Studio in Drawing and Painting; Graphics, Photography; Advanced Electric Courses in Art for Grades 10, 11, and 12, Volume 1

DOCUMENT RESUME

ED 100 747 SO 008 028

TITLE Studio in Drawing and Painting; Graphics, Photography; Advanced Electric Courses in Art for Grades 10, 11, and 12, Volume 1. INSTITUTION New York State Education Dept., Albany. Bureau of Secondary Curriculum Development. PUB DATE 74 NOTE 67p.

!DRS PRICE MF$0.75 HC-$3.15 PLUS POSTAGE DESCRIPTORS *Advanced Programs; Art Activities; *Art Education; Class Activities; Course Descriptions; Curriculum Guides; Evaluation; Grade 10; Grade 11; Grade 12; *Graphic Arts; *Painting; Photographic Equipment; *Photography; Resource Materials; Secondary Education

ABSTRACT This is the first volume in a series that includes the syllabi for advanced elective courses in at education for grades 10, 11, and 12. The course objective is to provide a multiplici'lr of visual experiences in the drawing and painting areas of the grapuic arts and photography that are broad in scope and that will challenge the students ability and raise his creative potential to the highest level possible. Teaching techniques include teacher demonstrations, classroom discussion, hands on experiences with pen and ink sketching, contour and gesture drawing, encaustics, oil painting, printmaking, photography and various other art forms, The guide consists of three main sections:(1) Studio in Drawing and Painting; (2) Studio in Graphic Arts (Printmaking);(3) Studio in Photography Course. A description, student objectives, background reading for teachers or students, and suggestions for teacher demonstrations, classroom discussions;, and student activities are provided for each section. Evaluation methods and suggested supplementary readingsare also included. (Author/RM) U S DEPARTMENT OF I1EALTR. EDUCATION & WELFARE NATIONAL. INSTITUTE OF EDUCATION THIS DOCUMENT HAS REN REPRO DuCED tAACTLV AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATING IT POINTS OF VIEW OR OPINIONS stA TEO DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTEOF EDUCATION POSITION OR POLICY drawing a,a p ain graphics

photography BarCOPY AVAILABLE

volumeone advanced electivecourses in art for grades 10,11, or 12

THE UNIVERSITY OF THE STATE OF NEW YORK / THE STATE EDUCATION DEPARTMENT BUREAU OF SECONDARY CURRICULUM DEVELOPMENT / ALBANY, NEW YORK 12234 1974 THE UNIVERSITY OF THE STATE OF NEW YORK

Regents of The t nivesity twills$ear., when termst.xpire) 1984 Jos Eett W. NIcCovv.ttx, A.B., J.D., L.H.D LL.D., D.C,L., 1.itt.D.,Chancellor New York 1981 I'm:mmHg M. litAcK, A.B., Litt.D., 1.1.D., Pfl.D., Vice Chancellor Sall& Point 1978 ALEXANDER J. ALLAN. JR., LLD., Litt.D. Troy 1987 Cwt. H. Pflatzumstft, Ju., A.B., M.B.A., D.C.S., 1 1.11.1), Purchase 1975 EDWARD M. St. WARBURG, U.S., L,H,D, New York 1980 Jos Eett T. Kim, LL.B. Shelter !slam! 1981 Jostett C. INowEvro. M.D. Brooklyn 1976 tha.Ks B. Pow Eit, A.B., Litt.D., 1.11,D., LLD, Rochester 1979 Fatycts W. McCINENx. U.S., JD., LL.D. Glens Falls 1986 Kt Nvilti B. (:LARK, AIL, M.S., Ph.D., LL.D., 1.11.D.. 1).SeHastings on ,Hudson 1983 1httot.o E. NKwcomit, Owego 1988 Wit.t.mt A. GENNICIL 1.1.8., L.H.D. Buffalo 1982 Emf.vx I, likiFFITIL J.D. Rome 1977 1;i:sfAto,f:S. KLEIN. B.S.. %LA. Bayside 1981 WILLItM A.B., LL.D., Litt.D. I...11,D. Briarcliff Manor

President of The University and Commissioner of Education Ew kip B. Nycit.tsr Executive Deputy Commissioner of Education Gonoos M. AMIIALII Deputy Commissioner for Elementary, Secondary, and Continuing Education Ittomvs D. Silt:minx Associate Commissioner for Instructional Services Milt% I i..iltrstat III Assisfam commissioner for General Education andCurricularServices VIvti;xxv. ANDERSON Director, Division of Curriculum Development Co limos E. VAN 11 Chief, Bureau of Secondary Clirrkidnlit DPVPlopInput

Director, Division of the Humanities and tLe Arts

Chief, linreau of .1rt Education Vivi vs'. J.Piipm.filf, ACKNOWLEDGMENTS

Examples Of student art have been used whenever feasibleto illustrate concepts and processes included in this volume. Sincere thanks are extended to the following schools for theircontributions:

Photographs of Student Art: Studio in Drawing and Painting Afton Central High School, Afton Brentwood High School, Brentwood Chenango Valley High School. Chenango Valley Cicero High School, North Syracuse School District Kenmore West Senior High School, Kenmore Kingston High School, Kingston Lindenhurst High School. Lindenhurst Linton High School, Schenectady Mount Kisco High School, Mount Kisco Newark High School. Newark Northport Senior High School. Northport

Studio in Graphic Arts Bethlehem Central High School, Delmar Brentwood High School. Brentwood Cicero High School. North Syracuse School District High School of Music and Art, New York City Holley Junior Senior High School, Holley Newark High School. Newark Niskayuna High School, Niskayuna Niagara Wheatfield KAI School. Sanborn

Studio in Photography Hoard of Cooperative Services, Northern West pester Technical Center. Yorktown Heights Deer Park High School, Deer Park Ellicottville High School. Ellicottville Kenmore East Senior High School, Kenmore Niskayuna High School, Niskayuna

iii THE VISUAL ARTS

VOMINIM. Exploring the Visual Arts An exploratory course intended to meet the general art requirement for students in grades 7 and 8 by enabling them to experiment with the various fat ms and media of the visual cats in the contemporary world

I I COMPREHENSIVE FOUNDATION COURSES

Creative Crafts Studio in Art Art History and Appreciation Mechanical Drawing and Design A year-long introduction to A year-long introduction to A year-long introduction to A year-long introduction to the fundamentals of 3- the nature, function, and man's creative use of the a universal graphic language r me.onnl design through techniques of the visual visual arts throughout through which students can the creation of crafts in arts in the present and in history, with constant express their ideas with .various materials the pas' reference to the present and creativity, clarity, and implications for the future exactness

IMMEMMI

ADVANCEDELECTIVE COURSES* OW al IMPMIL ..... orMD ND =Ialb [Studioin Ceramics `Ancient Art J IAdvanced Mechanical Drawinuind Desiag ONNO MI IMOMO MO IMP NW 1 Studio in Sculpture `EuropeanArt Studio in Graphic Arts 'Architectural Drawing =1WEImml=1111mmeadmmmmor 1 and Design Studio in Jewelry and IlNonEuropeane or es GO Art Silversmithing Studio in Advertising ...... Design LIndustrial Design Modern Art I Advanced Creative CraftsI MI GO ON MN OS MI MO 1111 MI MI 1 rUrban Design and OM allMO AO 1 Studio in Fashion L Art of the Americas Design and Illustration LCommunity Planning 'Independent Study MI OM M MI MI 1111 MI ME rrrcaritecture Through 1 1 Ithe Ages rIndependent Study Studio in Jewelry and j fi Silversmithing 1 rEsthetics, and Art Studio in Product Design Criticism

IIndependent Study 1

Studio in Interior Design

Studio in Sculpture

IStudio in Ceramics

*Titles enclosed in dotted lines are suggestions for locally developed advanced elective courses. Cinematography II OW MO AMS 4110 ...... *Minor changes in titles have been made since the publication of STUDIO Independent Study 1 IN ART--A COMPREHENSIVE FOUNDATION COURSE.

iv FOREWORD

This is the first volume in a series that includes the syllabuses for the advanced elective courses in the art program for grades 10. 11. and 12.

Volume I Studio inDrawiog and Painting Studio inGraphic Arts Studio inPhotography

Volume 11 Volume 111 Studioin Sculpture Studio in Advertising Design Studioin Ceramics Studio in Fashion Design and Studioin Jewelry and Silversmithing Illustration Studio in Product Design Studio in Stage Design

As with the other electives, those in this volume may be offered for one unit of credit to students who have earned credit in the basic course.Studio inArt.This credit may he applied as part of the threeunit. major sequence in art.See the flow. chart of the art program on the facing page. The following consultants were involved:

Ntuttio inDrawing and Painting Studio in Graphic Arts Minerva Marko.. supervisor of art. Niagara-Wheatfield Central Schools, prepared the original materials for each of these courses of study. Ernest Andrew Mills. associate in the. Bureau of Art Education. authored several iections. Vincent J. Popolizio. chief of the Bureau of Art Education. and James V. Gilliland. associate in the. Bureau of Art Education. provided additional materials.

Studio in Photography John Roder. art teacher. Ossining High School wrote the first draft. Denise Kaplan and Jared Fast. photography instructors at Deer Park High School. reviewed the manuscript and made meaningful suggestions for inclusion. The new svIlalatses were prepared under the general direction of Mr. Popo lizio. The draft materials prepared by the writing consultants indicated above were further supplemented and revised by Mr. Mills and Harold Laynor. formerly associate in art education. now on the faculty of Millersville State College. Pennsylvania. The layout of the publication was planned by Mr. Gilliland, The curriculum responsibility for preparing the preliminary drafts for publication was carried out by Richard G. Decker. formerly associate in Secondary Curriculum. now retired.Robert F Zimmerman. associate in Secondary Curriculum. coordinated the final revisions and prepared the materials for publication.

Gott ov E. V AN noon.Director Division of Curriculum Development CONTENTS

Acknowledgments .. . iii Foreword V

STUDIO IN DRAWING AND PAINTING ... 1 Introduction to Drawing

Pastels and charcoal . 6 Pencil Crayon Ink and felt-tip pens . ... Equipment and supplies for drawing..."

Introduction to Painting 4 Watercolor ...... -...... _ Equipment and supplies for watercolor painting .4 jk 4 6;6. 4i4 0000 6 6.:

ri Oil paints p...... 41.

Equipment and supplies for oil painting.. .i 6 0000 ,41 6.4 4. o 6 Acrylic paints .. f f.018 Equipment and supplies for painting-with acrylics 000 21 Glossary of terms ,..23

STUDIO IN GRAPHIC ARTS (Printmaking) Introduction to Printmaking.... 4... 26 ,444 Monoprint . . oo 0.6 28 af Reliefprinting...... 30 .z...,'4, L 4 o 30 4 4; block ,.printingprinting ...... tr Woodblock printing. .. .4...... 31 .4.. Wood engraving ,* :0 .1. 31 ge./ Related media 44,6 's . 41 * ... , 32 Intaglio printing 4600000000000000000o000000 000 ea,-44/ Line etching o 6 -iv 66 Soft ground etching 34 .. ._au. Aquatint .ow. Drypoint engraving on plastic 81:' Drypoint engraving on metal 35 Mezzotint 36 Lithography 36 Serigraphy (silk screen) 38 Printmaking equipment list 41 Suggested reading 41

vi BEST COPYAVAILABLE

STUDIO IN PHOTOGRAPHY 43 Introdtketion, to. Photography 44

The nature of photography a 44 Historical development 45 The work of leaders. in photography 46 Photography as an art form 47 The importance of design in photography 47 Camera' 47 ...... 47 Darkroom techniques. 48 Studio procedures and lighting 49 Color photography 50 Photography equipment list 53 ',.71.iggested reading. a 53 /A, COPY AVAWAKE BEST A

ttt Oaf I ahrgr A I

lit, r 414 41 .:Avit

1 tit4'111 'll 4vill. cii .1,i r ft /4 v ',I c 4t, ;I, At/ t t .ii 1 i :1A1 r .14 i

, a t

S. 4'

4. 4,

fia

'44c

;a N t

4.4e7r-!" ownIs pue Bugured :11511.101 NO1.141.111,43(1 paamlApv sasinoa ul liuimuip inn? 1111ilitul Sulu aq '.)74110.1.10 110 UV imiptAlpit! aimadaput ipnis stsvg ut pltu. &4! immtwtpr asint).) Jo; apiu'd 601 I v patipads lunwatt: a.ms asap 'um all Aittri!ti paznetaxis

11.411k% .1(1 4.41.401.4 1 .1.011? I? 111.41M1S sell 0111111S iet11 P.q.)1(inith) iatimpiA!ini! isaSitioa Ism aq padopAap 00 11 111 '141.. imp sa.qs.ap (.1 1p3P(1 111 pa.mt?Apt? lit all 111.101 '11:1U1 001 .10J aim11 (pins 111.111litiV 111410.111(111 Jo AlIV301 padoiaAap rai11 pm? 1111!1)??Ji,10 ..rtuptird sasanoa pinoqs aq pamtuqns ,(q aqi loops iudiaupd of 1.4.4t: 1101 JO, ay uwitomi (1014Aap I? qui()) nuaniu jo Ampuoaas tuninai.una .inauniniaAaa maN 0n1151(0 jo 111 .1p t11 Iiioyt awls O.tt ..loymoi(Ixa Sambliarlx.) to! inn? lit 111111(1 j uotivanp, oatulauda(i J, satcloa Jo ay .1111 uoptip(ulp! astvl primp; ozmpo.tiut all 111s am()) noinip)sap plump: aq papniani tpt.,t aanp saidoa JO 211.11) 1101 ails% ,;)a!ii?.% 10 14.)3uatimixa II! asaqi Ivan, aiojaq ivHip, uolivvitiv Imo) apivituAv ittoij aq5 nuaanli Jein.9,11911 uonikno Joj 'pop ,11,1113(1315 .011 Japtqvul.).1 3(0 Jua., pinoqs aq pa50Aap oi piing SAA113:4ftl()

0;a0 raloils 1 III ay s.111,1pms tiasolia PH.))? Jo 0100.1i1/1.41141 asnw jo Aprils pinoliq ap1A0.111 V 1111111 lio!nunia,a10. ssup pal)!Aq? 01111 110.0 t;(1 111119.1 %Mil:4.1:111Na III alp ,p) rItIlmnip put? littplqed - 1.10%% 111 511.1.1.11M1 14114.0111 Ir 41111 .11M1S :1011 alt104; 1 11 ;1111 imp :cm pPoJci ul adoas pue pup !um aliliqvga nis '1910 .411101. 111 ion? !pis siallio In .s.)!!!ii.a? inimuJi? s.10.1) ii!inie ? inn antra sit' ammaia itti1ia)0(1 01 ay tigili 11;11104)11,, 5! s! alci!ss0(1 Joi r 511.19111s oi asoolp aimu )sa .apiissod if 11111010 :08111

