The Arts · Grade 7 · Visual Narratives and Studio Practice · Term 1

Introduction to Printmaking

Exploring basic printmaking techniques like linocut or monoprinting to create multiple images.

• Ontario Curriculum Expectations
• VA:Cr1.2.7a

About This Topic

Printmaking introduces Grade 7 students to techniques like linocut and monoprinting, where they create a matrix to produce multiple images. In linocut, students sketch a design, transfer it to a linoleum block, carve away negative space for a relief surface, ink the raised areas with a brayer, and press paper to capture the image. Monoprinting involves painting directly on a plate, adding textures, and pulling a unique print. This process supports Ontario visual arts expectations for idea generation and studio production in visual narratives.

Students compare prints' crisp edges and repeatable quality to drawings' organic lines and one-of-a-kind nature. They design series exploring themes like identity or environment through repetition of motifs with variations in colour or scale. This builds skills in planning, iteration, and reflection, key to artistic growth.

Active learning suits printmaking perfectly as students handle tools safely, experiment with inking pressures for subtle differences, and collaborate on series critiques. These tactile steps make editioning concepts immediate, boost problem-solving through failed prints, and spark creativity in tangible ways.

Key Questions

1. Explain the process of creating a relief print from start to finish.
2. Compare the unique qualities of a print to an original drawing.
3. Design a series of prints that explore a single theme through repetition and variation.

Learning Objectives

• Demonstrate the steps for creating a relief print using a linoleum block.
• Compare and contrast the visual characteristics of a print edition with an original drawing.
• Design a series of prints that explore a single theme through repetition and variation.
• Analyze the impact of inking pressure and paper type on the final print's appearance.
• Critique a peer's print series based on thematic consistency and technical execution.

Before You Start

Elements and Principles of Design

Why: Students need a foundational understanding of concepts like line, shape, contrast, and repetition to effectively plan and execute their print designs.

Drawing Techniques

Why: Familiarity with sketching and transferring images is essential for developing the initial design that will be carved into the print matrix.

Key Vocabulary

Relief Print	A printmaking technique where the image is created from a raised surface. Ink is applied to the raised areas, and the recessed areas remain un-inked.
Linocut	A type of relief print made from linoleum, a material that is softer than wood and easier to carve, allowing for finer details.
Brayer	A roller used to apply ink evenly to a flat surface, such as a printing plate or block.
Matrix	The surface or block from which a print is made. In this case, it is the carved linoleum block.
Edition	A set of identical prints made from the same matrix. Each print in the edition is numbered and signed by the artist.

Watch Out for These Misconceptions

Common Misconception

All prints from one block are identical.

What to Teach Instead

Printing involves variables like ink amount and pressure, creating subtle differences. Hands-on pulling multiple editions lets students observe and discuss these, refining their understanding through peer comparison.

Common Misconception

Printmaking requires perfect carving on the first try.

What to Teach Instead

Carving demands planning and testing; mistakes teach adaptation. Trial sketches and soft blocks in class allow safe iteration, building resilience via active trial and error.

Common Misconception

Prints lack the expressiveness of drawings.

What to Teach Instead

Prints offer bold contrasts and repeatability for narrative impact. Comparing side-by-side in group critiques helps students articulate unique strengths, fostering appreciation through shared analysis.

Active Learning Ideas

Demo and Guided Practice: Linocut Process

Model safe carving on a sample block, from sketch transfer to first print. Students draw simple motifs, carve linoleum, ink with brayer, and pull three prints each. Discuss variations from hand pressure.

45 min·Small Groups

Pairs Exploration: Monoprint Textures

Provide gel plates, acrylic paints, and found objects. Pairs paint backgrounds, roll textures, and pull two prints. Compare results and note unique effects from layering.

30 min·Pairs

Individual Design: Thematic Print Series

Students select a theme and sketch three variations. Carve one block, print editions with colour changes. Mount and label series for gallery walk.

50 min·Individual

Whole Class Critique: Print vs Drawing

Display student prints beside original drawings. Class discusses qualities in pairs, then shares observations on a chart. Vote on most effective series elements.

20 min·Whole Class

Real-World Connections

• Professional printmakers, such as those working in fine art studios or commercial print shops, create limited editions of artwork for galleries and collectors, similar to the process students explore.
• Publishers and illustrators use printmaking techniques, like silkscreen, to produce posters, book covers, and other graphic designs, demonstrating the commercial application of creating multiple images from a single source.
• Historical movements, like German Expressionism, heavily utilized woodcuts and linocuts to create bold, impactful imagery that could be widely distributed, showing the power of printmaking for communication.

Assessment Ideas

Quick Check

Before students begin carving, ask them to sketch their design and then verbally explain to a partner how they plan to carve away the negative space. Listen for their use of terms like 'relief,' 'matrix,' and 'negative space.'

Exit Ticket

Students complete a 'Print vs. Drawing' comparison chart. Provide two columns: 'Print Qualities' and 'Drawing Qualities.' Ask students to list 2-3 distinct characteristics for each column based on their observations and work.

Peer Assessment

After students have created their first print from their linocut, have them display their work. Provide a simple checklist for peers: 'Is the ink applied evenly to the raised surface?', 'Is the image clear and legible?', 'Did the student attempt to create a series?' Students provide one positive comment and one suggestion for improvement.

Frequently Asked Questions

What basic materials are needed for Grade 7 printmaking?

Start with soft linoleum blocks, gouges, brayers, water-based inks, and drawing paper. Add gel plates and rollers for monoprints. Safety gear like cutting mats and gloves ensures smooth sessions. Budget options include foam sheets for beginners. These let students focus on process without high costs, aligning with studio practice goals.

How do prints differ from original drawings?

Prints produce editions from a matrix, yielding clean lines and repeatable images ideal for patterns. Drawings offer fluid, direct marks with personal gesture. Students explore this by creating both, noting how prints emphasize composition while drawings capture spontaneity. This comparison deepens media awareness.

How can active learning help students understand printmaking?

Active approaches like guided carving and iterative printing give direct experience with matrix creation and editioning. Small group rotations across techniques build skills collaboratively, while critiquing series reveals repetition's power. These methods turn abstract processes concrete, increasing engagement and retention over lectures.

What steps teach the full relief print process?

Sequence includes ideation sketching, design transfer with carbon paper, carving relief, inking evenly, and pressing paper. Demo each step slowly, then have students practice in stations. Reflection journals track challenges like ink coverage, reinforcing the cycle from concept to finished series.