PrintMaking Resource
Every individual, student and artist is different. It follows that the creative practice will be different for everyone. This resource demonstrates one example of what the creative practice could look like. To be the best visual arts teachers we can be we must cater to the everchanging vastly diverse array of students. This digital resource has been designed to assist both teachers and students in completing Unit 1, Area of Study [AOS] 2 and 3, Outcome 2 and 3, from the 2023-2027 Victorian Certificate of Education [VCE] Art Creative Practice Study Design. This resource focuses on printmaking, showcasing an example of one of the three art forms students could explore as part of this unit. It includes a comprehensive suite of worked examples, videos and articles, worksheets, and links to relevant Artists from a wide range of cultures and identities.
Visual arts can assist young learners in engaging with the world, developing empathy, and developing creative and critical thinking skills (Dinham, 2022). By incorporating opportunities for students to build intercultural understanding and by implementing 21st-century teaching practices, students can be supported to become “informed and responsible global and local members of the community who value and celebrate cultural and linguistic differences (Education Council, 2019)”, as outlined in the Alice Springs (Mparntwe) Education Declaration’s goals. This is increasingly important as Australia continues to become a more culturally and ethnically diverse nation (McCandless, Fox, Moss, & Chandir, 2020) and intercultural understanding allows for peace, harmony and, connection among peoples.
Intercultural understanding is one of The Australian Curriculum, Assessment and Reporting Authority’s [ACARA] General Capabilities, which aim to “equip young Australians with the knowledge, skills, behaviours and dispositions to live and work successfully (Australian Curriculum, Assessment and Reporting Authority, 2024)”. Intercultural understanding has been prioritised throughout the resource through the example tasks and the inclusion of diverse artists and methods. Specifically, by including a range of Aboriginal and Torres Strait Islander Artists and Asian Artists, the resource aims to assist busy teachers in meeting ACARA’s Cross-curriculum priorities: Aboriginal and Torres Strait Islander Histories and Cultures and Asia and Australia’s Engagement with Asia. By incorporating this diverse range of artists, this resource encourages educators to embrace a more inclusive approach to teaching art, one that not only meets curriculum standards but also resonates with the varied backgrounds and experiences of their students.
This resource has been designed as an online platform, allowing multiple people to view it from anywhere and allowing the ability to update, add to and change the resource continuously. Students and teachers can view the resource during any period from any device or if they are home, whether they are sick, on holidays or doing homework. This is invaluable in a post-pandemic world, as it affords teachers and students the flexibility they need. Having a dynamic and interactive, digital space that promotes intercultural understanding will help engage 21st-century students in 21st-century learning. 21st-century learning means equipping students with digital literacy, cultural competence, emotional awareness, critical and creative thinking, and problem-solving skills (Bernhardt, 2015). By engaging students in a digital space, the resource will help develop their digital literacy.
The resource lends to the Victoria State Government Education and Training’s High impact teaching strategies [HITS], which are internationally recognised as some of the most effective teaching strategies for achieving learning outcomes (DET, 2022). Among others, ‘Strategy 3: Explicit teaching’, which speaks to the effectiveness of showing students what to do and how to do it, and ‘Strategy 4: Worked examples’ which explains that a demonstration of a task reduces students’ cognitive load, therefore improving skill development, are strategies that are central to this resource. Worked examples of both making and responding tasks are provided and the entire resource acts to explicitly demonstrate what is required of students when undergoing Unit 1, AOS 2 and 3, Outcome 2 and 3.
By fostering a space where creativity, cultural competence, and critical thinking converge, this resource aims to empower teachers and the next generation of student artists who are global citizens.
References Australian Curriculum, Assessment and Reporting Authority. (2024). General capabilities. Retrieved August 1, 2024, from https://v9.australiancurriculum.edu.au/f-10-curriculum/f-10-curriculum-overview/general-capabilities Bernhardt, P. E. (2015). 21st century learning: Professional development in practice. The Qualitative Report, 20(1), 1-19. https://doi.org/10.46743/2160-3715/2015.2097 Department of Education, Skills and Employment. https://www.education.gov.au/alice-springs-mparntwe-education-declaration/resources/alice-springs-mparntwe-education-declaration Dinham, J. (2022). Delivering authentic arts education (4th ed.). Cengage Learning Australia. Education Council. (2019). Alice Springs (Mparntwe) Education Declaration. Australian Government McCandless, T., Fox, B., Moss, J., & Chandir, H. (2020). Intercultural understanding in the Australian curriculum. The Australian Educational Researcher, 47(4), 571-590. https://doi.org/10.1007/s13384-020-00394-7 Victoria State Government Education and Training. (2022). High impact teaching strategies (HITS). Retrieved August 1, 2024, from https://www.education.vic.gov.au/school/teachers/teachingresources/practice/improve/Pages/hits.aspx
Unit 1, AOS 2&3 Outcome 2&3
Note: Areas of Study 2 and 3 are concurrent and support each other.