11191(5 .41111 1010 '11011 .1111 1..411111 appal) Ja111411v .4t(1 110.013 W/1)1.1 r. 1111logiad liauomIcie inn? noinliaitiaanti mann], s1 Iu ritniionni uwani inotin,% .WO( alq14(119,) su Ham sr. (101aAap paniai suns in? saniquijaai ,1111 111(101, 01 pan? 14, liotlimpla.01o.1 1S1SWV IS 11101111 U1 alp .11111111.10J 01111141 I SlUalUrIpn jo .1111.1 611/5 141.011:y1i .s.11).) sar;11.10oalla IllopaaJJ 1111P utioj ione adoas jo umo 1.10m inn? aqi 51 !41 lun.s itm!)!Aulti! -;10,1.., alp .1.0111?.11 1100 i11110111 vom jo .4.1.1.1410 I? 101 .410.1174 .1111 411111.10si S.4711 101 10111 '4..;44,1741.01 ap!Amid samonlimitio 05 aJoi(ixa inn? ;-)?in 11 apim .011.1. 1..1.411.41!.11 V0010011 IN 1 1101 10111 IPA! 100 JP: .10(iiiit j!) silliannu inn? slool pin? n? aura's atuti lull 01 .4111 11'1141 ssa.m.of poi ihimunin.!im! 1411171 (lota.sap up Isaialtit IMP .0111(11S11011Sa.1 JOJ 0.4111' s1 111.41+,..4 111 111 1111111.11Ni1 '.1.01.1,1411)61 .4111 1411,0411 1 .11all atal pur. a,111. 1,11111 ./0011.1.41.p 11.01%4 111 a.011p1 St 10111 st 1011 .11pdap 31 111111 Sa1 .114.1 111a11111S 01 1 111 .110 1.1011(10 all 1.11111 ,41/1 !.1 111 '1110014 11 441 1.111 .1.11 o5 .IaDo 11Issll .L0111 ;U11111111111 .1e I sam4ipt? aiquivis 01 SUI 111111/111111X.1 111'111 01 01 .4111 1110141114, J14101011 91111 Si1101 14111? 1;01.h/101 111 01110, 1(;114 S101411.11 11 111.111 .411 in,s.-0..p0 (05 aptp.pps

.111 ;1111.1111 1101' WI 1111 701 .101 110 .1.414..1111.1'm .1.01111.1 11111/1 I' 1101 11111010 11.601 P 11009,11011 Io liomssup inn? '.11',4 .1011.11!.11 It1111 d.401'1101 14111011!." .0111 .4;31141.1 inne I? 11.1 111 1401(1411 o!p)p,iful rhqutvilvi. tolpials pity xa 0f. 111111 .111/01. 14.91011.4111 111 11.0%) .10 .9111 Jo 1.111.111 11011 W1.1./11:1.1 JO F,1.10,41.1.111Na 1114111 S.11111111 Aptivis wai.ip; 'vtpatu St111 1111P 11140111 pa1111.4S011 Ill '110111?.411411141 111;11100 AVAILABLE BESTCOM

q %: 'IN 1.+:t

41%

N. A -.10411. 44111011.

INTRODUCTION TO heautiful in it:elf. dra%itil,is an iIIti it,n of softie Of DRAWING I istial or intellectual.

I 4,1.% HI! is a lia4ic :kill,Itis the result of disciplined .Ucti% cmipled 11 ItII rism.% perception Pastels and Charcoal and motor control niined and maintained through ,on

-.taut practi( e. 1)1.(44 ill_' Ai:tract (I('. ice 141 /),/itets are made b% combining pigment Iith it binder raphic mean: line.1,41111. dot. and .pace %,Iiih made of gum tragacatith.Student: shoitld ktimthat rtlan 11,1: ,atettlpted cad :ettildance of hi. obser% a pastrIS 1111'114i1111%prepared in :oft. medium. and hard tion: Awl Looking. Ili:cm 'ling, think- 'trade :, and that t%lieti prpiql ii-(I and protected. the% ing. teeliier. doire..! .11 are ticce::ar% in the act of dra can he ited a. a permanent (11.1111 in...! medium. ThroiLdi tr.111.1.10)11. and \\ 1114 .1111 p stel.. (A4(1. Call he applied cater color. 11,44.11 oridr.tanditi:.!ofthelimitation and poentialiti,.: III-1)11111,111)1111, )11' man% 1r.nA itc2. material:. ',minimal.11 illbe iained. hattlitt/ i it black or dark. porous carbon. usuall%re- (hte the important clement. In ilr1l %,ile2i: line. pared from II mid. and 11-rel ill a 114'1111'11 4.111' drat% ittg Troia itI. mark made 1% a tool Itch ,t pencil tool.Thehairoal -tie k ha: a I illy ariet% 11:.:it

,r .1 111111 11'2'011'4in a dire, Hun 41' en, Joni, ma% he slim ptned prodin i a fine line. 114f'd flat II) cuter

+11.1114'. line 111.11 imidd area:. ((Iit Ind% by hlinded.iti: for detailed hro.1.1. fine. thin. 1411/1, .11111'(. 144112. ilr.111141)41. in::: or hold k -1.01 come ill :oft.

Ilfn' 111.11 drfine .1fill to dit textutp. I teat)' ,111111ue1.111' he medium. and hard j:. 3

The paper selected for pastels and charcoal must have for particular types of art work (charcoal paper, litho. enough grain, or tooth, to tile off and retain particles of graph paper, rice paper for printing, and drawing papers pastel.Students should be encouraged to use free. large of various textures and qualities). strokes and to attempt bold blending of values and colors. Demonstrate hov, the paper used will affect the char. In charcoal and pastel draw big. the eraser heroines a acter of the drawing. drawing tool.For this purpose the kneaded rubber or Demonstrate how white chalk pencil may be used for plastic eraser may be used. highlights on charcoal drawings. All finished charcoal and pastel (Iran inns should be protected by a plastic or fixative spray. Show how the eraser can be used to enhance a draw. ing. Demonstration and Discussion Emphasize the importance of protecting drawings with a fixative or other similar product. If the teacher wishes to encourage student use and Demonstrate the many ways in which the pencil can experimentation, she might include stumps, chamois skins, be used to enhance the line and the tone of a draw. erasers, a shallow pan of water. tempera paint, plastic jars. ing. .rayons. ink. and charcoal. Place these media and a variety of papers on the demon. Show how each medium can be rubbed or blended stration table.Show and discuss briefly several methods with the finger, stump. a wad of blotting paper or of using charcoal and pastels,Include spontaneous and chamois leather, and spread with cotton, wool, or free drawings created with these materials, and show how facial tissue. they may be intermixed with other media. Try these demonstrations on papers of various qual ities and textures. After the demonstration, encourage Studio Experiences the students to test and explore the materials. The student should he encouraged to Experiment with several different methods of using chalk or pastels using subject matter from the sketch. book, and explore the potentials of the charcoal or pastel media. Use charcoal and pastels to work out character sketches from a student model.Unique costumes from the drama group wardrobe might be used for variety and color. Set up an unusual still life for either a charcoal or pastel drawing. Use charcoal or pastels in large, bold strol-cs to draw a composition suggested by views from the art room window. Examine the paintings of Pablo Picasso. Juan Gris. and Georges Braque for style. composition. and tech. nique. Select a method of using chalk or pastel in combina tion with other media to emphasize textural effects. Illustrate individual reaction or attitudes toward a particular concern of government or society.

Pencil Demonstration and Discussion The teacher may wish to display on the demonstration table a variety of types and grades of pencils (graphite, carbon. chalk, charcoal. pastel, lithograph, conte) ;as sorted types of papers with a variety of surfaces: spray fixatives: and eraser'.Explain the unique chars eteristics of each material. including the specific quality of papers 4 BEST COPYAVAILABLE Studio Experiences The .student might construction paper. or with colored peneilt. on con Crumple a piece of 9" x 1.2" drawing paper and draw misting colored paper. a picture of it, using accented lines. Explore gesture drawing with pewit. creating the With a graphite pencil. sketch the hand in different illusion of form or movement. Experiment with lines that move across and within the form as well as along Sketch any object t$ith a combination of charcoal the contours, pencil and chalk pencil on small sheets of colored Draw a series of distorted sketches of a model from charcoal paper.The charcoal could represent the an " ant's e" viewi as if viewed front below the

dark areas, and the chalk the highlights. Value model). changes might be expressed through blending. Try another series from a " bird's eye " view (as if Use pastel pencil on dark paper to draw a series Of viewed from above the model). 3.minute sketches of a student model. Sketch dried or fresh weeds, a branch with blossoms, Try a contour drawing with chalk pencil on colored driftwood, shells, gourds, Or a combination of these. is ucatv titltsutidtua 091 Ituttixal putt suouptin! .toloa slava jo asp tun!patu palls n MO) Mil 100(14301S Win sinning.; VI141 01 tqUpossy 110.10U;) m 1,10 1411M alp NUM Siillt.niLip hi a MIS .10 .11091?fr, .01p .:).-)Nn let 041 stito, NUM 'HilLISptini 'OM amt19 5IttU.1,) 0.11? UP &T.:U..1601)3 nit:Wain alp ,typetth..ts taaj 'ssa.':-.Ths 14 fit 111131,1191 .i.11 J09)0 spotpatu jo 091 llamas 'anbptqaa) Jo.) ,timpto quapois 01 altia,t sclutpad u! iltul.todjias as u .adt?asputl '011100.441 'attidutrkup!! .passaJd pun it() tto:ini 491 anns 5110.17.13 OA' `1Jfk4S 0.11,411)5 115 5) 1e341 011OJ U[ r samwttap I 5314 (1 00 tio,J;) s1 0.10111 astla0 itt:9; :1r.a.).11:4) Ja...0st09 slt! idu 0,10(tt 499n ?Ian :99v4dupu a.4) pm? p!dt?.1 quitwiutpri fi.110A0,13 att .queald.(i 0putu ttoqn?;) 10199 puu t. invj Japtqq *aa.ta(tel 091 paroloa qdvatiotpti ;1?Ja ?Attu Ito aq; ovum 11130 aq pasutFund 111 041 cads 'S.1010J

3ttilue44*.ummat1 pun uopou10m(1

aarld 1? f.laem,, JO sJadnd Jo luaiainp sJoloo put: :(91 50.1111 110 091 uotpLtistiotuap awl 99m saiditma jo 011100 UOALIJ 1.1tqpniatt!) *aupitittes ttAtoul pun (Item pass:tad .suc.,040 !to 4stto.u.to %um .suoAtlia pup qduJ;;0419 stioXnJa usiv apniatt! gang stuaq sn laniq )114 .10 .111pui patloylaulq olupurls pun el ajpni Joj putomppt? satibtutiaal a.tun 0111 sittapnis atopixa 0141 sa!ispalauJuqa jo qaua JO .414l ju WUOM?J.) puu .5.1aded isathins pup 4alp ,(J1 li-J.11pp spotpatu jn liupipituoa u!patu Aq glans AtJuil u .staj scull tp!At pa.toloatpipq xum suo.itua otpq suo.ieJ0 10 no suoinaa Jan() u 10095 JO mulp out Jaded ttatp 1-1uttisniq )111! JO u 11191 woo jo uiadtuai iutud Jam) atit 'watt!! put: tit94Jasqo 091 slinsai ainaistiotua(1 0141 ipit?Jaw anbtuqaal to ma; wat,01 jo paloloaltp19 xum suo.(tua tpi.st u 41.quj .(ituati anitibalti 01 I? 0,41/1 Jo strap ;at! Jadud Jan° 941 .iiidt? .Atlati JO 1J199 uu.irJJ tialuiJs 0m-up nip ioui Jo) .(Ito .10410 (imp: 1001 guy pue clImled sued asodvi 5,10loa tiluattaq au. a1lsnr.JU.4 inniialt1 SIN .1113ttl A .511o!Ity1 tio4uri 1111 Amu aq palidift? Ippt gimpy.% 9001 tions st? u uad itpltu ail paild(11' 01 I? %taj suan jo 0111 itloil 11091 Japloti put? utoduad illnIrstima ttad ouquie9 'tisniq pallaw witoXtia,) jo 5,1010.) ear, paddimp Jay) 'laps pluoqpItla J0 alum! Jaddots asa94 snaJI? pm? °sin lot tomin imatim OU 110,;1ma 14 gp aq patiddl? 01 431) ao last Jadtui 109,N. 1! s! paildat? 01 Alp uaaq p.91dilu 14,J11?.1.).; ay Num 01 asodxa Jaded III 'atm 1! .(ilurtsn sassassod aAlswauixa itplq Ito..!?Ja pm? 1)Juoq mu, awn jo sapsnu:nta tit?a .,(19t?Ith ;I palpidu .(9 thnaq 40 a Julltuts elooi Jatlip .01) an a osp? aq aJoui 19t9 papundxa pu pa.topixa WI? t? itqnd 'last inarii jo atm) .ietu aq titt! ssaaoJd j00.1dJalum latliq JO paJ010:1 u!pts! iploututoo pasn Joj thipttup 1n9 Jnin;lal o9u Stinfi Joj uil»tjy tiaatt;4.tallxr,i holauj ,thnut satibstpai v dtliaj uad 9 tit? planaaxa rIttlAttlip lool 091 iota mainipi Wm/ fillpInn JO au9 'MU au01 atp pun 091 tuapaaJj top% wr919ppwsod jo aro% mut) 9.ee 9.9 -9 .4Jork:i um) ail atiddt? alum spy lool t? aAtssaidxa tuoij r? plaptqw Thipotu awl atp .995 WI? !last sr :411) tiet!mr.q) tuulpaut 11 tura osp? aq pauppuoa 1111A% lay° azfpa jU :Hp 'Ii(J,i114.) ulpalu sil sF9sud pun wloloaJaitim Alan ens 1nallil,infiX:1 1411M siniisniLlil as;osni:) r, pa(qns put> '.10tqwwaa 1)1.4 sued OA? applrall quit 9109 usattutuJd aJudaid of aq painJaxa 4(1 slip fisparoii Jo aslui.Jalum NI! 118111111M 1536 /403 ti011tlaltitiOttlatj pill) ii01,4111a4t1

isllottiao 4111.1 IMP ssll.wtp alp 1)01110111 Jo li111/(1(1(111

111)111 111! 01 p .01) 0311.1115 ty '.111t511 11 19.11,.% JO 0o1 110 Fmk) Jo '.10dPd IiIII.7111i1ILICI 0111 MI 41;11.1

API I) .i11.11?11 JO w5,)11.01) p1.111 X1,141111 JO 'lilt 1 1s110111«1( 01p.1 In! 110 lam .tadtui .,;(1 3itippo% 911.11 II .titinici 'nod pul? 110'11)! P .1od11d 11.1tim 5111 110i1 110:1 .q4101(.1 poSiott1111! tit .Jaiii%% Amp° 5111o1 :onti 0(1 pappu 511 ap A:4(1yd lunpuili %%ollt.; sarquA JO ail) lut .0tu 09 ',witting.) A9 .iiiiiinnizods moils ,stoil alp adA) jo Jadtld wiaapi? 5nolar.t topsiaapturit.) 30 091 19 :mil1511m00 pue 5511.1511 ay) potpaill JO liutsti 9511.19 azisinidur.4 AJI) lisnaq tu05 istotu pile 11 uoiluiliquio;) Jo asatp sanLiugJai ssails alp amiroodun, Jo fiuttaalas alp itizqJ 951139 .103 ay) .y0( airlisizoivau rliqsn 041 (19 091110d snopy, saplur. .10 silopisod .103 )iutppi pity. moil 04 0Aap1an futo91.% ipajja SUaJV JO laised Jo J010.maiii.st tOpu 09 pauppuoa tpi.st atp liaj uad aoJ ..;iapeA

mapuadapill °units pun tiaavasall siaafoad

.tl1)153 aip looqqa)als su a aallios op ituanas satimals Ili nod pun J0 tisnaq put? lilt utsn1 a.`1.1Jui JormaluAt IIS11.%1 'WPM?

