Class #11

This week's class was about finishing what we started last week.  As a class we were in a place I find happens quite a bit when teaching, where some students are finished and others have varying amounts of work to complete.  We began with some discussion about set-up and who needs to do what.  We seemed more or less evenly distributed with regard to the different printmaking techniques we still needed to accomplish.  Briefly mentioned last class, but not yet attempted, was printing our corrugated cardboard cut-outs using the copy machine and adhesive paper to make stickers.

Discussing the stickers briefly before we began, the prints of artists Terry Winters and Nancy Spero were shown as examples of work that could be viewed in relation to our stickers for a couple of reasons.  Winters' black prints on white paper have a similar quality visually as the stickers that are copied in black on clear sticker paper.

Untitled 1988, Terry Winters

Untitled 1998, Terry Winters

We talked about how some of Spero's prints were very large, but were not necessarily one giant image, rather a collage or collection of prints on one paper or wall.  The stickers could be placed in a similar way as a group of images covering a wall or large pieces of paper.  Nancy also used a handprinted technique which was how we have been working thus far, not using any type of printing press.

Detail of The Re-Birth of Venus, handprinted on paper
1984, Nancy Spero

Sky Goddess/Egyptian Acrobat, handprinted & printed collage
1987-88, Nancy Spero

In small groups we set up the stations for the technique we had not yet attempted or needed to re-do after an unsuccessful first print.  I was glad to do another monoprint because the one I did last week began with too much ink on the plate and turned out looking like a black blob (which was not my intention, I was going for a rabid opossum.)  If you were teaching a printmaking class and this was the second class to work on a variety of techniques, I think how our group went about it would also be a fine way to set up and get working with a group of children.  My only thought with teaching a class was that, there is usually someone who just works fast and would be completely finished.  Perhaps this student could be assigned a specific job.  He or she could be the "Print Tech" and help other students who might need assistance.

After printing one each, Paul Klee monoprint, corrugated cardboard animal, paper collagraph, and printing on the large collaborative print, printing onto stickers and making a folio for the prints we discussed cleaning the prints, tearing clean edges and the proper way to sign and date a print.  Aileen stressed that she teaches these final steps to all ages of students.  These final steps are important aspects of proper printmaking technique that students should practice.

Aileen also provided us with a list of printmaking terms that students should be able to define once they have completed their printmaking lesson.  The list was as follows: brayer, inking up, pulling a print, charging a brayer, a proof, an edition, collagraph, relief printing, handmade paper, rag edge, tearing prints and signing.  By using printmaking terminology and proper technique students are continuing the practice of this traditional art form.

We ended with a dialogue not just about our prints, but our Dystopian graphic novels and some other resources Aileen had brought to class.  The object was to think of the possibilities for class projects that can be derived from looking at the collection of artworks and books.  One idea was to use the folio as a place for students to assemble a collection based on a certain topic or theme.  The collection could include student artwork, or found imagery.  The folio could then be used as source material for a second project.  Another idea was a giant collaborative monoprint.  Aileen mentioned that a large sheet of acetate could be inked, you do not necessarily need glass or plexi.  Students could add drawings together as a group.  What we did as a group was what we usually do on our own, reflecting on our class assignments and seeing how they could relate to teaching children and adolescents.  In a way, we were reflecting out load as a group.

No one in class had done anything yet with their stickers.  In parting, Aileen mentioned the street artists Banksy and Swoon.  She suggested we could use our stickers in a manner similar to the way these artists work.

Art on wall by Swoon

Art on wall by Banksy