"Making art, or applying the Creative Practice, is a process. It includes research and exploration, experimentation and development, refinement and resolution, and reflection and evaluation (Greenwood, 2023, pp.113)."
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source: Greenwood, D. (2023). Art creative practice: VCE units 1-4. Cambridge University Press.
In AOS 1,
The three artists selected for study must be from different periods of time and cultures, and at least one contemporary artist and at least one Australian artist must be included.
(Victorian Curriculum and Assessment Authority, 2022)
Intro to Printmaking
(or re-familiarisation)
Research and Exploration
"Printmaking is an artistic process based on the principle of transferring images from a matrix onto another surface, most often paper or fabric. Traditional printmaking techniques include woodcut, etching, engraving, and lithography, while modern artists have expanded available techniques to include screenprinting."
(The Metropolitan Museum of Art, n.d.)
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​What is Printmaking ? - The Met
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4 types of printmaking
https://maryiscontrary.com/what-are-the-4-types-of-printmaking/
​9 types of Printmaking techniques - Artsy.net
https://www.artsy.net/article/editorial-nine-types-of-printmaking-you-need-to
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The print making surface can be called: matrix, block, plate
(SlideShare, 2015)
source: https://www.slideshare.net/slideshow/printmaking-terms/47463037
How - Tos
Artisits
List of Printmaking Artists >​
​https://theartofeducation.edu/2020/10/october-9-printmakers-to-inspire-learning/
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Famous Historical Printmakers >
https://v1.artworks.com.sg/news/7-important-printmakers-in-history/
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Australian Printmaking Artist & Educator >
https://kimherringe.com.au/about/ ​
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Contemporary Printmaking Artists >
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Printmaking Artists >
https://www.riseart.com/artists/printmakers
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List of Asian Printmaking Artists >
https://theartling.com/en/artzine/top-asian-print-artists/
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First Nations Printmaking >
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Traditional Japanese Woodblock Prints by an American Artist who relocated to Japan >
https://www.artelino.com/articles/clifton_karhu.asp
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Japanese contemporary woodblock Printmaking Artist >
https://www.roningallery.com/artists/tomihari-hiroshi
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Mexican-American Printmaking Artist whose work frequently highlights social justice issues >
https://www.josephjosuemora.com/
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Australian Artist and teacher from the 1920s >
https://www.artgallery.nsw.gov.au/collection/artists/proctor-thea/
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​American contemporary Artist and professor who explores race, gender, sexuality, violence, and identity in her work >
https://www.karawalkerstudio.com/
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Australian Printmaking Artist with 40+ year career >
https://www.diannefogwell.com.au/
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Barkandji woman Artist and Printmaker >
https://www.ngaratya.com.au/artists/zena-cumpston
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Mexican-American Educator and Artist who addresses inequity, migration, historical passivity, and cultural recognition in historically marginalized communities >
https://www.3arts.org/artist/william-estrada/
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Australian-born Artist (Printmaking + multidisciplinary) of Wiradjuri and Scottish ancestry >​
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Historical Famous Printmakers>​
https://www.printed-editions.com/blog/10-famous-artists/
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Katsushika Hokusai’s The Great Wave off Kanagawa (1831) Source: artworks.com
Experimentation and Development
Refinement and Resolution
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(duyn, n.d.)​
Making task
Responding task
(E. Caudullo, personal communication, August 13 2024)
There are many aspects of culture and ways culture manifests. One of these aspects and manifestations is Food.​ Food directly relates to people's history, traditions, and values, offering a glimpse into their way of life.
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Students are to think about a food product that is culturally significant to them and research a food product that is significant to a culture and/or nationality that differs from theirs.
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Based on these culturally significant food products, create a series of experiments using a range of Printmaking materials, techniques and processes.
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Suggestion -
Before the first lesson that introduces this task - Ask student to bring a food item from their pantries at home. Have each student place their item on their desk and ask students to look around at what their classmates have brought. observe & disscuss how items differ or compare.
Artist/Works with direct relevance to this task
(see Artist list above for broader potential Artist Research + Inspiration)
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Andy Warhol
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Mechelle Bounpraseuth
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Zena Cumpston
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Carmen Hui
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​Dana Sherwood's "Crossing the Wild Line" (2015)
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Saro-Wiwa's "Table Manners" series
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Wayne Thiebaud's "Cake Rows" (1962)
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*list to be expanded*​​​​​​​​
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worked example of exploring ideas - Brainstorm/Mindmap
Compare and Contrast
Andy Warhol’s Campbell's Soup Cans, 1962 and Mechelle Bounpraseuth’s Maggi is Not Soy Pot, 2022.