aril uad anoium rluptuip -JO ugpap Imp saztsutidtua .11(91otu 1011111=1- iapas 30 latith S01131:15 1.110.13 111UU `al galls su spiv' .10 uaim satiamis ae palaiduloa rug 110 t) palopm.itiq tisum pp(' sanoais 0) azputpitua uop.ul ..`dupsuip ollnllti wilatml.tadxl u papiliap ittLipodias au() Jo alp 1p91 11 gRiliq paJorixa 053 191)19 pm? uad 0) alum rtimas JoloaJaium put? lilt rlittsil saipials Jo poomijia azisiititug.i alp tuals.iild 1909 .sadulis isuain salispapi? Jo at') poom psi' .3 :crags alp s.dli!muip Jo gnome; slspau pui su **lulu( ,),)ipula ail0 1.)a1ilo u! 111.101105 1110401p puu .suotip,od azApnly puu Apnis atp saviis JO 51.19 puu ()mud .?lull uad pun lti! sati.)o)r uloij 40Jupui .7tuv1SUl1dula 'oSSI?:1(i auttu11x.1 0111 1111ildnilaA0 .saduils alp suuoj Japia.) Jo 1saJap1)l ipuimo pootu tpluoJtp r. Jup1091J111 ilimoi9 du .sailuid Atli uotsillp Jo mullet's J0 Jo 1 tuulpa(ti aJoplvi 0111 ipisod p sal JO u .hadols pun ay) )119puripi .m10) 11991, pasn a 11011A1 dip h.)71110 Ju olp 19.110(.1 .swij pm: -(10,13.) pi? potiolu 1U9 ppio,) of amipoJd apspin;) 1i a IIt .plo),ullid np 1 .1.1 of azgutisy, 111111 Sdi JO A511iU1J 9111.si itOlu sisal, doiwoo tiop,s/adulo:i padoia.,a1 11oNsodup).) '11,1Uad du 11 uopuillgutod Jo .asaip

10 f41! t1 Jo uopoul niti t,-; (III r api 30 nllps,1.1;i)O! w1.6.4.4 pito(' jo (11104.4 sdivad .0111111 1101ii spiv lootos Num Joj .5119 111(141 ',1.1111. 111111 1Im 11 1 119.1 tiad 0.) Auppium 1111rs11,11 911.$1 .1110 911o.) IP1111 aulj 7

Select an athletic theme such as wrestling, football, Evaluation basketball, or track. Rough out a page of drawings Has the student explored each of the drawing media sketched from life while teams or individuals are presented? practicing. Has the student understood drawing as a process of Try a cubistic composition with a predetermined idea discovery based on improvisation, experimentation, in mind, such as an abstraction of figures. animals, and as an interpretation of nature? still life, or music. Experiment with textured papers until the desired effect is reached. This could be de. Has the student developed his own individual style? veloped into a large finished drawing. Has he shown inventive ways of expressing himself? Sketch a corner of the art room, a section of the Has he shown appreciation of drawing as a skill interior or exterior of the school, or a dwelling. Em. that has been used for thousands of years? phasize pictorial representation through the use of Has the student shown confidence in the way he ex perspective. presses himself graphically? After doing the necessary research, develop a series Is the student original and flexible in his work? of activities in which crayon is used in a manner Has the student demonstrated ability and feeling in not demonstrated in class, such as rubbings, trans. handling the various materials presented inthis fers, batiks. course?

BEST COPY AILABLE

r.4 44. Equipment and Supplies For Drawing

atomizer or spray brushes: from soft camel's hair to stiff bristle; of vari ous sizes chalk and charcoal sticks chamois Alf containers for drawing equipment crayons:wax, pressed, unite, lithographic, oil drawing boards, 18" x 24" erasers: gum. kneaded rubber, rubber fixative ink( black india as well as colored inks) paper: bond, charcoal paper. pastelpaper. velour, strothmore paper. rice paper, vellum paper, newsprint of different weights, construction paper pencils: graphite, carbon, lithographic, colored, chalk. pastel. conte, charcoal sd. penpoints and holders. ballpoint pens. felttip pens sand pad scratch tools

I 1 . sketchbook 01,70 water pans I 17

;L ii AIL

s, I

A116_,Q2-

r4k-ts ; 3 4

),-;;;:°V.6--,-,',

,-,..v.-, ,:-...,.. r p -.--e- i,,... . ., cr? =-L ,-7,.-,. - . --17,-; 1,' .. ..',i''* "-: .p,,- /5 , -1'41,*' rW/7":.;: ''''''''i , 1. .0,..'.," Li

'1.,.-``-

4 ._\ N. _11,4 INTRODUCTION TO PAINTING Watercolor

Watercolorisaspontaneous.free.11ow big medium painting. Because tempera is opaque, the surface to whose colors range from very pale to very brilliant to be painted is usually completely covered and areas very deep. The traditional painter thought in terms of may be painted over. One distinguishing character. wetness and transparency all watercolor.In this cen istic of all opaque watercolor media is their ability wry. watercolor is used in a less pure manner. for it is to render extremely fine details.When tempera is often combined with the opaque. with inks, and with varnished, it may appear much like an oil painting. other media. Casein paints have an alkaline solution of casein Transparent tuaterrolar is a paint in which the vehicle as a binder. which is produced when. milk is curdled is a water dispersion of the binder. which may be by rennet.Casein may be used as a fairly transpar gum or glue.It comes in tubes. semimoist pans, or ent medium or it may be thick and opaque, depend. in dry cakes. Simplicity and directness of approach ing on the method of application.The painting are two basic characteristics, of this medium.In surface may be smooth or textured. but must be por this pure form. transparent watercolor wash is ap oils.Unlike other watercolor media discussed here, plied to dry. damp. or wet paper. taking full advan casein becomes waterproof when completely set and tage of the color of the paper and typically giving dry. the painting a bright. sparkling effect.When the Suggested palette for watercolors watercolorist works in this direct manlier he must titanium white raw umber have complete control of his design, since the first cadmium yellow light ultramarine image is often the last one possible (unlike oils, in cadmium orange cerulean blue which the artist may work over the design again and cadmium red medium prussian blue yellov. ochre aliktrin crimson Tempera and gouache are opaque watercolor paints Hooker's green magenta in which various binders are used, such as egg. glue. viridian Pone's gray gelatine. gum arabic. starch, or other colloidal me. raw sienna black ilium, Water is used as a vehicle. burnt sienti., cobalt blue Egg tempera was widely used before the advent of oil burnt umber

9 BEST COPYAVAILABLE

Demonstration and discussion Demonstrate and discuss the specific characteristics of the surfaces best suited for tempera and casein of each of the w atereolor media ---- transparency, flu. paint. Point out that casein may be used on porous idity. covering power. surfaces such as posterboard, cardboard. or paper, t)emonstrate and discuss the importance of the char. but should not be used on tightly sealed surfaces such acteristics of the painting surface for transparent as canvas board or tempeted hardboard, for the watercolor. such as the tone. texture. quality. weight. paint might crack or peel. and absorbenct, Demonstrate and discuss various effects and char- Show how the surface itself becomes an integral part acteristics of tempera and casein paints. Demonstrate of the design and coloring in transparent watercolor. the covering potter and how either medium may be Show how various effects can he achieved through used thin or thick. scraping. blotting. and adding accents when paint Discuss the characteristics of the various brushes is wet. semimoist. or dry. that may be used, such as stiff bristle brushes or soft Show how washes mat: be used for underpainting. hair brushes tsable, squirrel, camel's hair, or ox overpainting, blending. or intermixing. hair). Show various methods of stopping out through use Demonstrate an.:l discuss methods of stretching water- of rubber cement. tape. and other means. color paper and the reasons for this procedure. Disc:1:AF, the importance of using the proper brush. Demonstrate the use of the watercolor block and its Demonstratew ashbrushes,roundbrushes.flat advantages when painting "on location." brushes and the various effects that may be obtained Stress the importance of proper care of all materials. by each. Point out that brushes left standing in water for any With a large brush. show host many effects may be length of time will lose their shape. Emphasize that achieved, from broad to fine lines. casein must be washed out of the brush immediately, Demonstrate and discuss the specific characteristics for once it is dry, it will no wash out.

44,44tamosiii*,. .441.14,/ *MIONS

4 itt

,s` 4. "it" I 0 )0'. ' ''' .

. .14, I.; BEST COPY AVAILABLE 11

Studio Experience% The tudent might both transparent and opaque wate colors on a ariets of surfaces. using different sizes and tpes of brushes to achieve a varlet!, of strokes and techniques. Explore such techniques as the use of washes. dr brush.opaquetones.texturedeffects.dribbling. Tonging. and scraping.. be used for reference later in the classroom. 1..sing the sketchbook for reference. work out a shnple Choose an idea from the sketchbook and work out a landscape. stressing the wet watercolor medium itself. painting based on it. using areas of watercolor wash Ifesign a series of abstract paintings. using wet or with pen and ink details, dry techniques. or a combination of both. Work out an abstract composition which might stress Paint a still life. and try to simulate the various tex a particular emotion orfeeling. such as falling. tures in the objects. such as glass. fabric. and wood. dreaming. love, or insecurity.

2.1.n.I a landscape that contains simple figuresin Paint a nonobjective composition using the drip.and- action or repose, drop technique on wet paper. Add details when the Paint a grouptotfissure studic,, of a student model composition is dry. dressed in costume or colorful clothing. Paint several studies of figures in sepia wash tones Work out alarge design to emphasize a fantasy ith line accents. theme.Combine arious techniques demonstrated Stud% the works of famous artists. such as the water- earlier. such as applying ink and lifting out areas color: of .John Malin or Winslow Homer. and the of it,vith tissue. temperas of Andrew Wyeth and George Tooker. Plan and «,xecute a composition which will combine watercolor. ink. and collage. 1C ork out a group of designs in paint using tools other than brushes. Self'rt several completed paintings and cut mats for displaying them.

Independent Studio 111111 liesearch Projects Credtv a painting that V.(iire40.4 a personal view of .1 current issue. ~toot the otipct: of fla% light on a subject as opposed to the effects of artificial illumination. \lake a of quick outdoor sketches which may 12 BEST C',','"'1N't\IIMM.E

011111M344.3.4.-_ 111111111111111

JO- art{ VT 114 ,th:K 4'Cr so43..33*0.:3..erla

he-

41110.:1111__A

-, -,, ... i...... 6 -s. i'q , s k....--.

L 1"'"

Equipment and Supplies for Watercolor Painting Evtlitnitifott brushes britle. .atuel's pens and penholders ffas student explored tach of the media presented? hair. ox hair. and sable. portfolios lbws the student understand the characteristics of invariety of sizes and razor blades eaeh of the waterolor media? rullber cement itas the student IleilIffiV4trated anti 'Mid* '';s );:ink t (SIR': See sketclikmks fa,: in the use of the:r media'' :,ttgl.tested palette) sponges tempera 'cakes. jars. and I{Withe41111fglitit'1111414.triltrAkinand a personalized approach in hi: handlite, and control of these media? containers for individual tubes:s e esuggested student equipment palette) .4ftlore evidence that the student has a =ed ime,ina I otton tissues tion and innovation in Ili: work? drawing boardsI 18"X ar transparent watercolor Ili,: the 411fient attetlIpti'd ti, build strong compo,i or larger) (sets and tubes. dye lion %%Idle using the 1% itterculur medium? ..a4elst folding) cakes: see suggested Has the student :hot, n appef iation of. and PriSi inks palette) iVit tn, the 11111411IP illartiCterktit?' of each rflefli(1111 muffin tins water pans palette knives w.tx eras-on palettes (hinaroated. wax pans Metal.ofplaStiV) 13 Oil Paints Oil paints are made with organic or mineral powders I)IIAJTANTS, VARNISHES, DRYERS mixed with linseed or poppy oil as a binder. A Mutant is a liquid which thins the paint and makes Paint emulsions used in past eras dried veryrapidly.. it easier to spread and handle. The preferred dilut- whereas tube oil paints used in modern times dry much ant for oil paint is turpentine. Colors may also be more slow Iv. Oil; paints will remain moist for 2 or 3 thinned with linseed oil, but this tends to retard dry. days and some will not become completely dry for months. ing and gives a inure glossy appearance to the sur The reason for the extended drying time is the presence face.Stand oilis a good thinner when applying of retarders which have been added to the prepared glazes.Generally a good thinner would consist of paints. one part turpentine and one part stand oil. Colors can generally be divided into two groups: the Varnishes generally consist of solutions of resin in earth colors. such at venetian red. yellow ochre, burnt solvents. or conked oil containing resin, made by umber, raw umber, burnt sienna. and raw sienna; and cooking resin in oil and thinning with turpentine. the artificial or mineral colors (semipermanent. such as Varnishes may be applied with a soft bristle brush cadmium yellow. cadmium red, cadmium orange, cobalt, or by spraying. or viridian. Since white is essential when painting in oil,it is im- There are two types of varnishes: portant to know that the common whites are flake white. Retouching varnish is a light varnish and is usu zinc white. and titanium white.Flake white, a white ally used while the painting is in process.This lead. dries fairly rapidly. Zinc white, derived from zinc. has the least concentration of resin. has a tendency to crack and yellow somewhat. Titanium Datnar varnish is used to protect welldried paint. is a good mixer. is slightly stronger, and is judged to ings.It forms a permanent protective finish coat. he the best by many artists. Dryers are substances added to the paint to cause it

4 rt

Jib

3. -It

.^0S-

04.Y Emit-1014"411ki 411111411111* flifilegiet .1%10110011,41111,0 .gligwsw,401.41411*

14atent.

-4111614aps.... :we*

rei

trIV4 '4.,4"PiNz1 "ammonia. 111110411177'.'/ _....=IdAea. ,% 41. .%4411/111/

.4941W.t.'4 "*A. °-4t

-So

4,-

to dr% and harden more rapidly. but these should be burlap. Itis important that hardboard and card. used w ith caution. board be primed on both sides to reduce warping. CHImit limdrette drier is the best drier for perma Gesso. acrylic gesso. or white lead paint may be nnt painting. used as a primer for these surfaces. f H USED IN (HI. P.IVI'ltit; Demonstration and Discussion /Iritihcommorikused are made of hogs hair Display all of the basic media and tools used in oil bristle orII% tin. and eome ina%Nide variet%of painting. shapes and soft brush such as sable is often Demonstrate the various characteristics of the paints ti.,ed for detail. themselves and the mixing of paints. Pidettenireart' used fur mixing and for scraping ['sing a diagram. show how a palette is arranged and paint from the palette.Palette and painting: knives the importance of always working from a full palette. , owe in man\ ,iies and Fhilie, and can be effective Show the various effects that can be achieved by using tool: for ,111111in_ paint. the paint as a glaze or as a stain: how thick and thin paints can be used for desired effects: how highlights l'ioiro, or nit 11/N.; grog: any portable. nonporous sur are achieved. fate vain %%oud. tempered hardboard. Explain and demonstrate Iniw the (king process is or21,1,4 Ina%lie used fur this purpose. affected by the thickness of the paint as well as by varion- (Mutants which have been added. l'itIVITSG SI 111,..4:ES Demonstrate and discuss various brush strokes that oualk made of linen orI otton stretched mild hi. onid,,,-(1 in different t% lies of painting. and o%r fratile.111i, material Italie. in include the applkatiutl of paint with the ',Alain,: t4"0111.0* knife and other tools. IMIN other .10,0 I., ran .11411 be paintin" Demonstrate the method of starting an oil painting if properk pt -;ii itis4 .ffill),11.11.r aria. !ward. h% sketching (broil% on the demonstration paper 110.1%., paper or1 t1111,14pal/II. hardboard. ,Auodter with a neutral color thinned %ith turpentine. BEST COPYAVAILABLE 15

Sho the preparation of Y.trious painting ..urfacey.i. Oemonstrate how to stretch a canvas, and how to apply ground to other painting surfaces.

