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Development of a Curriculum Model in Printmaking for a High School Art Education Program a Thesis Submitted in Partial Fulfillme

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DEVELOPMENT OF A CURRICULUM MODEL IN PRINTMAKING FOR A HIGH SCHOOL ART EDUCATION PROGRAM A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AR T IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN ' S UNIVERSITY COLLEGE OF HUMANITieS AND FINE ARTS DEPARTMENT OF ART BY DONNA FLANAGAN BARNARD , B.F. A. DENTON , TEXAS AUGUST , 1980 The Graduate School Texas Woman's University Denton, Texas August 19 80 We hereby recommend that the thesis prepared under our supervision by___ ....;D;:..o;:..nn:....:.:..:a~=-F.::=l..::a..::n:.:::a:.liigt::a::..n=--=B:..::a=r;..:.n.::a~r:....:d=------- Dissertation/Theses signature page is here. To protect individuals we have covered their signatures. l \\C ?I~ \\q~\ Btsqcl IEXAS WOMAN'S UNIVERSITY UBRAR'f c.. '), TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv CHAPTER I Introduction . • . 1 CHAPTER II Relief Printmaking . 7 CHAPT ER J II Intaglio Printmaking . 19 CHAPTER I V Planogr aphic Printmaking . 27 CHAPTER V Stencil Printmaking . )8 CHAPTER VI Collagr aph Printmaking . 50 CHAPTER VII Summary and Conclusion . 55 APPENDIX ES . 57 BIBLIOGRAPHY . 69 iii ",0 LIST OF ILLUSTRATIONS Ill ustration Page Suggested Registration Methods for Relief Color Printing . • . 14 2 . Color Sequence for Linoleum Print . 17 J . A Linoleum Reduction Print . 17 4. An Embossing from a Linoleum Plate . 18 5. A Pl astic Plate Drypoint Print •••. 26 6 . Prints from Paper Lithographic Plates . 37 ? . A Common Screen Printing Set- up . 4J 8 . Serigraph from Lacquer Film and Photographic Stencil . • . • 49 9 · Serigraph from Liquid Block-out Stencil . 49 iv CHAPTER I INTRODUCTION STATEMENT OF THE PROBLEM The proposed problem for study was the development of a curriculum model in the area of printma king for a high school l evel art education program . PURPOSE OF THE STUDY The purpose of the study was to develop a functional art education r esource model in printmaking for the high school l evel in compliance with guidelines stated by nat i on­ al and regional accreditation agencies . JUST I FICATION FOR THE STUDY A documented resource model in the area of printmaking would a i d in the transition from t he traditional art curric­ ulum (Art I , II , III , and IV ) in the writer ' s school t o a dept h program in major art areas . In the r esearcher ' s schocu thi s need has been fel t for several years, and the mechanics of cPanging to such a depth program would be impleme nted sooner given appropriate curriculum models . BACKGROUND INFOR~~TION The writer teaches in a hi gh school in which the 1 2 three art instructors desire to integrate a depth program into the art curriculum. Currently Art I and II are rather broad in spectrum, with further depth del ayed until the third and fourth year courses (Art III and IV) . Many stu­ dents are unable to enroll in more than two years of art courses due to schedule conflicts and increased graduation requirements which greatly limit enrollment in elective courses . In this writer's opinior., a depth program should be established, which would be offered following completion of one basic design course . The researcher feels that the de- velopment of suitable curriculum models in major art areas would expedite such a change in her own school ' s curriculum, and eventuall y aid in district- wide changes . This art edu­ cation approach is described as a depth program by the National Art Educatior. Association: DEPTH PROGRAMS . Courses in which one area of instruction is carried on at a time in a space appro­ priately equipped , and in which the instructor teaches his/her area of specialization, supports current devel­ opments and motivational schemes . Rather than dealing with the broad spectrum, the teacher and the students concentrate on developing behavioral goal s , s kills , and sophistication of concept in one area that i s applicable to non-verbal understanding of the abstract qualities we are often r eluctant or unable to identify as t he con­ t ent of art. Rather than merely being conversant with the obvious and measurably achievable concepts which are largely descriptive in nature, e . g . , the el eme nts of art , the student works in one area, gaining exper­ ience necessary for him/her to relate to his/her area and to become aware . Through this approach hPishe 3 l earns to appreciate process as an aspect of art.l The writer feels that such a change in curriculum structure would provide students with an opportunity to gain greater competence and awareness of process . As stated by Leon Frankstons Through an increasing dept h approach to the subject matter, each student will come into more direct contact with sequential activites in the pursuit of a personal metaphor or style of working . His struggl e for self­ expression is therefore given a dimension of time . And whether the adoles cent