TITLE of Project: My World OBJECTIVES: The student Will Be Able To: 1. understand and use intaglio MEDIUM: intaglio printmaking vocabulary & techniques. 2. understand that intaglio prints are from a BIG IDEA: storytelling backwards image. 3. create textured artwork through drawing using ESSENTIAL QUESTION: If were illustrated space and balance. using prints, how can your print tell a story? 4. use pen & techniques for intaglio printing. 5. tell a story through art, persuading the viewer to MATERIALS: etching press & blankets, pencils, the artist’s point of view. newsprint, printmaking , white chalk, needle 6. draw the image accurately and fill the entire stylus, zinc etching plates 4X6”, asphalt-bitumen picture plane. for ground, ferric chloride as the etch, intaglio ink, 7. place marks on the plate following the contours of solvent, flat black spray paint for , rasp, the shape. burnisher, matboard scraps, towels, rough brown 8. use all intaglio printmaking procedures carefully & paper towels, tubs for etch and paper soak accurately. RELATED HISTORIC 9. use the use the crosshatching, hatching, & ARTWORK: mezzotint techniques correctly. 10. produce a full range of values from dark to light The Good Samaritan with smooth transitions. By van Rijn, 11. use negative as well as positive shapes effectively 1633, Baroque Art, in their prints. Intaglio/Etching 12. produce 2 neat prints for the final grade. 13. formulate and share responses to classmates' artwork. STUDIO PROCEDURES: TEKS: All levels of Art, Grades K-12, require 1. Do several pencil sketches onto 4 X 6” drawing printmaking in the TEKS. It is located in Section 2: paper using simple lines with no shading. Choose one Creative expression. The student communicates of these drawings to use as the basis for an etching. ideas through original artworks using a variety of 2. Prepare the 4 X 6” zinc plate with the asphalt- media with appropriate skills. The student bitumin as a ground, painting it on in smooth side-to- expresses thoughts and ideas creatively while side strokes of a soft brush and including the edges of challenging the imagination, fostering reflective the plate. Let the plate dry thoroughly. thinking, and developing disciplined effort and 3. Trace your drawing onto the back of your paper progressive problem-solving skills. using a light table or lit window so your image will be SAMPLE OF ARTWORK: right side up after printing (especially important if there are letters or words in the image). Chalk the Sample right side of your drawing and then trace the image Artwork: from the “wrong side” of your paper onto the Trees at grounded zinc plate. Use a colored ballpoint pen for Marshall by your tracing so you can see where you’ve been. 4. Using the stylus (etching needle), draw your image Mat Percy, by scratching through the surface of the ground to (student at expose the metal beneath – not much pressure is Marshall HS, needed. To make “shading,” use hatching and 2006) crosshatching. Stippling can be done with sharp DISCUSSION: Go through history and rationale marks. for Intaglio Printmaking. Students could watch a 5. Holding onto the ends of a nylon cord underneath video on the entire intaglio process including the plate or masking tape fashioned into a tab on the , etching, , : back of the plate, place the plate carefully in the https://www.youtube.com/watch?v=SNKn4PORGBI ferric chloride bath for approximately 5 minutes. The tab or string should be sticking out of the tub so you can grab the edges to life the plate out of the bath. Try not to get your fingers into the ferric chloride. It 14. Lift the blankets and peal the print off the metal will not hurt your fingers but it will stain them. Ferric plate carefully. Place the print on the drying rack. chloride also permanently stains your clothes so wear 15. Repeat the process steps 9 through 14 to produce a protective apron. Use the cord or tape tabs to pull more prints. the plate out. Check the depth of the bite. 16. To make a new you can push the original 6. Lightly spray solvent (could be odorless paint line drawing into a mezzotint (aquatint). Paint ground thinner) onto the plate and wipe off the ground. onto some of your design surfaces using a watercolor 7. Very carefully use a rasp or metal file to round the brush in the areas you do not want altered by the edges of the plate. This keeps the moist printmaking ferric chloride. Spray a thin layer of black spray paint paper from being cut when run through the press. onto the remaining surface. Heavy spray paint for 8. If needed, use a burnisher to gently smooth out lighter areas – light spray paint for darker areas. Bite any stray marks or imperfections in the plate