P.\ LETTE palette of oil colors should be methodically arranged for quickne*s and efficiency in selecting mid mixing colors. One accepted is ay of placing the colors is to arrange them front light to dark. grouped according to Value.In this manner the student may s% stematically use the hue and it*orre..peetteling Atte.A great range of subtleties in an color ma% be discovered through proper selection and ,m10111kr, mixing. .04e ..."1716 ..gre There are many methods for keeping oil colors moist yeet "be for *everal days. such as placing the palette in an airtight .ntainer. placing protective film over the paint, or add. I' ins a drop of oil to each color.In time. the student will acquire it feeling for how much of each color to place On L the palette. Student* should startA ith the tnini,attm palette and gradually ork up to a more complete range of colors as they gain experience. it ; Beginning minimum palette

%%hite alizarin crimson admium ellm% light burnt umber cadmium red mediutn black permanent green pthalo blue

Fulrange palette white raw sienna lemon yellow burnt sienna cadmium yellow light burnt umber cadmium yellow medium raw umber cadmium orange ultramarine 'AV 0"71 cadmium red medium pthalo blue cadmium red deep cerulean blue vermillion prussian blue 1114r. 4u.V* -Jae* yellow ochre cobalt, blue permanent green mars violet viridian alizarin crimson black Sooner or later. a student will want to thin Out the pig. rents for special effects. To thin the pigment and retard drying. try a mixture of two parts linseed oil toone part damar varnishI a general mixing formula). A large amount of pure turpentine with the pigment should be used to make a thin wash solution.

Studio Experiences T he student might Prepare a simple palette of color. and on a sheet of inexpensive paper. apply %% ith brush and knife a wide range of small dabs of color which have been mixed I. on the palette.Experiment with various consistencies BESTconAVAILABLE of paint by thinning some samples w kb oil and others Independent Studio and Researelt Projects with turpentine. Use a variety of brushes and painting knives to ex. Work out a composition that could have been inspired lore different methods of applying paint to the sure by dreams, fantasies, or nightmares. Observe works Luce, such as spreading fiat areas, using pointillistic by such artists as di Chirico, Chagall, and Dali. strokes, making various textural effects, and using Work out a painting inspired by the environment, paint which has been diluted with oil or turpentine. Emphasize a personal approach in developing the Experiment to determine the mixing qualities of the forms, lines, and colors for this composition. different pigments with respect to changes in hue, After studying such cubists as Cris, Picasso, Braque. value, and intensity. make a series of sketches from a model, emphasizing Work out a simple design in which flat areas of trans a particular geometric motif.Develop a painting parent color are set side by side, slightly overlapping. from these sketches emphasizing flat colors, interlock. The overlapping areas should show the transitional ing planes, and equivocal line and color. tones. Develop a painting that expresses line quality.Try Work out a simple landscape from the sketchbook, to emphasize the repetition of similar lines and emphasizing a particular mood. colors, while avoiding monotony. Develop a composition to be painted in a very high From a group of animal sketches. develop a painting key.Maintain the purity of the various colors as in which special effects are created by scratching much as possible. through the paint while it is still moist. Select a particular color and develop a painting which Develop an expressive self-portrait. will emphasize this hue. Mix a wide variety of subtle Work out a landscape painting which will stress some colors within the composition. aspect of the weather, such as rain, mist, snow, fog. Work out a composition that expresses individual or brilliant sun. feelings about a particular subject.Develop this in Develop a composition in which various areas will lie colors that best express these feelings. built up thickly to emphasize textural relationships.

Work out a character study of a model or member of . After studying the use of underpainting and glazes the class, using colors which reflect his personality. by such artists as El Greco or Jack Levine, use this Emphasize a specific center of interest. technique in developing a portrait of a friend. Study a group of painters such as Kandinsky, Mother. Using various materials such as fabric, wood, paper, well, Nolde, or Pollock. and work out an expressive or cardboard which will be attached to a rigid sure painting which was inspired by the works of one of face. develop a composition in which these objects these artists. are combined with oil paint to create textured effects. After setting up a still life. stain in the colors of the After studying works of Albers, Mondrian, Indiana, composition.Complete the painting with a painting and Kelly. design a hard -edge painting which will knife. and attempt to duplicate the textures of the stress the effect of motion through the position of con various objects. trasting colors and values.

a BEST COPY AVAILABLE

;At,

,M01040g0' -110,40 1 1, 4"

;2e (i V tg.i4

-444

, II.

Jr'i..1":0 ,.

Equipment and Supplies for Oil Painting Dot's the AWIflt understand the chararteristies of oil atomizer oilpaintsin tubes as a medium? brushes I sable, bristle; white: 1 lb.size: Has the student Al-m ri an msareness of the range of in various sizes and color;3"tubes or the oil pigments and hots the% are used as a vehicle shapes) larger; see suggested of personal expression? burlap palette for colors.) Has he demonstrated skill in handling the tools and camp stools palette( wood, mason materials essential to this medium? canvas boards, canvas ite, glass; 10" x 14" Has he de% eloped a sense of independence inIlk paper. oak tag minimum) stork. including experimentation. innoation. and ex canvas(linen or cot palette knifeI various ploration of neW 1.141'4 and approaches to theoil ton) sizes ) medium? charcoal staple gun. tack ham. 1)oes he demonstrate confidence and strength in his glass jars mer use of this medium as a means of expression? easelsI good duality stretching frames and lias he learned to appreciate the range of skillS, teril folding easels for pegs 16(110'4. and '4tS!rq Which have been demonstrated in outdoors paint thinner painting of the past? fixative turpent ine hardboard varnish (damn re. I the + I tsensitiveto thenetsapprwirlie4 in the linseed oil touch I use of oil paint? stand oil stretching pliers MAILABLE BESTCOSY

""4111=1111....

°; '1 .;o°

YI 1,

Ai 'M,41#

tat

0104004 -

arouftwarow,orb'` wirea._14k, AromMew k

Acrylic Paints

1t relic paints are i)Ilf'I)( tilt'Ill(Ptt interesting tle.101) Tile% Ina% he used as ail underpaintig for oil Int' tit, in p.tititin2 of this centtin.These stithetir paint. he% intrllitit great %ariet of effects, such as brush \ of der\ lie poi \ TIW1 Mit% textures. knife impasto. brilliant glazes. flat gouache. 1)t itll1l Met:. but dr1 to a 1111r:tide. pf.rniallt'llt. tempera effects. transparent %%ittercolor effects. and 1)1,1%111 (0-.1111116.41. 'HIV% art'a1:lit:11)1einjars. tumid ashes platil and inIt'1 rake-. of rdpidit (1 retarder ma% be added to slo%% drying time. 1,1 the ill c ;tr.; u%o.rpaititint: iliacht. (kgle tithtfut \lam. other art activities nuts- utilize this medium. such lal11 of the la ri till paint inl! as silk screening. nionopinting. tumbling. papier !nitrite. eliminated. such as 41..11 dr\ lii iiffenie o, ors. fire haz- and collage.ilecatise of the adhering finalities of acrylics, ard. and tittifi-consomite.2: Hyaline.: of palette. brushes. anti mitti other materials nut% be iiirorinalin.(1 in the climini bands. The problem of storing inpogress paintingsis Hint,. slid, as arid. pawl, ton(I. and fabric, also grii.01 Ale% idled..iecalise of the rapid dr\ int.!. limp, 1Itliougli mans feel that this paint is like oil fa %cater r1lir 1.1,11 mor emulsion paints especiall lend color. there are an% differences.Aet. lir poi% titer eum to Ilse Iet 4chool students. sion colors are brilliant and 1111 hut fade 11111!r1 tilinne(1, Other 1,roperties, tit,tcr\ lir. are as ffillo%.: tillalit and range of colors are uuitlue.Tile textural 41110\ are %atet--resistant Allen dr% dr% finality is another feature.Many ()tiler characteristics %%ill heroine e% 'dent to the sturlet as he f!Xplfirt'S this (b.erpintingisnothindered I colorsblerdiml. thrioedi M0(1'111111 further, lif. ma\ be built ufe tinickl \to tlreat thickness l'AIN114;SI'liFtEES Tile\ Art. I) I A lini,111e Tbr% tillII.1,11WIPhi %1jiff' \111 .111.1.1,f' prniwilof the ilcr% lit 11(111111er14111114ln I Itet AP' 1111',11 i'lInhitle lit Paint paint IA the \tit :11111111' to almo.1 aro, surface. inelud 19 ing canvas, hardboard, paper, plaster, and masonry.'Flu, I matte medium, etc.)with materials such as those only surface not to he used is one that is oily, used in collage, as well as their use in (*renting dif In high school classes. good quality paper or cardboard ferent textural effects. is more satisfactory than the more expensive Vi II1Vilt;ur Show how modeling paste may be used to hold to. hardboard. gether the parts of au assemblage and a construction. Demonstrate the wide variety of surfaces that may BRUSHES be used. Show how gesso is applied for a painting Acrylics are inure destructive to brushes than oils or ground. watercolors are.Standard bristle brushes 1 which will lose their shapein time, sable brushes, or camel's hair Studio Experiences brushes may be used for this medium, although nylon The student might brushes will generally last longer than others. Brushes Work out a nonobjective design using flat areas of must be wet before using and must be kept moist during color on large paper or illustration board.Fitupha. use. Immediately after use, all brushes should be washed sizethe wide varietyof textural qualities which with a soap solution and rinsed.If a bristle or soft brush. acrylic paint offers. is used, it should be pressed flat while drying so that it will not lose its shape. Work out a large design on watercolor paper or illustration board which will show the wide range of musTANTS AND EMULSIONS transparent tunes and glazes that can be achieved. On a large piece of heavy illustration board, card. Matte medium mixed w ith acrylic paints will retain board, binder's board, or hardboard, develop a de. a completely dull or flatfinish.It may be mixed sign using modeling paste and matte medium. Mix with the gloss medium to control the amount of gloss. the two together and push, scrape, guide, and draw Matte varnishis varnish that a nonglaringfinal in the material while it is still moist, and attach vari brings out the richness of the color, ons small objects where appropriate in the design. Gloss medium can be used as a glazing medium. a After all areas are thoroughly dry, the modeling paste final varnish. or it may be added to the paint, may be carved with a knife to create additional de. Acrylic gesso is a brilliant white ground for any type of painting surface.This ground may also be used for oil, tempera, or casein paint. A Modeling paste contains marble dust and proddes a three-dimensional effect when mixed with acrylic paint. Or when used alone and painted over.It may also be carved or sanded when dry. Gel medium is clear and is mixed with paints to add body, increase transparency. or reduce drying time.

Demonstration and Discussion Discuss the unique characteristics of the acrylic poly. mer emulsion paints.Give a brief technical descrip- , tion of the properties of this type of paint. Demonstrate what these paints will do by themselves and when mixed with each of the other painting media,Show the range from transparent watercolor or glazing effect to heavy itnpasto. Discuss the importance of caring for the painting materials.Give specific directions for the care of brushes. Show that practically any tool may be used to apply the paint. such as the palette knife. painting knives. wood sticks, cardboard, and sponges. Demonstrate the many media for thinning and cluing- icy ISO ing consistency. such as matte medium. gloss medium. ..Aasii rt, e gel. modeling paste. gesso, and matte varnish. 4,41N' Demonstrate the use of the various modifying media 20 BEST COPYAVAILABLE

Independent Studio and Research Project:. Develop a mural with an appropriate theme.Make a series of working drawings which include specific details.Do the necessary research and consult with the teacher throughout the entire project.Make a scale drawing of the design, including the color scheme.This problem may be worked out by an in. dividual or by several students together. After completing the necessary research,write a paper describing, the development of acrylics as a painting medium. Using modeling paste, work out a relief design based on a particular idea concerning the human figure. Finish with a staining technique, using color plus medium.

;1/21 Work out a series of experimental paintings to dis cover the full potential of this medium. Report to the class the findings as to what acrylics will and will not satbs.'3 do. , After studying the works of an artist in recent his , 41 tory, develop a composition inspired by his subject matter, color, technique, or style.

ik,' Using a limited palette, design a painting which will show the artist as a propagandist, or art as a means of social comment. Work out a fantasy using a drip technique plus a wet .4 onwet technique in which liquid color is applied to a wet or clamp surface. Add desired details when the initial application has dried.

tail.Color ma) IT added when the design is com pleted. Use matte medium as an adhesive to make a collage from such materials as tissue. newspaper. and fabric. Working from a preliminary sketch, lay out the mate. rials on the surface to he used, and rearrange them until the desired design is achieved.Adhere the materials and add various pieces and colors as needed to strengthen the composition. Paint a landscape directly from nature.Overlap transparent shapes. and emphasize the brilliant qual ities of the paint. From a posed model, make several quick sketches directly with acrylic paint.Emphasize general char acteristics of the model and the pose while avoiding detail. From a sketchbook or direct observation. develop a composition with a city theme.Emphasize spatial qualities and light and dark patterns. Try using hard. edged tools such as painting knives or cardboard. Using several studies of figures in action for refer eta c, design a composition containing groups of peo pie or a crowd. BEST COPY AVAILABLE

Mr.

11111,-* I

mars black phthalo blue I )tit'. the .tudent rerug Mir the di:tinetive qualities of phthalo green rawumber the ,tortlitpiiktner raw siemut titanium white ILI% he theithiliktoipo iierNhi.: inrail'ttf the mail% ultramarine detTI011stratell?

