Lesson Plan
Fine Arts Department
Holy Trinity Episcopal Academy
Teacher’s name – Cathy A. Rodby
Grade/class level_____________________
Date of Lesson____________________ Length of Lesson_______________________________________
Unit Rationale:
Some time ago I began to realize that the majority of students today do not have (and may never have) the
opportunity to learn how to use basic tools such as a hammer, saw, or even a screwdriver. This is coupled with
the preponderance of students who have become too comfortable with having materials prepared ahead for them
(the now generation) and not understanding how to plan and prepare for a final artwork.
TITLE of LESSON: One Image Times Three
I. Problem/Activity Creating a positive/negative image that can be used in at least three different media
which will demonstrate their similarities and differences.
II. Goal(s) to gain a clearer understanding of the advanced planning required producing artwork. Students
will learn how to use a multitude of tools, in the pursuit of completing three different art works from one
image/block. Students will have a broader range of problem solving skills by the end of the unit
Students will know
1. How to define, and design elegant solutions to visual problems (Standard __)
Students will understand
1. Use visual culture symbols to create a personal work of art/statement. (Standard ____)
2. The chemical process of plaster. (Standard ______)
3. The relationship between the purpose and meaning and use of the elements of design in an artwork.
(Standards ________)
4. How to analyze their final product and how it relates to a variety of images produced in other
historical periods (Standards _________)
Students will be able to
1. Use tools safely
2. Using elements and materials to create a visual focal point
3. Identify the history of and different types of printmaking. (Standard ________)
4. Invent an image with multifunctional positive and negative spaces. (Standard _______)
5. Use craftsmanship and design in a thoughtful manner to communicate a message. (Standard _____)
III. Objective(s) -Students will learn that creating one image can result in three or more different results.
Prerequisites:
-Students should be able to draw an image in positive and negative format.
-Students should be able to handle carving tools.
IV. Resources and Materials
-Computer and Overhead projector
Visuals of block prints, paper pulp images, pressed tiles
- Wood lath strips (these you will purchase in 10’ lengths and cut to your determined measurement (I use
5 ½”, or 6” x 4” for younger students – larger for older students.
Small tack nails approximately 1” long
Scrap clay as necessary.
-Plaster (one bag should create 30 or so 5 ½” sq. blocks)
Saran wrapped boards or Plexiglas or sheet glass
Plaster carving tools or various tools that can carve into plaster
Table stop to hold plaster block.
Large buckets to mix plaster and clean up.
Measuring cup
Paper towels for clean up
Newspaper
-Paper pulp
Scrap paper or paper linter
Immersion blender or high powered blender
Buckets for making paper pulp
Water
Screen or sieve (optional)
Towels
-Block Printing
Brayers
Block print paper
Inking trays
Block printing ink
-Clay
Rolling pin or slab roller
Wood slats (1/2 inch thick) to roll out clay evenly
Newspaper
Small sponges for smoothing
Glazes
-Mounting board
V. Motivation
Topic question and/or discussion of related visuals
Show printed, stamped and impressed images.
Visualization Question(s)
1. What is positive and negative space in reference to a visual image? How does it differ from
2-D to 3-D?
2. What happens when we put ink on a surface (like our hands) and then press that surface onto
paper?
3. How would you make that image three dimensional?
VI. Procedures
Demonstration / discussion of techniques
Distribution of materials
Work period
Clean-up
Closure: Teacher/Student summation
VII. Evaluation
Artwork Assignments
Quizzes/ journaling
Rubric and written self assessment
Class critique
Procedures:
Creating the Plaster block:
1. Measure the wood lath and cut with hand saws. One
student should hold the wood tightly on the edge of a
table with the mark for cutting about an inch or two
away. This will keep the wood stable and less likely
to “chatter” as it is sawn. NOTE: Saws cut on the
down stroke more than the up stroke!
2. Set a nail on either end of a wood piece. Holding the
nailed piece tight against another which will now
become one side, tap the nail through into the wood.
1.
Turn it around and do the other side. Once you have
three pieces tacked together, set a nail in either end
of the remaining piece and nail in the remaining side.
3. Lay the frame on a very smooth surface (glass, saran wrap, plexi glas,
etc. If it does not want to lay perfectly flat to the surface, add a small
coil of clay to seal the clay to the surface. This will prevent the plaster
from running underneath.