that with the ferric chloride. After you remove the ground were made by the etch. and spray paint, you will have a mezzotint surface 9. Using a scrap of matboard and using moderate that will be darker. You can also do more drawing pressure, drag and press etching ink onto the surface with the stylus using a drypoint engraving method. of the zinc plate. Scrape excess ink off the plate with 17. Evaluate your artwork using the Self-Evaluation the matboard and put that excess ink back into the Performance Assessment Rubric. Photograph your ink container. prints and place in digital portfolio. Take part in class 10. Using a 12 X 12” piece of tarlatan or piece of critique. rough brown paper towel, wipe the rest of the excess 18. Sign all prints using the correct print signing ink off the surface of the plate using gentle circular method shown below: (sign them using a pencil strokes. Rotate the plate around as you work. and the guide here. Continue until all ink is off of the surface and only The “fraction” part remaining in the etched grooves of the plate. Make on the left sure all ink is off the edges of the plate. There should communicates the remain a “tone” of the ink on the plate. limit of the edition of 11. Soak a 6 X 8” piece of printmaking paper in water prints. This sample for 30 seconds or spray paper with mist of water from 1/10 means this is a spray bottle. With very clean hands, place wet the first print out of paper on towels to blot excess water. The countertop an edition of 10 good needs to stay clean. Be careful not to hold paper by prints. the corners because the corners will tear off. 12. While the etching bed is mostly extended out from the press cylinders with the blankets still under CLEAN UP: the cylinder, place the inked plate ink side up onto 1. Put away all printmaking supplies. the registration template on the surface of the 2. Put prints on the drying rack. etching bed about 18” from the cylinders. The 3. Make sure press is in order. template should be marked with a Sharpie showing 4. Clean ink off of counters and all surfaces. the outline of the plate size in the center and the RELATES TO OTHER CONTENT AREAS: outline for the paper size centered outside of that Math: measuring; engineering involved in a (this will keep the prints “registered”). Use a heavy detailed process paper for the template. Place the moist paper on top of the plate guided by the template. Cover the Science, Physics: an understanding of PSI plate/moist paper with a scrap piece of clean paper. pressure Cover the paper with the thinnest blanket, then cover Science, Chemistry: the understanding of with the other blankets finishing with the thickest chemical compounds like ferrous chloride, etc. blanket on top. Make sure all blankets are smooth. VOCABULARY: 13. Using the geared levers, slowly move the bed Intaglio – carved, etched, incised, or engraved into a through the cylinders to the other side. The press hard plate so that it is below the surface; then a print should be set at pressure 16 because the zinc plate is is made from this plate, leaving a raised impression a 16 gauge plate. You might have to test your press to Etching – an intaglio process where the incised design make sure this is the best pressure. is made by acid eating into the surface of a metal plate instead of the incised design being engraved Etching Press – intaglio consisting of 2 large cylinders and a sliding bed. The bottom cylinder supports the bed, on which the inked plate and the paper are placed, while the top cylinder presses the paper against the plate. Blankets – pressed or woven wool felts used on an etching press to apply a cushioning pressure to the paper Ground – an oil-based acid-resistant substance painted onto the surface of a metal plate during an etching printmaking process. The ground protects the non-image areas from the action of the acid. Stylus – a sharp metal etching needle used to scratch through the acid-resistant ground to expose the metal underneath. Burnisher – an oval-shaped tool used for polishing and smoothing the plate Tarlatan – sheer cotton fabric, heavily sized and used from rag wiping of intaglio plates Hatching - to shade or draw with two sets of parallel lines placed next to each other Crosshatching - to shade or draw with two sets of parallel lines that cross each other Mezzotint or Aquatint – the roughened surface of an intaglio plate created using spray paint or the back- and-forth rocking of a serrated cutting tool called a rocker. The mezzotint makes solid darkened areas. Registration – making sure each print lines up in the same place each time a print is pulled Edition – a specified number of prints of the same image