...I%il reft111114.11'illedItini11.1111e1%.114. expre,:sing ilihitants and emulsions: meditun? arts lir gesso matte medium 1)or:the ,,toIt.nr.. wokAhtmit frth ;Ind towitinp rf`I Matte V11E111'41 111.11.11% ? gloss medium 111011elitig-paste 11.1: n in. and appreciatinn of. the gloss varnish

,1( hllrn. and has he,4111o.nIntl-4...4ill 111141's Ibristle. eatlierS hair. 111.11e. nylon)in assorted wyerimntation and :tn(1%HT,liftittilc. 111111ShapeS pendent pas (glass or plastic, ea:els Equipment for Painting materials for rollagefahrie. paper.%soot' 1 with Acrylics painting surfat ranya,, and cardboard 4tretchers V't'tIlt'111111 filer vtnaltion tube, Hr. cake) : hardlalarfl camas Ittiard paver /leg!IllIe /11111itionfil eolors ram aS burnt oinhe burnt sienna palette knives ,,idinititn red nie r,olininin ',ranee diutn cerulean blue igla:s. %arnisbeil Imod, hardboard. others r,oltnioin %Him% Impel to+wls,11011%, lielit Iloukttr'K green kt.til pad; t aA .14

" x

't I

g49 4' IL

,,k Glossary of Terms

acrylic a poly mer emulsion with a fast drying property, hiding power the degree of opacity in the paint. alla prima painting without underpainting. impasto a thick, textured application of paint. binder any one of the glues or materials used to make linseed oil oil of the flaxseed. usually used in oil paint paint adhere. ing. canvas prepared cloth. usually linen or cotton (hick. used mat, matt, or matte dull surface. to paint On, medium the material used to create an art object. Also casein milkbased binder used in many paints; usually the liquid with which pigments are mixed to make called casein paint. them suitable for painting. chemical color pigment derived from chemical sources oil paint pigment mixed with oil. ALA as the analine colors from coal tar and alizarin organic color pigment derived chiefly from animal or crimson from dihydroxyanthraquinone. precipitated vegetable sources. on a base of aluminum hydrate. palette surface of paper, wood. metal, or glass, upon chiaroscuro treatment of light and dark in a painting which paint is mixed. or drawing. palette knife a dull, knifelike tool with which paint is cobalt linoleate drier drying agent made by cooking mixed or applied. salts in linseed oil, pigment pure color used in making paint. (!sonar varnish a resin varnish. priming preparation of a surface (satne as ground). earth color pigment derived from earth. chiefly clayt low and red ochre, virdian. bone, lamp black. etc.. quickrying white paint developed for underpainting. egg tempera paint with egg yolk as a binder with dry resin any of the exudates of certain pine trees. color.Traditionally used on gesso panel. scumble a semitransparent application of light paint to encaustic wax binder with dry color, used by the an a darker underpainting. cleats. sizing a gluelike material used to make the surface to be fixatives transparent spray used tofix media such as painted impervious to oil, water, etc.Helps to pro charcoal and pastels, tect the surface from damage such as rot. fresco painting with lime water and dry color on fresh solvent material which will cut through media such as plaster, turpentine or oil.Usually used in cleaning up. gesso white pigment with binder. stand oil nonyellowing linseedoil. glaze a darker transparent color film applied to a lighter texture structure of a surface (smooth, rough, granular. underpainting. etc.). glace media traditionally 2 parts stand oil.Ipart datnar varnish, 2 to 5 parts turpentine. tooth roughness or graininess of surface. gloss shiny surface finish. underpainting usually the first covering of a surface in goimehe opaque watercolor. the making of a painting, ground material applied to a surface to prepare it for value a color's degree of lightness or darkness. paint. varnish a solution of resin in a dilutant,

STUDIO IN GRAPHIC ARTS (printmaking)

(ouRsE DESC RIPTION STUDENT OBJECTIVES

This course is designed for students who havecom Upon satisfactory completion of unique segments of pleted a full year ofStudio in Art anddesire to take this course of study. a student should be able to demon. advanced work in the area of printmaking.In this pub. strate: Region, printmaking is concerned with the art of using Increased ability to express ideas logically. clearly, lines, solid masses. tones, and textures in sucha manner and esthetically through the medium of printmaking that many proofs may be produced or pulled froman original.The course covers a 'variety of processes and Independent judgment based on knowledge of print. materials for exploration.Since it would he impossible ing and processes, and the ability to substantiate the conclusions reached for the student to work in depth in all of the various areas of study introduced in this publication, it is suggested that Increased understanding of the eleints and princi the teacher introduce all processes early in the course, but pies of art structure and be able to apply them to the student select his own special processes to pursue and printmaking processes with esthetic sensitivity master. Printmaking techniques of an esthetic nature Students should keep a notebook of Glasswork and Proficiency hi the handling of tools and materials research. and a portfolio containing sketches, photo A personal approach to problems graphs. and examples of the various forms of printmaking. The understanding that printmaking demands ar tistry. skill, and the disciplines of persistence. organi. nation. selfreliance. concentration, good work habits. and a respectful attitude toward materials

25 BEST COPY AVAILABLE 2r)

1 .t

INTRODUCTION TO PRINTMAKING The traditional eonrept of the graphic arts includes 'iii materials, and equipment.Careful planning will main fiirms of Nodimensionaltisualexpression:drat% ing. min a balmiee betteen freedom of expression and disci. pa int int!. print and photography.However, this plined craftsmanship. dourse includes (Inkthe processes of printmaking and Printmaking might be divided into two classifications: offers a fe suggestions concerning the area of photog Ili Printing by trans /erring images from a sur /ace raph,..See also the elective course Sturho 1Jt Photog. coated with paint or charged with ink or some similar ro ph y. ntedia, onto another surface.The character o/ the A rPrOnit revival of interest in the area rif graphic arts surface has much to do with determining the process. gre out of the realization that printmaking, is a bights expressite meditun.The trend is in creating unique tex The planographic, or surface printing process, is done tural effects, superimposing shapes %%id' transparent inks, from a flat plate: the design neither raised nor low. offregister effects to give the feeling of river creel. lappio2 forms. possilph. -temming front the ideas expressed The monoprint is a simple Orthographic process in. in kulaism. Vuturism. and Cithism. Contemporary pint- yoking the following methods: additive, subtractive, maker are now producing prints equal in artistic merit overlay, cylinder printing, mixed media, or a corn to painting and deserving recognition as a fine expressive 'dilation of any of the above. This type of printing medium %%ortliv of a definite place in the museums and is often done on glass, metal, or other slick surfaces galleries of art. with oil. or vaterbased paint or ink, and is then .k wither recent trend in printmaking has liven the relief transferred by contact to paper.Usually only one print. using the hdraulic press.Many contemporary print is made front each design. artist.: are cleating embossed Ilite.oiAllite prints. using Lithogrnphy is based on the fact that grease repels found *vets glued to a hard hoard to make a three water.In this process the artist uses a wax crayon, dimensiimal print. lithograph pencil. or wax.based paint to draw or V, !tether materials are plentiful or limited. printmaking letter on the surface of a slab of limestone or on bas roori sad,- if :trident: have learned the importance of alumirouti The surfaceissensitited. keptmoist. rinrd-raftsmattship. and 1espect and care for took inked, then printed. 27

The relief process requires raised surfaces to receive is developed and fixed by means of chemical solu- the ink so that the image can be reproduced on tions. then dried. another surface. Wood and linoleum blocks are the most common materials used in this process. GeneralMICUS8i011 Theintaglioprocess includes both etching and en. After showing various examples of the printmaking graving.Both depend upon indentations in metal or processes mentioned above, discuss such topics as: celluloid to hold the ink, which will transfer an image The unique advantages printmaking offers onto paper under pressure.In etching, indentations The printing surfaces of the relief, intaglio, and litho. are made through the use of acid.Engraving refers graphic processes to carving or inscribing marks into metal, wood, or celluloid with a sharp or pointed instrument. How are they different and how are they the same? Thecollagraphis a contemporary intaglio printmak Which method ismore direct in recording ideas ing process in which prints are pulled from arelief and feelings? block a block in which patterns are built up in the Which method is more closely related to offset manner of acollage.The surface is inked, then wiped printing? to leave ink only in the depressions. then printed in an etching press. How is lithography done in color? - What are some common forms of lithography ()Printing by reproducing an image through a negative that we see every day? area.The type of aperture determines the printing The theory behind lithography process. Why a monoprint is considered a printingprocess Serigraphyis a process whereby a tine mesh, usually How the monoprint method of printing differs from of silk or organdy. is tightly stretched over a wooden the lithographic process frame. The areas to he printed are left open, and the nonprinting areas are stopped out with a coat of The primary differences between engraving and etching lacquer, shellac, glue, paper. or a commercially pre. pared film.Paint is then squeezed through the open How color is employed in woodcut, linoleum block. mesh onto the surface of paper. poster hoard. fabric, intaglio, and silk screen prints or other material. How scrap material can be used in various printing Photography employs a negative film placed over processes lightsensitive paper.Light passes through the trans. How relief printingis used in modern printing parent areas and is stopped by the opaque areas. processes Hence.. that which is negative becomes positive. The Presentation of a print (proper matting, signing, sensitized and exposed paper. glass, plastic, or fabric numbering, dating)

'RN IRigfiW

ti /14/0

110,,,, ( pdouo

.1111. 1119(10110W 1! giiii:10.1(1 rampold cm° itotgramitut 1).))1110(1 Jo '1001 (E) littpnyttaa all) u,n .svotilatu .1110 '! ur tiAnomicir H 9:99 slim' .;;H!)11pH1 pun etuittpd u! wt.:dot:out pnaids oi 'aatiu.t.q pats p10(11? .at11 n 1:;111 potpaiti lititIthua 1-Mpupul .10 ttli!gap '.10.11111?1 )(,10:) 'tonia(1 'mouau 'tqtr,inn9 pun slay() Ho .111 4:01.11p... Jo is aaat(i Jo 134.:1!i: It) pinistpx1 .111% pimoph., sit sappplismi wok' pun upttinn9 atam atp 111' 11.011 Ii111.1.1.4.1s1111.1) alil?1111 0)110 latimi v Isom ut imp paz9nai wit Imitsaiod un )119410110m 110.1 aprui Mx!ppn io t:wilful tin utaturZtd amssa.uha tutuaut pun ,(putopas pomopixa atp ssaaold iy !duptetturti snail! JO ay ittinwipi 113!A\ alp turgi;rui tutu) apuapnan tustimi pun n '11.4.111> paI1d(11, of atp aullutiaal slap° A111411 tool Isaiititn qui.talgus pun 'Ratwa.xod sioned gam: sty. 10J '11091".101(iNa sas4i(I\ 1.01111(111(1 plat lintuticH ospt .111(.) )4, ant It:it; 01 111:4111.1Mixa )utictimout .littpt.tivs% It! sly .tunntattt Q.:.0.).1(i s% ye plueovi imapatlion ationriogn:) .1 tot' tta;) kti 1.161 afisoniN :Tutu satins jo 9utadottout tuasa.t ,Ini .1 011 r 91! a4.sql :spopaul ) i imed 1)00 putt unaf plimplo pap) ati) qaal Ho ) St r imam amid pun ;iu!rt!.HI .2! 17 lit9.1aAoa maul a1111111 ,10 11101113,1)3.1p411.1141(141110111:111t1f411d Idelif. .101110g0) .,;rid 11!%t tuna ilmtplei.m: ;no alimut tpcm (I) apiU. iitz!lpri lanoline sadutis --1111-

it4 Arf BEST Copy111/1-RA3LE

it .11 .111t a $

II ,,4 Imo voi 4 Or 1/

!-Htfarm-- SM.

Stutli4) Extreriettees ztlIrm to (Irv.Secure an image brubbing with the l'hi.,Ilislent might hand or a spoon. and pull the print. Ink a kraer with printer's irk and roll iton (Irawing paper. using different kinds of strokes and directions. Independent Studio Projects Tr.%ariations of the above. suchas t%inding the Alwiint-nt further in monoprinting. using a persimal rulie string 10 tarri. or scraping and scratching approach toward the expression and the process. the printed.surface sith %minus twits. Create a design using still life or animalsas subject filita,1 nonobjective pattern on a glass or polished matter. and attempt to get sharp value contrasts. metal -urface. using rrii paint. and print h% placing unique texturaleffects. and interesting color bar. stet or dry paper over the painted surface and monv. rrrllin itIA ith a clean braver. Create a monoprint that rotiVeys a mood such as Print frion tt%() of More plate:, ,()Ittbillitert different rains night. haunted house. or alone. I (noel': arid puviditi:! effect; of (0,11'1;111/i:1W and 4)ver Evaluation i.".;neriment 0,%eral kinds of braver prints, using 1)11V,-. the student under:tamd that mottoprinting isa frrrtnri material, such as string. fabric, plastics. arid method 111 revudilritig one image by applying paint t libbertnattito, fur textural effects. of ink to a .411tface,I iistii111a glass airfare). then 1..Tior4. the use 111 %ril")11,4 types rfillir; of paper. transferring the image onto paper? both moist and firs, for munoprititing. Has the student considered the unique qualities of the \lake a lit.ier print pif're of glass 114)ng num0print :0 that these characterWir4 110e. litrotne printe', ink.Ls', the additive and the a part of his oiAti rompositiotis?

-ubtractie method of brayerprinting. fills the ,..torlent explored the +Aide Satiety ofmono. (tpate .1 on I Iue.111(1 printing processes? 30 BEST COPYAVAILABLE Relief Printing Linoleum Block Printing Relief printing is a process in which the design to be The linoleum block process is an excellent introduction printed is cut or modeled in relief or built up from a flat to relief printing. in that it involves the basic cutting tools, surface with various materials such as cardboard. wood. materials. and printing processes. or glue. The student must learn to create in terms of negative Relief printing is considered the oldest of the graphic and positive areas while cutting the block.After he has processes. dating from the ancient Egyptians and the worked with a linoleum block, he will be better prepared Tang DynastyA.D. 618-007) in China. in the form of to go on to woodblock printing.Unmounted battleship the woodcut. linoleum is fairly inexpensive for class use and is com- After the invention of movable type by Gutenberg in paratively easy to cut. 1436, hooks made their debut and woodcuts and wood en Demonstrate ami discuss gravings became the standard means of illustration. Albrecht Nirer was one of the first artists to use the The proper use of these tools and the process of relief woodcut to reproduce his drawings.Hans Holbein also cutting designed for the woodblock and worked with one of the Several variations of cutting which produce pattern foremost masters of the medium. Hans Liitzelberger. and texture in relief Thomas Rewick. who was influenced by Croxall's wood. The proper sharpening and care of tools cuts of illustrations of Aesop's fables, was the first artist The types of nibs and gauges used, and the resistance to give the white line wood engraving popularity and dis of the material to the tool tinction.William Blake also used the white line method. The body weight method of making a print on fabric, Although his engravings were not technically skillful. they using a piece of wet scrap such as old sheeting had a plastic quality and exploited the inherent quality of The use of register marks on the back of the linoleum Blake is considered a pioneer of the tech. the medium. and on the fabric pique used by many contemporary artists. Making a collage print. using found materials such During the 19th century, woodcuts were used to illus. as rope. string. rubber tile,cardboard scraps, and trate newspapers. magazines. and books.The Japanese fabrics mounted on a piece of cardboard also excelled in woodcut printing. which is probably one of the most popular printmaking processes for high school How to print two colors using the offregister method use.In relief printing little is left to chance. and every The method of color printing using two or three col. cut is a result of a definite decision. ors on a single plate

' J

d r BEST COPY AVAILABLE 31

Woodblock Printing 1

The woodblock lends itselfto a greater variety of tex Ih tures, line gradations. and tonal gradations, andrequires a higher degree of discipline than does ill,. linoleum block. Woodblock printingcan be a challenging process, in that the student is constantly makingdecisions as he chipsor cuts with or across the grain. In woodcutting, the studentmust recognize that the grain of the wood isan inherent part of the complete process and plays an important role in establishing the design or idea.Cherry is an ideal wood for blocks since the grain pattern is inclinedto add character to the print, but pine and fir are easierto cut and less expensive.See- ttg ing the grain pattern permits preliminaryplanning and an opportunity to incorporateit into the design.Inking the surface and makinga print of it helps to show the grain.The grain can add textural effects andmovement, and if used imaginatively. the grainpattern can suggest a theme or a design. .11 Demonstrate Sketching an idea fora print, using a bold drawing instrument such as a felt-tippen or crayon 11 Using a soft pencil, tracing the designonto onion skin, and including areas of the grainas a register to srlIMIdradk 41 "'dile...4W. place it on the block properly a Adjusting the register and transferring the design ti onto the woodblock by burnishing the back witha spoon 'to Using the knife. gouges, and chisels in cutting the block Printing the woodblock. using the burnishing method and body pressure method Using a wire brush to remove the soft grain and bring out the texture of the wood Applying several colors to one block. with each color in a particular location on the block Discuss The characteristics of various woods and how these should be incorporated into the design Examples of woodcuts by Albrecht Diirer, Leonard Baskin. Hans Ho lbein.as well as Japanese woodcuts The process of printing witha reduction block

Wood Engraving The wood engraving differs froma woodcut in that the end grain of hard. fine.grained wood is incised with sharp 1,ok called burins and gravers.The manipulative skill required for cutting the block is the result oflong hours of practice, and requires great control.This is a selective or high1.7 4pecialized form of printmaking which is not often attempted at the high school level. but might beex plored as an independent study. it .i2 BEST COPYAVAILABLE

van be used to give thestudent an opportunity to expio, k ''''/ \,>, / the relief roce3s,A block of hardened plaster can be '`r,;k \ %i >, 0. used for a plate, and areas can he removed with ceramic , tools.inner tubing or asphalt tile may be cut into shapes and glued to a firm surface in a relief pattern.Scrap materials such as cloth, cork, plastics, rubber matting, screening, and string may also be used.