plans to beco~ e an artist or not , he will have a better understanding and appreciation of the meaning of art and the a esthetic experience . I f eel that through depth experiences in art we may l ook forward to a society in which adoleschents as they become adults will be able to r elate their speci a lized experiences t~ new and imaginative elements of the world around them. A number of successful depth programs have been observed by the researcher at the high school l evel during her teachi ng years . This has strengthened her belief that a depth approach in her own high school and district would make the art program more relevant and valuable to the student , and present a greater challenge at every abili ty l evel . ! National Art Education Association, Art Education: Senior High School , (Washington, D. C. : N. A. E. A., 1972) p . 64. 2Leon Frankston, "The Case for Depth in Art : A Re ­ action Against the Kaleidoscopic Effects of the Breadth Approach to Teaching Art at the Secondary School Level , " Art Education, Oct . 1967 , P · 9 . 4 DELIMITATIONS The following delimitations were proposed for the study : 1 . The researcher limited the curriculum to the area of printmaking at the high school l evel . 2 . The curriculum model was designed for the high school student who had completed a one-year basic design course or its equivalent . J . The art resource model followed guidelines stated by national and regional accreditatior. and professional agencies . 4. The study did not attempt to suggest all possible con­ tent for such a curriculum, but provides suggested art activities in major printmaking areas . A comparison of major graphic art processes is provided in Appendix A. 5. The curriculum was designed for use in the eighteen week semester system, allowing adequate time for the activities listed. Further individual exploration would be r ecom­ mended after the initial one semester beginning course . Educational objectives for the course are incl uded in Appendix B. 6. The art education model provides : A. A table of contents dividing the activity units according to major printmaking processes . B. A brief historical overview in each printmaking area 5 C. Suggested activities in each process appropriate for high school level. D. A glossary of printmaking terms . E. A reference source of suggested visual aids, supply sources for materials, and a bibliography. DEFINITION OF TERMS The following terms are used in the introductory chapter . Terms specific to printmaking processes are de­ fined in the glossary of printmaking t erminology . 1. Content : Subject matter, as of a book. (American Her­ itage Dictionary , p . 156 . ) 2 . Curriculum: The course or subject matter offered by an educational institution. (Webster ' s Seventh New Co lleg­ iate Dictionary, p . 204 . ) 3. Develop: To expand or bring out the potentialities , capabilities . (Standard Encyclopedic Dictionary , p . 174 . ) 4 . Guideline: A statement of general policy . (American Heritage Dictionary, P • 317 . ) 5. High School: A school that usually includes grades nine through twelve . (American Heritage Dictionary, P• 335 · ) 6 . Level: Relative place , degree , or stage . (Standard Encyclopedic Dictionary , p . 372 . ) 6 7. Model: A type or design; an example to be emulated . (American Heritage Dictionary, p . 454.) 8 . Objective : Serving as a goal for a course of action. (American Heritage Dictionary , p . 491 . ) 9 . Processes : A series of continuous actions that bring about a particular result . (Standard Encyclopedic Dictionary , p . 527 . ) CHAPTER II RELIEF PRINTMAKING The t echnique of dupli cating images goes back several thousand years to the Sumerians (ca . 3000 B. C. ) who engraved desi gns and cuneiform inscriptions on cylinder seals which, wh en rolled over soft cl ay tablets , l eft r elief i mpressi ons . On the basis of stone designs and seals found in China, there is s peculation t hat the Chinese may have produced a primitive form of print - the rubbing - about the second century A.D. J With the development of paper on the Chinese mainland in the second century A. D. , the stamping devices gradually evol ved into woodblocks . The practice spread to Japan in the sixth c entury A.D., where the early woodcuts were re- l i gious in subject matter, a s in China . It was not until the seventeenth century that a more highly developed ar t came forth . The Japanese printmaker ' s concept of symbol- ism in subject matter , asymmetrical composition, and the use of flat color, pattern, and line were a great influence on the work of Gauguin, Van Gogh , Lautrec , Whistl er , and 3Encycl opedia Brittanica Macropedia, 1975 ed . , s . v . "Pr i ntmaki ng. " 7 8 other European artists . 4 It is believed that the first woodblock prints on textiles were mad e by the Egyptians in the sixth or sevent h century, but the earliest printed image with a n authenticat ed date is a scroll of the Diamond Sutra (one of the discourses of the Buddha) printed by Wang Chieh in A.D.
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