Student Images from Marshall HS, Art 2

JMHS Students use their simple intaglio prints on larger paper and enhance with charcoal and mixed media.

TITLE of Project: Layered Dimension OBJECTIVES: The student Will Be Able To: 1. understand and use intaglio printmaking MEDIUM: intaglio drypoint/engraving vocabulary & techniques. printmaking 2. understand that intaglio prints are printing from a BIG IDEA: layering backwards image. 3. create textured artwork through drawing using ESSENTIAL QUESTION: Can artwork illustrate space and balance. depth of understanding through layers? 4. use pen & ink techniques for intaglio printing. 5. tell a story with multiple layers through art, MATERIALS: etching press & blankets, pencils, persuading the viewer to the artist’s point of view. newsprint, printmaking paper, colored chalk, 6. draw the image accurately and fill the entire needle stylus, clear plexiglass plates 5X7”, intaglio picture plane. ink, solvent, matboard scraps, towels, rough brown 7. place marks on the plate following the contours of paper towels, tubs for paper soak the shape. RELATED HISTORIC 8. use all intaglio printmaking procedures carefully & ARTWORK: accurately. 9. use the use the crosshatching, hatching, & Portrait of Artist’s Wife mezzotint techniques correctly. By Stanislaw Maslowski, 10. produce a full range of values from dark to light c1905, Drypoint print with smooth transitions. 11. use negative as well as positive shapes effectively in their prints. 12. produce 2 neat prints for the final grade. 13. formulate and share responses to classmates' TEKS: All levels of Art, Grades K-12, require artwork. printmaking in the TEKS. It is located in Section 2: STUDIO PROCEDURES: Creative expression. The student communicates 1. Do several pencil portrait sketches onto 5 X 7” ideas through original artworks using a variety of drawing paper using simple lines with no shading. media with appropriate skills. The student Consider what the background could be for this expresses thoughts and ideas creatively while portrait. Choose one of these drawings to use as the challenging the imagination, fostering reflective basis for an etching. thinking, and developing disciplined effort and 2. Trace your drawing onto the back of your paper progressive problem-solving skills. using a light table or lit window so your image will be SAMPLE OF ARTWORK: right side up after printing (especially important if there are letters or words in the image). Chalk the Sample right side of your drawing (with colored chalk) and Artwork: then trace the image from the “wrong side” of your Blow Fish by paper onto the plexiglass plate. Use a colored Michelle ballpoint pen for your tracing so you can see where Ritschard you’ve been. 3. Using the stylus (etching needle) and steady pressure scratch through or engrave the surface of DISCUSSION: Go through history and rationale the plexiglass, using line. To make “shading,” use for Intaglio Printmaking. Students could watch a hatching and crosshatching. Stippling can be done video on the entire intaglio process including with sharp marks. Be careful to keep your free hand engraving, etching, aquatint, drypoint: clear of the carving to avoid being cut. https://www.youtube.com/watch?v=SNKn4PORGBI 4. Using a scrap of matboard and using moderate pressure, drag and press etching ink onto the surface of the plexiglass plate. Scrape excess ink off the plate with the matboard and put that excess ink back into the ink container. 5. Using a 12 X 12” piece of tarlatan or piece of rough brown paper towel, wipe the rest of the excess ink off the surface of the plate using gentle circular strokes. 14. Sign all prints using the correct print signing Rotate the plate around as you work. Continue until method shown below: (sign them using a pencil all ink is off of the surface and only remaining in the and the guide here. engraved grooves of the plate. Make sure all ink is off The “fraction” part the edges of the plate. There should remain a “tone” on the left of the ink on the plate. communicates the 6. Soak a 7 X 9” piece of printmaking paper in water limit of the edition of for 30 seconds or spray paper with mist of water from prints. This sample a spray bottle. With very clean hands, place wet 1/10 means this is paper on towels to blot excess water. The countertop the first print out of needs to stay clean. Be careful not to hold paper by an edition of 10 good the corners because the corners will tear off. prints. 7. While the etching bed is mostly extended out from the press cylinders with the blankets still under the cylinder, place the inked plate ink side up onto the CLEAN UP: registration template on the surface of the etching 1. Put away all printmaking supplies. bed about 18” from the cylinders. The template 2. Put prints on the drying rack. should be marked with a Sharpie showing the outline 3. Make sure press is in order. of the plate size in the center and the outline for the 4. Clean ink off of counters and all surfaces. paper size centered outside of that (this will keep the RELATES TO OTHER CONTENT AREAS: prints “registered”). Use a heavy paper for the Math: measuring; engineering involved in a template. Place the moist paper on top of the plate detailed process guided by the template. Cover the plate/moist paper with a scrap piece of clean paper. Cover the paper Science, Physics: an understanding of PSI with the thinnest blanket, then cover with the other pressure blankets finishing with the thickest blanket on top. Science, Chemistry: the understanding of Make sure all blankets are smooth. chemical compounds like ferrous chloride, etc. 8. Using the geared levers, slowly move the bed VOCABULARY: through the cylinders to the other side. The press Intaglio – carved, etched, incised, or engraved into a should be set at pressure 16 because the plexiglass is hard plate so that it is below the surface; then a print a 16 gauge sheet. You might have to test your press is made from this plate, leaving a raised impression to make sure this is the best pressure. Etching – an intaglio process where the incised design 9. Lift the blankets and peal the print off the metal is made by acid eating into the surface of a metal plate carefully. Place the print on the drying rack. plate instead of the incised design being engraved 10. Repeat the process steps 4 through 9 to produce Etching Press – intaglio printing press consisting of 2 more prints. large cylinders and a sliding bed. The bottom cylinder 11. After printing all prints, clean the plexiglass supports the bed, on which the inked plate and the thoroughly. After the plate is dry engrave an paper are placed, while the top cylinder presses the environment onto the back of the plate that will paper against the plate. complement the portrait drawing on the front. The images of portrait and environment should work Blankets – pressed or woven wool felts used on an together when viewing through the clear plexiglass. etching press to apply a cushioning pressure to the The suggestion is to draw the environment on paper paper mirroring step 2 to transfer it to the back of the Ground – an oil-based acid-resistant substance plexiglass. painted onto the surface of a metal plate during an 12. Display a print and plexiglass together – placing a etching printmaking process. The ground protects the dark sheet of paper behind the actual plexiglass to non-image areas from the action of the acid. make the engraved lines visible. Stylus – a sharp metal etching needle used to scratch 13. Evaluate your artwork using the Self-Evaluation through the acid-resistant ground to expose the Performance Assessment Rubric. Photograph your metal underneath. prints and place in digital portfolio. Take part in class Burnisher – an oval-shaped tool used for polishing critique. and smoothing the plate Tarlatan – sheer cotton fabric, heavily sized and used from rag wiping of intaglio plates Hatching - to shade or draw with two sets of parallel lines placed next to each other Crosshatching - to shade or draw with two sets of parallel lines that cross each other