Studio Experiences The student might Use brush and ink or a felt-tip pen to make a simple direct drawing of a scene outside the classroom wine (low or a scene from memory to be transferred to a piece of linoleum and cut.Attention should be paid to contrasting values or patterns, aswell as tothe characteristics ofthe material being used. Design a cover for a notebook usinga linoleum block print on burlap or other textured material. Using pieces ofwood about 12" x 6", make several prints of the uncut surface to show texture and grain pattern.Study the prints and try to incorporate the design of the grain into the composition.Transfer the design to woodblock and cut, making several trial prints to observe the progress of the cutting. In print. ing the final and finished cut, experiment with differ. ent types of paper.

Independent Studio and Research Projects p. Using scraps of construction paper, design a motif for 4111.X4WD-. a linoleum block print to be used as anoverall pat. tern for a textile design. More advanced students might be encouraged to at.

4 tempt a simple wood engraving. Create a composition of overlapping shapes, spatial 111. movements, and decorative quality for athreecolor Nur woodblock print. \` Work out a character study of a friend, toberepro. I duced as either a linoleum or a woodblock cut. Using an old house or building in the community as a point of departure, work outseveral sketches to be developed as a woodcut.When cutting the block, exaggerate the detail and ornamentation found inthe subject. Develop a sketch of one or several figures, emphaslz. ing a lyrical line quality.Transfer the sketch to lino. leum or woodblockandcut only the line areas so that they will remain the color of the background paper or material. Related Media Prepare a visual presentation concerning relief print. There are many ways to approach relief printing with- lug. emphasizing the famous artists noted fortheir out using the traditional me.dia.Creative results need not workin this medium. depend upon materials and facilities but rather upon inge- Prepare a paper on the development and useof the unity. resourcefulness. and sensitivity.Other materials cc nodblock print. BEST COPY AVAILABLE 33

Evaluation Although there are many methods of intaglio printing, Has the student incorporated his knowledge of design, such prints are usually referred to as either engravingsor as %sell as the characteristics of the medium, into his etchings.Engravings may be done on copper, steel, work? aluminum, plastic, or lucite; etchingsare made on copper, steel, or zinc. Does the student realize the limitations and potential. Although the appearance and general effect ities of the materials he has used? of both the dry point print and the etched line print have much in common. their methods vary considerably. Has the student gained the necessary skills required The art of etching with acid appeared north of the Alps to produce a relief print? in the 16th century,Prior to this, however, goldsmiths had used burins to engrave decorations on their wares. Intaglio Printing The appearance of etchingapparentlystarted when knights demanded elaborate ornamentationfortheir In the intaglio process of printing, the imagecomes armor and swords.Goldsmiths, looking for a way to from inkfilled incised lines, furrows, or depressions in the incise the armor, found that the corrosive action of acid plate. which under considerable pressure deposit the ink met their needs. To observe their work in progress, they on the paper. Two distinct techniques are involved in the rubbed black ink into the bitten lines and discovered that intaglio process: engraving on metal or other material, they could preserve records of these embellishments by and etching on metal.Engraving is considered one of the pressing the inked metal against a sheet of damp paper. most highly skilled methods of the graphic arts, and its Through the influence of the great master, Albrecht technique can only be mastered through slow, deliberate, Wirer, intaglio printing spread from Nuremberg, Ger. and diligent practice. Engraving differs from etching in many and Northern Italy to the Netherlands. that in the former, depressions in the metal are made with Intaglio reached its highest development in the Nether. tools instead of by the action of acid eating away the lands under the influence of such painteretchers as Rem. metal.In line engraving, the artist uses a burin (or an branch and Van Dyck. The former has often been refer. etcher's needle. if engraving on plastic) ; in mezzotint he red to as the father of etching.Perhaps the most widely uses rockers and scrapers; in drypoint (a variation of known etchings of all time are Rembrandt's ThreeTrees, etching). he uses scribers or needles, &cc, Homo,andThe Three Crosses.

rot

AU.

42400.

1 ISM Ad03 notruvAv tll

3110 jo ,,q) isoloale gJatima jo aI sPm ioptaiwttottlau putt

.1) ul 141.1 wio9 '111113S? 'Y(///30./d0.) :e!!!!!!!,,k) put: )1t!!!;mio! ay amid .sqq.b).,Ris pun ssiodioll fo dviii 4,14 .aaa!(.11alsotti Atosaid Ii1111/1131CIS "r111111313 1111111011i xio! aloof: ;o 4111 opoi!;!!! sapospla ;o 41.11 '.-141119 '1111110111S 3111 amid ziti!Jo(I .1111 puo,ms. Jim! Jo ti(! .,;Joi(1a.) 1? 111.11,131 :i!!!Jaajtonmi, atp 'allow! tuna; at!! Ifulmoap ol 1001 omit.' pop pa1,111?.) 4111 iqsaamtii (.)4 .%%oti aliatpsa putoLtri Jo 4111 vials ap.pstiodsom ,toj sn%% satuur .)11 Ills 'aatlstq.al lio!itioa ,Cluottullaid iliaal!!) 110 laaJtj) inotinm ue nJog.tompatuv liqwe liu!A!! ut pottizio3 gaapsItm .tomionquods! owl!t ay cattop 111.111Jtliol(1 its s11oo.1..) .iltout,;as 'nape"' FIA1 LW11? 01 sootAithl iuto 4111 alpaatt 31(11s11(111.. 10) '11.1113,1 311,1 S1113(11111 3t33111 0111 113111 rittp;i1 :rittpla

011;44111 rill11111,1(1 1131111111100 01(11 4111 1Rye 4in1tiaa 'Aitippinti.sgo,1:) pun .tatpo intim spapa pop s! !His 11tio,t1t; input IIII!!!s!!!Juit ;NJ 1.mq put? saripa jo at!) Novi st 111? .01!10(111131110,3 1111311 11.111.11)1 1111113111113(110 riottoononj ;op and !II agi Juttpaoto 10170.141(1P sialliq pov sJaAvniti.) aitt iptinstioa riotlyadam guols.tatutu! tusti Inodois tispuun atatpt .:Io %%au spotpatu put! s.i41% Jo atp iensy aollun ritqsgaadxa papaati ITl tpino.up .0!pietti! littpluarj atp gimujitts ,lopd 0l .4111 1.1),to too rianluaa aip !lawn.; jo Julad ;toppm! to!s% inivatuti3op -- jo ue Juima litq.qtitiv alp Elul 14) II 1,10.11 awn .1-1111,H11R).1(13.1 io la4 nopiv mou atp 1U1.111 riu!s3 atp ssa.RI pun ipj staluum 11 W1143111 (01 st?apt rillp111111 Ss3.tolii sisi43dX4 11?111;ipo litipptd n j00,4(1 pun ritipittap atp utpl %%iv sAy .1110 otpatu itiq !!l punom Sumo pun Sum043 awaistoontau pus? miaow riultwoo putt rhipaAati all ampd sasvui.) ay 1111117S sivapttis .14) (9sal dupudam atp ijog punorgi wig) puq.piuti punoi puu ia)4.; saJtip.)03(1 10) :0-01 Jo Nat? pun ail Sti3.111 IS11111 'patith4.11S ;pig )mogul pailatu (iatpao) 3ittc.iiddy atp titicatqd iaaqs ijos upp Jadud JOAO atp puma' atu) gaols Sulu aq aputu uo alp Jatind Aisnotnald 7iti1muJa atp pimp uo atp Jadud ao SUpU.11 iisnotAaid .timu.tp e,uisn u pug pattad Jo; any mill pun u Ijos pattad Jo; puoiq :satin 2utsn u poomAid alipciq 10j 114 WV? wai Aucsn a aiquipts ainssaid of asnua alp unoni aiaq of atp Jaded aqj iadUCI W A10.1.11M pua rittpliptinA aqi lanq puu salipa jo atp auld Ilupiatutuj Nur' 111 utupiout :duppti puu rlucttuata

opupuoulaa putt tionlatilp :ittiltwar) puu AutioAaq alp Old

;11011111V 11114 ;111111N41' 3111 11193.1 puno.al rIttpuq, atp tirlpQp uo alp puttoJil atp trituun ,to; $14pqiicti thqs.tatutul ti! ittuptout ritqium puu rIttlipidu itto.doo tp-quitm uo patquAppig tivaar ritipuatill uopiaautuq

ill11:11(1(1V /Ift pt111 Th1911104 BEST COPY AVAILABLE 33

Drypoint Engravingon Plastic Drypoint Engraving on Metal

I )f' f11011,4trate and fliMetiS Detimtistratt.411141 dismiss ifih11'.". 41,riber in a mad% etical position 44 Poli.hing a plate of copper. zinc. of aluminum racing a line drawing on a clear :Fleet of plastic. ()riming the image on the plate%%ill' a soft pencil plexigla :s. or aetate made espr!cialh, for engrasing. .1101 its a Iitho:.:raph pencil or :floe a reverse of the dra%%ing to the back of the Ling a ."harp .pointed drtpoint needle togo over the plate lines %% itit firm. sure strokes H,.1,1titi iif line depth ti, the hlitckties: ofthe printed Vat.% ing the line finality and tonal effect: 1)% varying line the prf-,,4111`. angle of the needle. and spacing of the 1:11prkiti:z the lo inserting v.hite parr under lines the plastic to make the cut: visible Checking the progress II% rubbing a small amount of tppl% etcher', ink to the finished plate with a printing ink into, the lines rtlekittV MOH" tiW.F." ink Intl]till'lint' Hemming burrs where a lighter line is desired Cleanitei liptlito, itp2 \ inkIr. %kipin,,,the platesitli tilt' plat, itbout Inquos lir,:IL, burrs iIlf.r-prloth pad Chyrking the pre,sure t,f the press toi%oini a heavy Pullin:, a pr,)14 on damp papvr plaed on the plate pes,aire that might desto% the burrs Arid rubbed ,.t ill, the h.t )(Iof loaek of a spoon ppl,, big ink a dauber \biking prints on an en hind pe.. Print iti

Evaluation Has the student developed skills in working in one or more of the processes? Does the student's work reflect imagination and sensi tivity to the medium? Has the student exhibited interest in expanding his knowledge by doing independent study?

Lithography Printing by lithography was invented by a Bavarian. Aloys Senefelder. about the year1798. using afine. granted limestone,Lithography gained popularity early in the 10th century. and it number of the great artists of that period, including Goya and Dautnier. made litho. graphs,Many of the painters in the Impressionist move ment also worked in lithography using black and white as well as color.There followed a period in which the popu laity of this medium declined.But in the 20th century. it has again regained much of its original popularity and has been used as an original medium by such artists as 1211 AJ03 316VIIVAV

littmoiti ay ssaaxo ppit ritilha top% pmoi pun tut) 1111!))3S 41100 aptst? .10,1 IT, smog .to wow lob .tiuttist!.m at aanans tiltm plin iit114.41 linpuaids tunli notinios 110 ay aaujans littplualD ay littpiltap ypt aulinadani 2uttistl,u ay aanans yp lawm rindaaN ay auois )stout ;lupin' ay aa.(uaq pint ay auois

pauadunte aadud uo ay amlians pmt o) 1'11+10 gip% aogy 1)411011 ao Anal aadud 'Ansa ay ssaad Jo; liutnatad pun aqa auws 4.41/ iinuadtueu 'iitipitstaa cit4. rinleoD ay auois o1 anaasaad ay *nAuap ao1 aayoue .tiutpalad uotssas liulsa n pauplari autz ao tunupunin 1).4spq uodn ay puniuu uopqndaa tiaamiaq aalum puu amid ill tiopnios JO unqn pun alqu ptau asuaassi suripia(J an? umv.tp uodn aq1 Pall!I.I amptis Jo liu!saaluuli amid .141 amid auo)s 1.1)11 pasit(asitallt su6iti.-i pup ay amid kiutuuul ay 5% al04 oanjitle4 st (lay auadurly atu, aavj Jo ay atiov thstpaaaoad sit tulAt atp attop sploq ay Jaunt alltim a41 .ixem ao .(snail aavpus rinsa pantaaa Jailed sapid Jo aq trlitsal) lqada.1 11 aloqm amid .141 auolt; 9 ugly papa tot% 11 thilmad Ittt tia!tim waaaqpv 04 ay aspard (minis waattapatixa pig 1011 04 ay 1.1.11 :thip,m,ii) aaeptiti 10 ay atiols .10 amid luapnie !Ow mar.) pumas Ipinol suot)aualsqu lo u uns .aJti paps .441, NOV s! ;Tv! 01 %te.q) iliaaiti) 110 ay atioit; auld..10 ay isaq pun mitap 1! I? qi!lit qawis uo awns .10 aind ay atum4 tuopaaaj aq ity4tu as!l ut 'Alit/deap uodn anuerfao pumas pasuq no ay awns JAM! .10 '141IA111?.) spa ssaaold salquila aty Nov 01 :mug sliulmlup wafting aanew tsty tt Iva!) sqdualioqpi .tiq Wnotuu; sispart asn u aad Wait; jo uolst;amixa .1.1utmva(1 una aq 'twos 01 ay 'item° um, low ioaljni ;IpoJv pun 'dings 'woad& tualqoad apituts rfuoals aniun 'Sisimuoa ay paq pun 1IV atp :Liam umtLy uo aulsatu!l pan klupteap asn Jo; n no pliatu ao atwas sit alp Isom jo 1;,.ty01 sqdvnioy!! aaAatton au!z pun qditathopti laoA Inn r. 01 1141111tUnill aleici .4A11ti al1,1.)Ati pailtnioaal sautt!isqus taN pagudtws ipulaodnas aq payoadaa tfrialsotim sauld jo pima.)) spay; jo zadtrd aatpui (11141 v /am1 au01> .1 !pout an II ilia40.1 111alUthp,141) .10.4 r. loops ivy ...1401 4011 aAvil satto144 st41 sc tilt aletuailu suapuadapui owns pun qaanawau wparo4d Jo ;iutattp0.1411! Rqdmoiotpti 04 ON loops sluapnis laalas tt looqqaials riutAtuait oa asn aol u auois Jo .tidua.riotpi se v .!qdv.1:1 ssaaold sl algndra J0 maul .qduarioqati 411aulain.ja.1 you .411911.6 1J 14! alqvdv.) jo Mitaaptia.; paip sapiunixa Ja iqduatimpti unuj pp) soq puu ploy sa..detu! putt alvd!fal) s.liutmv.11) satatzurittul pun aritnuau uo Jo; aqi aituitittouta(i put? stula9p nowt(' pauoq ji apossod Input siunzlao .(q saaqulaw jo ay ssup as3 11111? Jo ay 110111111NiaJd %idols a tnualstow aaudaad inn9,% notpiniasaad qapi.s% illm aptqaut cupti slideall papaw wnis sol)an s11 Tunas iinApidu rit1iup11.1.1i aapmod itioo aolunnto pull 'CISM4c1 aqi 4.111jillS

