planographic, relief, serigraph (silk-screen), stencil and woodcut?
- Perhaps the closest we can come to the above approach is through Rolf Nesch and Georges Rouault, 'Clown and Monkey' (1910).
- For a full range of these techniques, look out for Michael Rothenstein. There is a useful collection of his prints at the Drumcroon Centre, Wigan.
Water-based printing ink, a roller, a flat plastic surface, a range of different coloured papers for the print, appropriate cleaning materials, overalls, old clothes or aprons.