Mezzotint or Aquatint – the roughened surface of an intaglio plate created using spray paint or the back- and-forth rocking of a serrated cutting tool called a rocker. The mezzotint makes solid darkened areas. Registration – making sure each print lines up in the same place each time a print is pulled Edition – a specified number of prints of the same image

Displaying the actual engraved plexiglass.

TITLE of Project: Pet Friends OBJECTIVES: The student Will Be Able To: 1. understand and use intaglio printmaking MEDIUM: intaglio engraving printmaking vocabulary & techniques. 2. understand that intaglio prints are printing from a BIG IDEA: layering backwards image. 3. create textured artwork through drawing using ESSENTIAL QUESTION: How can recycled space and balance. materials be used to make fine art? 4. use pen & ink techniques for intaglio printing. 5. tell a story with multiple layers through art, MATERIALS: etching press & blankets, pencils, persuading the viewer to the artist’s point of view. newsprint, printmaking paper, needle stylus, flat 6. draw the image accurately and fill the entire pieces of waxed carton board (like a milk carton) picture plane. 3.5 X 6”, block printing ink, matboard scraps, 7. place marks on the plate following the contours of towels, rough brown paper towels, tubs for paper the shape. soak 8. use all intaglio printmaking procedures carefully & RELATED HISTORIC accurately. ARTWORK: 9. use the use the crosshatching, hatching, & mezzotint techniques correctly. Gamecock 10. produce a full range of values from dark to light By Felix with smooth transitions. Bracquemond, c1882, 11. use negative as well as positive shapes effectively Drypoint print in their prints. 12. produce 2 neat prints for the final grade. 13. formulate and share responses to classmates' artwork. TEKS: All levels of Art, Grades K-12, require STUDIO PROCEDURES: printmaking in the TEKS. It is located in Section 2: 1. Do several pencil sketches (of pets or animals) onto Creative expression. The student communicates 3.5 X 6” drawing paper using simple lines with no ideas through original artworks using a variety of shading. Choose one of these drawings to use as the media with appropriate skills. The student basis for an etching. expresses thoughts and ideas creatively while 2. Trace your drawing onto the back of your paper challenging the imagination, fostering reflective using a light table or lit window so your image will be thinking, and developing disciplined effort and right side up after printing (especially important if progressive problem-solving skills. there are letters or words in the image). Use a soft pencil to coat the original drawing side with pencil SAMPLE OF ARTWORK: shading to use like carbon paper to transfer the