11111/(11i .41100 131111 nut 71111./13.11 i41 4.)101S 10 )1111.111:J1J ill./111/ 110 a1I1 ;1100 un;) aqi naapnis alutplaaapip ttaamiaq u tpluaotlau l'itip5;" alp 11111%111011111 1111,01 pun ntapoom a0 tau eyitilqina J;(103 aqi 1411 it putiq oii1J1111 styli aIJ1 inapnis paptannioulap inp .iaussa,an slins tit 0111 (M0O 411.5, )11110110 11111111n1d1i11 .1.91).%10(1 11!z+.1 M011 lititipoad tt tiduathnliti '111 Jo 1111.141111 aapm0d sau ally siwapno laom papa ay aubpin aalauanqa lititlsnati alp 1141.14 1/F11? 1101111101. sato! Jo alp uanpaul BEST COPY AVAILABLE

Serigraphy (silk screen) Silk screen printing is a method of reproduction in graphy." whit-h colors are forced through alute mesh screen The pioneers of the process with outstanding technical ustialk in those areas left permeable. other areas kill and esthetic achievement include Anthony Felonis. 11,1\11,2 !wen 41-)4.(1 0111. Guy Maccoy. Ilyman Warsager. Edward Landon. Eliz silk.cretin isl'Obilb11till! most recent of the graphic abeth Olds. Harry Gottlieb. Mervin Jules. Ruth Gehow. processes.It df.veloed from a rather crude hand stencil. and Harry Sternberg. bv.!process tois f tal.tledged industry employing tnany The silk screen print can be made to give the appear. artists and thousands of skilled craftsmen. amp of a transparent watercolor or the heavy impasto .11thouult stencil printing has a long histotl. the first of a gouache or Oil painting.It may be in one color or record of silk :cretin printing asitis known today ale in many colors.Its versatility as bothallindustrial and peard iu l',110,111d in 1907 and was patented by Samuel commercial medium adds to its prominence as a graphic Sil114111. art. There are three primary methods of silk screening: 'Hie process grew inmeria during the 1930's. Adding the cut 4tent'il method !rutting a prepared film which is til its ilevr.141pttit'llf alt that time tsiig the W11,1 Federal Arts then adhered to the screen the tusche method I painting Project. lacquer directh onto the screen,: and the method of Carl te:21....seir, rorittor fprints at the ist olelphia tran,fering the image to the screen through photography. 10,01111 of Arts. ::ae the proces a newlame. "seti The past hto hityr Seen a great eXallSiMI in 39 the use of the photographic image. suchas the populariza tusche or lacquer film method of stenciling. whichever Lion of photographic silk screening by Robert Rauschen best fits the idea and the effect desired,In printing berg, the silk screening on plastic of Louise Neve ism,. and the cards, try different kinds and colors ofpaper, the silk screen photomatics of ,%ndy Warhol. Exchange cards with members of the class foruse Demonstrate in notebook.. Making the stencil, using paper mask, lacquer film, Independent Studio and Research Projects tusche, glue, and if available. photography.(The latter method should be discussed and examples dis- After studying examples of wallpaper. createa design played, if equipment is not available in theart depart. suitable for wallpaper and print two or more feet. meat. Create a design suitable foruse on a poster promoting Positioning the printingpaper safety or health, to be used throughout the schoolor Applying the ink community. Print the design using one or two colors. Examining the print Study the serigraphy of a contemporary artist such as Corita Kent. Signing the print After completing research, write a comparison be. Cleaning the screen and thesqueegee tween the contemporary and the traditional uses of Studio Experiences silk ,,screening. Cowmbine twoor three silk screens to make a print The student might suitable for exhibition purposes.From this design, Choose either the tuscheor lacquerfilmstencil make a bulletin board display that demonstrates the method and make a design for a poster to advertisea silk screen process. school activity !such as a play, campaign, or athletic Make a display from samples of textiles, posters, and activity 1. Make several layouts and select the best, greeting cards, which may be used for bulletin board to be developed in actual size. using colored pencils and notebook. or chalk to represent the colors. Make simple signs that are needed for various pur Work out a group of sketches for a lr!vdscape, a still poses in and around the school. Use the paper stencil life. or a creative design using serigraphyas a fine method of printing. art form. Make a design suitable for reproductionon a textile. Evaluation This might be a repeat pattern and can be worked out by experimenting with many ideas,mo...tifs, and mate. Has the student explored each of the silk screen pro cesses available? rials. IBrush and ink or tempera. felttippen, or construction paper could be used to plan the design.) Can the student identify a silk screen print? When a suitable motifor design has been worked out. Does the student realize the potential of this process use the tusche or lacquer film method to reproduce for mass production? the repeat pattern on at least 1 yard of material. Does the student's work incorporate the unique char. Work out several ideas fora greeting card.Use the acteristics of this medium?

***4

t. 0.4

I t I

4./ tth Printmaking Equipment List inking slab tannic acid lithograph crayons turpentine Woodblock and linoleum block lithograph needles tusehe bench hooks printer's press ( high qual- lithograph stones water containers ( pave blockprint papers and ity) which can be used 'ithograph transfer lain or glass) fabrics withvariety for etchings. drypoint, paper zinc or aluminum plates of weight and texture lithography.woodcuts. lithograph varnish grained) engravings, brayers of good quality orletter- lithographic ink from 2" to 12" diam press eters steel cutting tools of good Serigraphy linoleum blocks(vari quality.includingV. etv of sizes) gouge,Ugouge,and adhering liquid organdy or silk straight chisels Iinc''leurnunmounted brushes printing frames ( with bar oil paints. or oil block- woodblocks (glued shelv cutting knives drop) from 9" x 12" to printing inks ing or pine is satisfac- 16" x 28" tory ) extenders filler remover printing papers of differ. film sheets ent weights, textures, Etching and qualities.(Wood, film (thinneoluble or asphaltum etching trays ateoluble) metal, or glass may also bravers files he used. frame tape burnishers fine linen polishing paper register guides gummedtape burnt plate oil inks retarder ink or paint thinner re cloths powdered resin silk screen inks or paint dicer squeegee etching blanket or blot. printing papers lacquer thinner tern stencil filler stoppingout varnish liquid tusche etching ground transparent base zinc or copper plates mixing knives etching needles (from 4" x 5" to 10" x 14") Drypoint SUGGESTED READING brayer files burnisher handles Andrews, Michael.Creative Printmaking.Englewood cloths machine oil Cliffs, N.J.: PrenticeHall, Inc., 196. copper. zinc. or plastic plate vise Brunson, John.The Technique of Etching and Engray. plates scriber ing.New York: Reinhold Publishing Corporation, engraving burins or sharpening stones 1967. gravers tracing needles et( fling blanket or Cliff. Henry.Lithography..New York: WatsonGuptill blotter Publications, Inc., 1965. Erickson and Sproul. Printmaking Without a Press. New Lithography York: Reinhold Publishing Corporation, 1966. abrasives lithosketch plates Green, Peter.Introducing Surface Printing. New York: acid powdered garnet and flint WatsonGuptill Publications, 1967. of various grades acid brush Hirsch. S. Carl.Printing From a Stone. New York: The powdered resin asphaltum Viking Press. Inc.. 1967. boiled linseed oil powdered soapstone Kinsey. Anthony.Introducing Screen Printing.New brayers press York: WatsonGuptill Publications, 1968. draw ing- bridge printing papers etching solution pumice sticks Rastnussen. Henry. Printmaking With Monotype,New felt blanket scraper York: Chilton Co.. Book Division. 1960. fiber paper sheep's wool or sponges Weaver. Peter, Printmaking, A Medium for Basic Design. gum iambic spatula New York: Reinhold Publishing Corporation, 1968.

41 11,

Atr.,:vq- 4 ,ffek-

Ai 0

41111"1A Studio in Photography

COURSE DESCRIPTION To give the student opportunity to sharpen his visual This is an advanced course to be elected after the stu perception and become more fully aware of his en- dent has completed a full year of Studio in Art.The vironment, through illustration and personal inter course is designed to help students to use the camera pretation of subject matter creatively. to consider photography as an art as well as a To encourage the student to express his feelings about technical operation and a hobby. and to realize its poten- his physical and social environment as well as about tial as a possible vocation.Although the student must himself heroine familiar with the technical aspects. the ultimate To give the student a feeling of accomplishment and emphasis must remain sy ith photography as an art form. the tangible proof of such, as well as the pride and confidence gained through the exhibition of original SCOPE work The course covers the development. the nature. and the To acquaint the student with the importance of the function of photography. the creative use of the camera. advent of the camera and its use in recording history and the various technical processes involved. including To acquaint the student with important historical the study of the camera. film. lighting. composition. de. events in the development of photography veloping. printing and enlarging. cropping. and mount. Each student should compile a notebook which includes ing.The special aspects involved with cinematography all class material. notes on discussions and demonstra are not included. Teachers especially interested and tions. titles of reference works consulted on photography. knowledgeable in this area may develop such a course and illustrative material and related research. and submit it to the Bureau of Secondary Curriculum A portfolio of all mounted photographs by the student Devete Tment for approval. should also be kept for evaluation and exhibition by the student and teacher. COURSE OBJECTIVES Each student will be responsible for his own creative To increase the student's understanding of the use of portfolio display. allowing for personal interpretation of the camera. film, and light the course.The necessity for student exhibits suggests a To emphasize the importance of design in the coin. semiannual display or " photographer of the month " posing. printing. and display of photographs showcases, To interpret the developing and pr:nting processes so Students may broaden their understanding of the poten that the student w ill realize the potentialities and tial of the photographic media through field trips and tations of the media through contact w ith guest photographers. BEST COPYAVAILABLE 4

1 Ty

4 14 '4 1 I. . 007* # I 1110 4,al,'y vl 41.7 i ...... ,.-..,..,... ,...li., .1 , . 11.. -. ,...,,,stN ',4 :'%,.-..-., ',,,,i' 1, i. 94 ...... , s '\.: I i 0. t-. ,, ., 4.47 . f ...:-. 11;`44", .it.. 1 "...... 11.0,1i, .. Ilople - _.... i ,/ 1... -,..;441,4-0,4,--.-, * .4.0fKV4f . I , I \NN P!VVa. I ..* .. or/dr iZ. \'.;*-:'. 14,10 4 N _.... CIf//'. ! 1 \ '1,14. W .t'10Vei'ith .1"k..,*tkim., .4'. da '.,...t.c.,. b. . t .4,,,- I dr, h-_ik a- 4 . 9

105- Ar amp

ff, 4,41C2'`- Ar Itt. .tat,s! -4:4 it;;itt Iwo ov. INTRODUCTION TO PHOTOGRAPHY The Nature of Photography

Photograph% is a stepchild of both science and art.By erned I,the rules of human vision: and it exists within Malin it (pies Acktaific theory to produce artistic achieve- the fourth dimensiont time . ment.Its name. from the Creek phos. photos meaning Photography is instantaneous.Most pictures are re- light. and graphein. to %%rite. %%as suggested b% the English corded in less than a second. This can be an advantage astronomer and pin 4iViSt. Sir John Herschel. in 11139. or a severe disadvantage. depending on the photographer's take this concept a step further. it could he =aid that the knowledge of his media. photographer designs irr draws with light. One advantage is that a picture ran capture motion that There are four essentials to photography: too rapid for the eve to follow.Photography allows 11 1 light. either natural or artificial man to record this movement as either a sharp or blurs cheinicallv treated film or paper with a light-sensitive image.'the camera can capture and organize details r. at surface. that k. the surface becomes chemically no one conschnisiv perceives.Fleeting actions. suet. as a tired 111m11 exposure to a certain amount of light facial expression or the motionif an animal. ran also be 13)a light tight chamber to contain the film recorded. I 1, chemicals to develop and fix the image in order to disadvantage of instantaneous recording lies in the preserve the picture fact that the photographer. unlike the artist, cannot change Photography pos,,1,..es certain signitkant properties as hip picture while the exposure is being made.All details. a medium of communication andIs an art form. It.is composition. and lighting must be worked out in advance. typically instantoneons: it records at tintlit%;itis Wit prilV The plo.tographer trout t%ork in accordance with this con. BEST COPli,AVAII.ABE 45

dition by treating everyexposure as though it were his Photography exists within the fourth dimension.The last, by infusing into it all his knowledge, skill, andimagi element of time in art is an abstract one. Often called the nation. fourth dimension, itis used extensively by the photog Photography records actuality.A photograph usually rapher. Photography comes closer thanany other medium has more factual detail thana drawing or painting, and to capturing and preserving an instant that can never be thus may he regarded as a representation ofan acttul time revisited. and place. Photography is alsoa universal language.Steichen's Family of Ilanis an excellent example of a series of pictures that are universally understood. Historical Development The medium of photography is in factso real that some photographers, through various techniques, transform the Through discussion and observation, and bymeans of image from the natural or real to the supernaturalor slides, films, and prints, the followingmay be explored: abstract. The viewer while perhaps unable to recognize The history of photography before 1700, including the subject, knows that it is derived froman actual scene the camera obscura and the " magic lantern." or object. The history of photography after 1700, including: Photography is not governed by the rules of human the work of J. H. Schulze (1725) vision. Becausethe eyes are separated, they provide the first photography of nature made by J. N. stereoscopicI three-dimensional Ivision.Most cameras Niepce (1826) are oneeyed, however, and produce flat pictures (although the work of L. J. M. Daguerre (1835-39) some cameras are designed to produce special effects George Eastman and roll film (1844) such as stereographic cameras, which produce three- Thomas A. Edison's motion picturecamera dimensional images.) (1891) and projector (1896) While the human eve and thecamera " see " the same Roentgen's disc.ivery of X-rays (1895) subject. some distortion is frequently evident in the photo. 0. Barnack's use of the 35 mm film ina Leitz graph. The eye sees the distortion also, but the brain sub- camera consciously compensates forit. The camera cannot --- sound motion pictures (the " talkies," 1927) compensate, though. and records the perspective(the colorphotographyasitisknown today relationship between an object's apparent size and its dis- (1936-39) tance from the viewer) as it is, according to optical laws. early photojournalism, beginningwith LIFE Unlike the artist, who can interpret and modify hisper- magazine (1936) spective. the photographer must alter or compensate for it the uses of photography today innewspapers mechanically. The most common method of doing this is and magazines, advertising, science, explora- by selecting the proper lens, viewpoint, and angle. tion, and other fields.

.1 -- 51//flia----

4. 40i $ ' t' * a - "r , , I 4_ . ;

.1 4

7 et

dAteel?.1,.c. p:

t 10,44.1 .1 io aili( I 4t,..

441 44A1.1 4r ..6.14i -114saao,.' #41% i*P41 ailikeAMIN 46 The Work of Leaders in Photography BEST COPYROUBLE

Demonstrate and discuss i!:arl photographs of Nicpce and l)aguerre Intimaterecord photographs of Erich Salomon civilWar photographsofAlexanderGardner. Social comment photographs of Dorothea Lange. Nlathew B. Brad), and Timoth O'Sullivan, compared Walker Evans, and Henri CartierBresson with photographs of «orid Wars I and 11. notably Landscapes of Ansel Adams, Gene Smith, and Minor those brAlfredStieglitz, Edward Steichen, and White Robert Capra Work of contemporary photographers in the fields of Works of Edward Weston, with special emphasis on advertising, photojournalism, and the fine arts; how his choice of lighting. his concern and feeling for these photographers are aided by technological ad. nature, and his style of cropping pictures vanees of the 20th maul.)