4. Mix the plaster (2 parts plaster to one part water). The plaster is added
into the water. Stir gently until all of the lumps are worked out. Do not
2.
stir rapidly or beat as you will incorporate air bubbles which can
become trapped in the plaster.
5. Pour the plaster quickly into the forms, before it sets (at least 1” to 1
½”). Your students will notice that the plaster becomes warm to the
touch when it is setting. This is where you can talk to the students
about the chemical reaction that is happening.
6. Clean up in the bucket of water. Throw the water outside. DO NOT
put plaster down the sink drain unless you want to endure a very
2a.
unhappy relationship with the maintenance crew!
7. Allow the plaster blocks to set over night before removing the frames.
8. Once the frame is removed, the plaster should set up for about one week before working on it.
Moist plaster is fragile and will break easily.
9. While students are working on carving their images in the plaster, the paper pulp should be soaking
to soften.
Carving the Plaster Block:
1. Use a table stop or carving stop to hold the plaster block in place. Students should never carve
toward themselves or others. Review safety rules before beginning!
2. Review block print images with the students. Discuss how deep to carve (no more than ¼”,
preferably 1/8”. For younger children, you might give them a pencil with an eraser. The eraser is a
good visual for depth.
3. Transfer the image to the plaster block by tracing the image right onto the plaster. Have the students
put an “X” in the areas to remove. If they are very careful with markers, they can use a light colored
marker to denote the negative areas to remove.
4. If a student removes too much plaster, it is possible to mix more plaster and fill in the area. Sand
lightly with very fine sand paper.
Making the paper pulp impression:
1. Mix the paper pulp to an even consistency either with a
regular or immersion blender.
2. You may use a screen to sieve an even layer of paper pulp
from the water. Otherwise, scoop up handfuls of pulp, gently
squeezing out most of the water (don’t clump). Press into the
plaster block, gently pushing the pulp into all of the crevices
and creating an even layer on top of the block.
3. Press firmly with towels to pull up most of the water from the
paper pulp. You may be able to pull up the paper form but
most likely you will have to let it set up overnight so it doesn’t
tear when you pull it up.
4. The paper pulp impression can be colored by rubbing a brush
on a pastel stick, then “painting” the paper. Another method is to
use watercolor however, this tends to bleed easily. Personally, I
prefer leaving them un-colored.
Block printing:
1. Using a brayer, roll out an even layer of block printing ink on an
inking tray.
2. Roll the inked brayer on the plaster block.
3. Lay a sheet of printing paper on top and rub with the side of your
(clean) hand or use a clean wooden spoon to transfer the image.
Talk to the students about cleanliness on prints.
4. After the prints are dry, sign the bottom with a number 2 pencil in
the proper manner.
Clay tile impression:
1. Using the wood strips, roll the clay to ½” thick. Place the clay slab on the plaster block. Use a
rolling pin or sponge to press the clay onto the block to pick up the image.
2. Trim and smooth the edges of the clay tile.
3. Remove carefully with as little curling of the clay slab as possible. Dry the tile with a block of wood
or wall board on top of it to keep it from curling as it dries.
4. Bisque fire the clay tile.
5. Glaze and glaze fire the clay tile.
-
An additional idea is to make an extra clay tile of each student’s work. When the clay is leatherhard, build a large container with all of the clay tiles.
Mount the paper pulp and printed image together for display.
Resources and Visuals
Heilbrunn Timeline of Art History (2010), http://www.metmuseum.org/toah/
http://www.artic.edu/sites/default/files/libraries/pubs/1962/AIC1962AmPrint_comb.pdf
L: Arthur Deshaies Cycle of a Large Sea: Unbeing
Myself 1961 Plaster relief engraving 54” x 36 ¾”
Brooklyn Museum
Ross, J. & Romano, C. The Complete New Techniques in
Printmaking, p. 16 The Free Press, 1974
A.Frasconi,
Miscellaneous plaster
print images
Ross, J. & Romano,
C. The Complete
New Techniques in
Printmaking, p 17
The Free Press, 1974
Patrick Longworth The Raven
2005, Plaster relief print 12” x 12”
Lindsay Rowland Fish On
2005 Plaster relief print 12” x 12”