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Maggi is Not Soy Pot, 2022, Bounpraseuth Campbell's Soup Cans, 1962, Warhol
​source: https://images.app.goo.gl/5yzc83aALHQywbKKA
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Here are some different tools to assist students in comparing and contrasting
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https://pz.harvard.edu/sites/default/files/Same%20and%20Different.pdf
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https://pz.harvard.edu/thinking-routines
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Venn Diagram document >
Teachers
worked example of Exploring ideas - Venn Diagram
Depending on student level - students could begin this responding task by utilising a graphic organiser to start the process of responding and collecting their ideas before moving on to more in-depth analysis and documentation.
drypoint
cardboard
For this drypoint experiment I used : a thick aluminium foil, a sharp household instrument and black paint.
when creating a print using dry point
you apply ink/paint and then lightly wipe it away from the risen surface - the aim is for the ink/paint thats has flooded the sracthed marks to lift from the matrix to the paper.
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Inorder to do this the paper must be wet.
I used black paint rather than ink, a material that is much cheaper and easier to come by for experimenting.
collograpgh
These collagraph explorations were made using cardboard and paper as a plate and a sum of household items that would create different textures. I also used black and coloured paint.
Using cardboard as a matrix means there will be limited prints as it is not as durable as linoleum or wood.
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cork
Example of recording experiments in your journal (very brief notes - not full annotations).
In this experiment, if the image had printed more clearly the word 'vegemite' would appear backwards.
Brayer, water-based ink and tray for rolling.
lino
Initial testing of line making
using a V and U gouge
applying different pressure.
Baking paper used to transfer outline to lino plate, pencil was used to cover back of image, then placed onto lino plate, and outlined, leaving a faint outline on the lino plate that can be darkened.
Progress image : lino after image has been traced and outlined with black marker and gouge cuts have been made.
Refinement
After seeing a lack of definition on the print on either side of where the label on the jar is placed, I added another outline to the linothum plate.
When using words in a print, they must appear backward on the plate in order to appear left to right when printed.
Lighter and patchier prints result from less ink, darker less patchy prints result from more ink and evenly applied firm pressure.
Ink not removed from background.
Same transfer process used as above, however normal paper was used.
less ink, resulting in lighter patchier prints.
Ink was applied with brayer and then removed from select areas using a wipe
Experimenting and exploring multi/bi-coloured prints.
A paint brush was used to apply the red ink, which I believe resulted in the filling in the carved lines as the bristles can bend unlike the brayer that assures ink is only applied to the risen surface.
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this could be avoided in several ways, one way would include layering the print (must line the paper and plate up in the same spot each time).
Reflection and Evaluation
Annotating
How to Annotate your experimentation
(Adapted from E. Caudullo, Google Drive, n.d.)
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Annotation Questions
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What is the intention of the experiment?
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What/who is your inspiration?
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Why the subject matter you have chosen?
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What aesthetic are you trying to create?
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Discuss the characteristics of the materials you are working with.
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Discuss the techniques you are employing.
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What did you learn/ would do differently skill wise?
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What was effective in your trial?
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What was ineffective in your trial?
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Where to next? What are you going to do with this?
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Use the Structural Lens and the Personal Lens in annotations
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view Annotated folio examples
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Reflection is a key element of teaching and learning. It's also an important step in the creative practice of an artist.​​​
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Students
Students can reflect and evaluate on the mediums and methods they explored, how their experiments went and have a chance to discuss what they learnt about their own and other's cultural expriences.
Teachers
See pages 273-276 of
Art creative practice: VCE units 1-4
(Cambridge University Press. Greenwood, 2023).
for school Assessment sheets for Unit 1 Outcome 2 & 3
Artist Reflection Statement worksheet
(critical thinking)
Artist Reflection Statement worksheet
(simple)
other key resources
​useful site :
https://artsandculture.google.com/
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Art creative practice: VCE units 1-4 textbook
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Greenwood, D. (2023). Art creative practice: VCE units 1-4. Cambridge University Press.
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​See pages 89-136 for Unit 1, AOS 2&3 Outcome 2&3
See pages 131 - 134 for descriptions and examples of the Personal lens and structural lens
See pages 282-283 Exam terminology
See pages 284-289 Art terminology
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VCE Art Creative Practice Quick Reference Bookmark​
(duyn, n.d.)
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Support Materials from the VCAA
see Unit 1 AOS 2: Creative Practice and AOS 3: Documenting and Reflecting on the Creative Practice:
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​to be developed further...