;.to'er I

.. "'"..77,1''''''7, ; i.:.*.r;."'SA!

ii.' 'i.-'''';'41-,..":-,.,-, . '

,zz.,..I t, 1. a ',fa., Us; 7..0.t

...':^'!,,I. ...:,,;', j.-: ..4.,, , ',- 4,4. 4144$ ..:c ``... ,...+.. .,''''1'.4,',"1

IA .-

. .. BEST COPY AVAILABLE 47 Photographyas an Art Form The Importance of Design in Photography

Photography in the hands of a capable, designconscious practitioner is an art. The general conceptsupon which the elements and principles of designare haled are applied by the photographer to create photographs ofa highly artistic nature. The photographer has at his disposala varietyof techniques and devices.including assorted After these basic explanations screens and filters, equipment for manipulating light, vari are understood by the class, the same components of a camera ous films and papers, automatic timers and light meters, may again be demonstrated in greater detail. special lenses, as well asmany other devices. The most include the fol. lowing: important asset, however, is a creative, perceptiveeye. The alert photographer who both consciously and sub camera lenses of various sizes(normal, wide consciously employs the concepts of designcan he A crea angle, telephoto) ; their uses and distinct features tive artist. in gathering and focusing light the relationship of top to depth of field,ex. plained through photographs or slides Camera shutter speeds -- the remaining parts of the camera Demonstration and Discussion -- the various types of cameras The teacher can present the basic essentials of the -- the care and cleaning of cameras and lenses camera through demonstrations and discussions. To fur. ther illustrate these, a comparison between thecan:A and the eye can be made. Film The lens of both thecamera and the eye collects, re Demonstration and Discussion fines, and focuses light rays.Discuss how glasses At this point a thorough discussion of film its compo can refocus a student's vision.Demonstrate with a sition. use. and exposure should he presented to the magnifying glass and a piece of whitepaper how light students through illustration and demonstration, is refined. The diaphragm and its function of controlling the Film is composed of a base material, usually acetate, amount of light entering the camera should be dis coated with a lightsensitive particle emulsion, cussed.The diaphragm, unlike the selfadjusting Discuss fully the process of exposing the film,as well pupil of the eye, mina be manually adjusted for differ. as the various type of film available.Include a ent light conditions.After setting the shutter on thorough discussion on the ASA number and itsre " time " and directing a light into the lens, slowly lation to light. move the diaphragm from the largest opening to the Discuss the formula for proper exposure (exposure smallest, with the shutter open.Explain fully the f.stop + shutter speed). introduce exposure tables fnumbers on the aperture scale. to he used as preliminary guidelines, and explain The camera's shutter functions muchas the lid of the factors that determine underexposure andoverex eye.Until itis opened. it prevents the passage of posure. light through the diaphragm.The shutter speeds To provide a thorough understanding ofexposure, should be demonstrated using a camera with variable demonstrate the use of exposure equivalents in de shutter speed.Have the class listen to the sound of termining various depths of field. the shutter at different speeds.The speeds may he Demonstrate the loading and unloading of film in the shown by darkening the room and placinga flashlight camera. behind the lens of an open camera, then releasing Demonstrate the procedures for takinga picture, the shutter at different speeds. determining the exposure, and adjusting the fstops Iiight.sensitive film located at the back of thecamera and shutter speeds. by creating mock situations in the records the image in an inverted position.Compare classroom.if a light meter is used,a demonstration this with the retina a the eye. and explanation of this device should he given. BEST COPYMAILABLE -18 Darkroom Techniques

PROCESSING RIACkANDVIIITE FILM Demonstrate and discuss Tank development of roll film, using a demonstration roll and water substitutes for the chemicals, Loading an exposed roll of film in the darkroom and processing it in the closed tank in the lighted room. The inspection method of film processing in the dark. room. 4' The maintenance and care of negatives, including 4 ,= ratting. labeling. and storing. How to " read " negatives of the three general types: low, normal, and high contrast.This may be illus. trated by placing the different examples in slide 17111P74,* mounts and projecting them on a screen.

PRINTING Demonstrate and discuss The care and use of the enlarger and other darkroom equipment. How printing paper works in relation to the negative or the film material. The steps in making a print: developing, stopping, fixing, neutralizing, washing, drying. The steps in making a print in a contact proof printer or frame.(This demonstration may be made in the lighted classroom.) Making contact sheets from a roll of negatives under Suggested Student Activities safelights in the darkroom. The contact prints can he numbered and kept for reference in a looseleaf The student might binder with the negatives secured in glassine envel Load a camera and determine the proper exposure, opes behind each contact sheet. using an exposure chart or a light meter.Take a The differences in exposure time, grain, contrast, and picture at the correct exposure.Purposely overex basic print quality that occur as a negative is en. pose a second picture of the same subject by changing larged.Illustrate, using a series of enlargements either the fstop or the shutter speed.Photograph ranging in size from 5" x 7" through 11" x 14". the subject it third time, this time underexposing it. Record the fstop. shutter speed. time (light condi The techniques of burning in, dodging, and flashing. dons). subject, and film type in a notebook for later Print quality, illustrated by high. and lowkey photo. reference. graphs. Take a series of outdoor pictures, emphasizing come position as well as textures and forms in nature. Take a group of pictures varying the depth of field: FINISHING for example, a landscape series in which the depth of Demonstrate and discuss field ranges from very slight to infinity. Marking pictures for cropping. using two pieces of Take a group of pictures of the human figure in action mat board, each shaped like it carpenter's square (or gut+ as cheerleaders, football players, track team). An old picture mat cut at diagonally opposite core Take a group of pictures using the light meter as tiers. an exposure guide, The technique of spotting the finished print. Take a series of action pictures with mopping, pan, l)ry mounting anti presentation of the finished pho ning. and blurring effects. tograph, BEST COPY MAILABLE 49

Suggested Student Activities Make an enlargement and vary the exposure in parts l'ItocEssING of the picture by dodging and burning in. The student might Co through the process of developing the film by the Studio Procedures and Lighting closed tank method. usinga roll Of demonstration Demonstrate and discuss Develop a film exposed in connection witha previous Studio portrait lighting with one model andone light. project, Include flat, hatchet, top, bottom, threeuarter, halo, Inspect the negatives on a fully processed film for glamour. and Rembrandt styles. underexposure or overexposure, detail. contrast. and The same process, using two and three lights, emulsion density, to achievea full understanding of The proper lighting for copying. light and its effect,Compare data recorded 'in the Tabletop or stilllife lighting, notebook with the original exposure guide forpus. sible corrections. Suggested Student Activities The student might PRINTING Photograph any of the following subjects, usingap The student might propriate lighting.Experiment with different light Make contact prints of good negatives. After examine ing arrangements and exposures.Mount the prints ing the negatives, select printing paper of theproper and display them for class evaluation. contrast for each negative. a series of formal portraits of a class member Experiment with various exposure times for thesame -- a self portrait negatives and observe the results in terms of relative a common texture and an uncommon texture contrast in the prints. ---- a subject portraying rhythm Make an 8" x 10" enlargement andcrop to secure the a found still life, a found object, or a very com. best composition. mon object

3 3

a -`` Cs 4 r midi&

MEP cogAVAILABLE BESI

11.

1111,10211Z

.1111.!^-1 :49411K A

IL 411/.6,

'r-

AL. ire.:4:441462k 44

4. 6

Color Photography Suggested Student Activities The student might ;'.1411'thilth the flit and equipment for color photog Take a series ofosettp shots of natural objects such laph%ar,, 1,1,41066%1..itI. itichnIV41,14part11f the as flowers. shrubbery, vegetables. or rocks. to empint Alliti 1he basic theory. Itow color andtextural qualitiestinder naturallight. 0.er mil'.lie exlilitifteti arlrl tit it 1,041,4 f'Xatilitlfql. 'These ma% then be commercially processed as 2" x 2" Ittrrit1,)11"111,1 'ken to-.fide photographs' and to ol,,r of-2 iti% for f/1.1',!,1/1414' illtlAritifitU4 ;Ind 1(lret 'rake 4rie of color Ilktlite of his fltt1artwork, "N11111/11.4lif pt. and ,,,,ifipare ,nd them hi the hlackati,1%Iiiti. %%tirks preriouh Take a erieof indoor color photos of the art clams

, I.it .11111, :10 c111)% of in action. I,It:111,04 (6, rooreffectiteits TakeI odor slide-. that de.cribe the schoolartpro. k and ratti BEST COPY AVAILABLE 51 Repeat the black.atukvhite assignments,using color. such as If the laboratory is not equipped for color, haveslides love/hate in/out or prints made b)itreliable color processing lob. age/youth oratory, up; elot humor/ sadness near/far good/evil now/then Independent Projects fear/security yes/no The following activitiesare to encourage the student to hard/soft real/supernatural explore photography more deeply andto broaden his ex. Work out a photographicessay that shows a feeling periences.Teachers may assignor suggest these to indi about a particular subject suchas war, integration, victual students in accordance with theirinterests and love, religion, intolerance,Take the necessary pie. ea7abilities: tures and develop, enlarge. print, and mount them in Illustrate a selectedpoem, using not more than 10 a presentation album,Work out an appropriate cover photograph and title. photographs.Design an effective layout formount. ing them. Evaluation Mount five photographs thatconvey a positive or neg. ative comment on a social issue. Has the student demonstrated reasonablecompetence As part of an advertising campaign.take a photo. in the following techniques? graph that will help to sell the productor communi camera manipulation finishing cate a specific idea to the viewer. film processing displaying Photograph a luminous object suchas fire, moon, printing and enlarging candle, lamp, etc. Do the student's photographs reflectan understand. Display one photograph thatseems to portray the ing of design in composing, printing, cropping, and essence of a school, town, country. or experience. displaying? Do a photo story about a close acquaintance.Limit Do the photographs in the student's portfolioindicate the number of photographs to 14, andmount them that he has utilized a widerange of the various pro. either individually or ina story sequence. cesses and techniques discussed and demonstrated in Print one good negative 13 differentways so that class? each print makesa different picture. Has the student used photographyto express feelings Tell by means of one 11"x 14" photograph what pho about his physical and social environmentas well as tography means to the student. about himself? Take a series of blackandwhite photos ofvarious student activities. Include bothgroup shots and close ups of the students in action.After careful cropping and enlarging. work out a composition fora double. page spread montage for the school yearbook. After the necessary individual research and consulta tion with the teacher, developa plan for a home dark. room. Select a particular event or historical discovery that students feel had great influenceon photography as we know it today. and write a compositionon this topic. Develop a roll of film taken in connection witha previous activity.Mount. display. and evaluate the results with the class. Shoot candid portraits of people. characterizing the type of person photographed. Take several editorial portraits that reveal something aboutthepersonphotographed, Photograph beautiful girl and a homely man,or vice versa. Mount. display. and evaluate the portraits with the class. Photograph. mount, and displaya group of opposites. NI 41'.%) 4141t itk at 4- s yY A , A / ,a 1011111111110 comminnimmimmummannom1111111111111111111111111111111111111111111111111111111 A _ 7' 1111111111111111111111111111111.11111111111111111111111111 t. v.- ;.* 'IT 111111111111111111111111111111111111111111111111IIIIIIII1111111111111111111111111111111111111111111111111111111issmasmammawanaunummommammiummaimummummossomarnms111111111111111111111111 ...;"1. r. 111111I1111111111111111111111111111I111111111111111111111111110111111111111111111111111111111111111111111111111111111 1111111111111Pr1111111111111111101111111 e.regt.11111 53

Photography Equipment List the Kodak pamphlet series. The various volumes of the ti/e Library of Photography are full of practical advice, The Darkroom as well as theory presented in easily understandable terms. The darkroom must he totally dark, relatively dust free, The books by Ansel Adams are relatively technical, but and shouldheused only for photography.It must be are required reading for anyone interested in photography equipped with electricaloutlets,a sink with running as a science or an art form, Some of these publications water, good ventilation, safelights, storage cabinets, and may be available from local libraries or through inter. adequate working space for developing, printing. anden library loan. Most photographic equipment dealers stock It must be separated from the classroom bya Kodak pamphlets, or they can be obtained directly from double door or light baffle to permitaccess without ad. Eastman Kodak, Department 454, Rochester, New York mitt ing 14650. Several mailorder distributors of photographic publications regularly advertise in photographic Camera work Film processing maga tines. cable releases bottles1 plastic) :quart. cameras half gallon. gallon Adams, Ansel. Artificialight Phowgraphy.Morgan exposure meters can openers and Morgan, Inc., 1968. films film clips . Camera and Lens.Morgan and Morgan, filters funnels Inc., 1970. interchangeable lenses glassine envelopes Naturalight Photography.Morgan and I telephoto. wide angle graduates( 16 oz, Morgan, Inc., 1965. tripods rubber gloves The Negative: Exposure and Development. Morgan and Morgan, Inc., 1968. Chemicals issors sponges .Polaroid Land Photography Manual.Mot. developer: film, paper stirring rods gan and Morgan, Inc., 1963. fixer tanks & reels . The Print: Contact Printing and Enlarg hypo neutralizer thermometers ing.Morgan and Morgan, Inc., 1968. photo.flo timers Boucher, P. E.Fundamentals of Photography.Van Nos. reducer trand, 1968. stop bath Printing and enlarging Eastman Kodak Company: toners contact printing frames Light and Film Photojournalism The Print Finishing or contact printer Special Problems dust brushes Color The Studio adhesive spray. easels Caring for Photographs The Art of Photography dryIn(Hinting press Photography as a Tool The Great Photographers enlargers lenses dry mounting tissue The Great Themes Photographing Nature enlarging timers mat board Neblette, C. E.Photographic Lenses. paper: contact, enlarging Morgan and Mot. print rollers gan, Inc., rev. ed. 1971. paper cutter tacking iron Newhall, Beaumont. Mu. paper safe The History of Photography. yardsticks. rulers seum of Modern Art, Doubleday, 1964. polycontrast filters print dryer Newhall, Beaumont and Nancy.Masters of Photography. Braziller, 1958. print washer Pittaro, E. M. spotting fluid R brushes Photoab Index.Morgan and Morgan, Inc., tongs reprinted annually with four supplements per trays (8" x JO" or larger 1 year. Rhode, Robert and Floyd McCall.Introduction to Pho. tography.Macmillan, 1966. Simmons, Robert.CloseUp Photography and Copying. Amphoto, 1961. SUGGESTED READING Taft, Robert.Photography and the American Scene. Dover Publications, Inc., paperback ed., 1964. This bibliography is intended to list some of the most Modern Photography.Billboard Publications, monthly. useful and readily available publicationson the subject Petersen's Photographic Magazine.Petersen Publishing of photography. Anyone interested inmore than simple Co., monthly. " snap shot " photography should become familiar with Popular Photography.ZiffDavis Publishing Co., monthly. e

a..414. / l, ..:,,,- _ -7,1 4.' .; ''.. ,4-; ? , q?,, , I.: 't5 ..,iit r-icli'i 1 , th I )I nlf , 1 I.! OF ) ;i iif) ,

.,r ,,j

14 : p f i r, -14,-, 4,-- t ,,,21 Iii;5; / s iir,±4 1:41/ i )

,"; :,..'.- i 7.-- 4

% v4

'4 'WENNIIMIEF ?. V

100100,\