image onto the milk carton. Trace the image from the “wrong side” of your paper onto the inside wax part of the milk carton plate. Use a colored ballpoint pen for your tracing so you can see where you’ve been. This will place the image right side up when they print it. If they don’t mind it being backwards from the original, students can just shade with the pencil on the back of the original drawing and then trace it Sample Artwork: by Brian Holden onto the milk carton. DISCUSSION: Go through history and rationale 3. Use a dissecting needle or etching needle to carve for Intaglio Printmaking. Students could watch a into the wax on the milk carton – following the lines video on the entire intaglio process including of the drawing. Do not press too hard – use medium pressure. You only want to go through the wax, not engraving, etching, aquatint, drypoint: dig down into the cardboard part of the milk carton https://www.youtube.com/watch?v=SNKn4PORGBI plate. 4. Brush block printing ink onto the incised drawing. Scrape over the surface with a small square of scrap matboard – pressing the ink into the incised lines. CLEAN UP: Have a station for this with scrap paper laid down on 1. Put away all printmaking supplies. the surface to catch excess ink. Keep adding paper to 2. Put prints on the drying rack. keep the surface ink free. 3. Make sure press is in order. 5. Using newspaper, phone pages, or rough 4. Clean ink off of counters and all surfaces. brown paper towels rub the ink into the incised lines. RELATES TO OTHER CONTENT AREAS: 6. Rub excess ink off with newspaper, phone book Math: measuring; engineering involved in a pages, or rough brown paper towels. The plate will detailed process retain some of the “stain” of the ink. This is normal. Science, Physics: an understanding of PSI 7. Soak or wet printmaking paper. This can be done with water in a tub, or by spraying paper with a mist pressure of water from a spray bottle. Blot excess water off. Science, Chemistry: the understanding of Have a station for this with old towels on the side to chemical compounds like ferrous chloride, etc. use as blotters. The paper should be damp. VOCABULARY: 8. While the etching bed is mostly extended out from Intaglio – carved, etched, incised, or engraved into a the press cylinders with the blankets still under the hard plate so that it is below the surface; then a print cylinder, place milk carton plate ink side up onto the is made from this plate, leaving a raised impression registration template on the surface of the etching Etching – an intaglio process where the incised design bed about 18” from the cylinders. The template is made by acid eating into the surface of a metal should be marked with a Sharpie showing the plate plate instead of the incised design being engraved size in the center and the outline for the paper size Etching Press – intaglio printing press consisting of 2 centered outside of that. Use a heavy paper for the large cylinders and a sliding bed. The bottom cylinder template (the template keeps the prints supports the bed, on which the inked plate and the “registered”). Place the moist paper on top of the paper are placed, while the top cylinder presses the plate guided by the template. Cover the plate/moist paper against the plate. paper with a scrap piece of clean paper. Cover the paper with the thinnest blanket, then cover with the Blankets – pressed or woven wool felts used on an other blankets finishing with the thickest blanket on etching press to apply a cushioning pressure to the top. Make sure all blankets are smooth. paper 9. Using the geared levers, slowly move the bed Ground – an oil-based acid-resistant substance through the cylinders to the other side. The press painted onto the surface of a metal plate during an should be set at pressure 20 because the milk carton etching printmaking process. The ground protects the plate is a 20 gauge sheet. You might have to test your non-image areas from the action of the acid. press to make sure this is the best pressure. Stylus – a sharp metal etching needle used to scratch 10. Lift the blankets and peal the print off the metal through the acid-resistant ground to expose the plate carefully. Place the print on the drying rack. metal underneath. 11. Repeat the process steps 4 through 10 to produce Burnisher – an oval-shaped tool used for polishing more prints. and smoothing the plate 12. Evaluate your artwork using the Self-Evaluation Tarlatan – sheer cotton fabric, heavily sized and used Performance Assessment Rubric. Photograph your from rag wiping of intaglio plates prints and place in Hatching - to shade or draw with two sets of parallel digital portfolio. Take part in class critique. lines placed next to each other 13. Sign all prints Crosshatching - to shade or draw with two sets of using the correct print parallel lines that cross each other signing method: sign Mezzotint or Aquatint – the roughened surface of an them using a pencil intaglio plate created using spray paint or the back- and the guide here. and-forth rocking of a serrated cutting tool called a The “fraction” part on rocker. The mezzotint makes solid darkened areas. the left communicates Registration – making sure each print lines up in the the limit of the edition same place each time a print is pulled of prints. This sample 1/10 means this is the first print Edition – a specified number of prints of the same out of an edition of 10 good prints. image Milk carton wax side, carved & Inked

Printed

Drawing for milk carton print

Print from drawing