DOCUMENT RESUME

ED 100 747 SO 008 028

TITLE Studio in Drawing and Painting; Graphics,Photography; Advanced Electric Courses in Art forGrades 10, 11, and 12, Volume 1.

INSTITUTION New York State Education Dept., Albany. Bureau ofSecondary Curriculum Development.

PUB DATE 74NOTE 67p.

!DRS PRICE MF$0.75 HC-$3.15 PLUS POSTAGEDESCRIPTORS *Advanced Programs; Art Activities; *Art Education;

Class Activities; Course Descriptions; CurriculumGuides; Evaluation; Grade 10; Grade 11; Grade 12;*Graphic Arts; *Painting; Photographic Equipment;*Photography; Resource Materials; SecondaryEducation

ABSTRACTThis is the first volume in a series that includes

the syllabi for advanced elective courses in at education for grades10, 11, and 12. The course objective is to provide a multiplici'lr ofvisual experiences in the drawing and painting areas of the grapuicarts and photography that are broad in scope and that will challengethe students ability and raise his creative potential to the highestlevel possible. Teaching techniques include teacher demonstrations,classroom discussion, hands on experiences with pen and inksketching, contour and gesture drawing, encaustics, oil painting,printmaking, photography and various other art forms, The guideconsists of three main sections: (1) Studio in Drawing and Painting;(2) Studio in Graphic Arts (Printmaking); (3) Studio in PhotographyCourse. A description, student objectives, background reading forteachers or students, and suggestions for teacher demonstrations,classroom discussions;, and student activities are provided for eachsection. Evaluation methods and suggested supplementary readings arealso included. (Author/RM)

U S DEPARTMENT OF I1EALTR.EDUCATION & WELFARENATIONAL. INSTITUTE OF

EDUCATIONTHIS DOCUMENT HAS REN REPRODuCED tAACTLV AS RECEIVED FROMTHE PERSON OR ORGANIZATION ORIGINATING IT POINTS OF VIEW OR OPINIONSstA TEO DO NOT NECESSARILY REPRESENT OFFICIAL NATIONAL INSTITUTE OF

EDUCATION POSITION OR POLICY

drawing a,a p aingraphicsphotography

volume oneadvanced elective courses in art for grades 10,11, or 12

Bar COPY AVAILABLE

THE UNIVERSITY OF THE STATE OF NEW YORK / THE STATE EDUCATION DEPARTMENTBUREAU OF SECONDARY CURRICULUM DEVELOPMENT / ALBANY, NEW YORK 12234

1974

THE UNIVERSITY OF THE STATE OF NEW YORK

Regents of The t nivesity twills $ear., when terms t.

1984 Jos Eett W. NIcCovv.ttx, A.B., J.D., L.H.D LL.D., D.C,L.,1.itt.D., Chancellor

1981 I'm:mmHg M. litAcK, A.B., Litt.D., 1.1.D., Pfl.D.,Vice Chancellor

1978 ALEXANDER J. ALLAN. JR., LLD., Litt.D.

1987 Cwt. H. Pflatzumstft, Ju., A.B., M.B.A., D.C.S., 1 1.11.1),

1975 EDWARD M. St. WARBURG, U.S., L,H,D,

1980 Jos Eett T. Kim, LL.B.

1981 Jostett C. INowEvro. M.D.

1976 tha.Ks B. Pow Eit, A.B., Litt.D., 1.11,D., LLD,

1979 Fatycts W. McCINENx. U.S., JD., LL.D.

1986 Kt Nvilti B. (:LARK, AIL, M.S., Ph.D., LL.D., 1.11.D.. 1).Se

1983 1httot.o E. NKwcomit,

1988 Wit.t.mt A. GENNICIL 1.1.8., L.H.D.

1982 Emf.vx I, likiFFITIL J.D.

1977 1;i:sfAto,f: S. KLEIN. B.S.. %LA.

1981 WILLItM A.B., LL.D., Litt.D. I...11,D.

President of The University and Commissioner of EducationEw kip B. Nycit.tsr

Executive Deputy Commissioner of EducationGonoos M. AMIIALII

xpire)

New York

Sall& Point

Troy

Purchase

New York

Shelter !slam!

Brooklyn

Rochester

Glens Falls

Hastingson ,Hudson

Owego

Buffalo

Rome

Bayside

BriarcliffManor

Deputy Commissioner for Elementary, Secondary, and Continuing EducationIttomvs D. Silt:minx

Associate Commissioner for Instructional ServicesMilt% I i.. iltrstat III

Assisfam commissioner for General Education andVIvti;xxv. ANDERSON

Director, Division of Curriculum DevelopmentCo limos E. VAN 11

Curricular

Chief, Bureau of Secondary Clirrkidnlit DPVPlopInput

Director, Division of the Humanities and tLe Arts

Chief, linreau of .1rt EducationVivi vs'. J. Piipm.filf,

Services

ACKNOWLEDGMENTSExamples Of student art have been used whenever feasible to illustrate concepts and

processes included in this volume.Sincere thanks are extended to the following schools for their contributions:

Photographs of Student Art:

Studio in Drawing and Painting

Afton Central High School, AftonBrentwood High School, BrentwoodChenango Valley High School. Chenango ValleyCicero High School, North Syracuse School DistrictKenmore West Senior High School, KenmoreKingston High School, KingstonLindenhurst High School. LindenhurstLinton High School, SchenectadyMount Kisco High School, Mount KiscoNewark High School. NewarkNorthport Senior High School. Northport

Studio in Graphic Arts

Bethlehem Central High School, DelmarBrentwood High School. BrentwoodCicero High School. North Syracuse School DistrictHigh School of Music and Art, New York CityHolley Junior Senior High School, HolleyNewark High School. NewarkNiskayuna High School, NiskayunaNiagara Wheatfield KAI School. Sanborn

Studio in Photography

Hoard of Cooperative Services, Northern West pesterTechnical Center. Yorktown Heights

Deer Park High School, Deer ParkEllicottville High School. EllicottvilleKenmore East Senior High School, KenmoreNiskayuna High School, Niskayuna

iii

THE VISUAL ARTS

VOMINIM.

Exploring the Visual Arts

An exploratory course intended to meet the general art requirement for students in grades 7 and 8 by enablingthem to experiment with the various fat ms and media of the visual cats in the contemporary world

Creative Crafts

A year-long introduction tothe fundamentals of 3-r me .onnl design throughthe creation of crafts in.various materials

[Studio in Ceramics

IMMEMMI

Studio in Sculpture

=1WEImml=1111mmeadmmmmor

Studio in Jewelry andSilversmithing

I Advanced Creative Crafts IMI GO ON MN OS MI MO 1111 MI MI

OM all MO AO 1

'Independent StudyMI OM M MI MI 1111 MI ME

I ICOMPREHENSIVE FOUNDATION COURSES

Studio in Art

A year-long introduction tothe nature, function, andtechniques of the visualarts in the present and inthe pas'

ADVANCED

Art History and Appreciation

A year-long introduction toman's creative use of thevisual arts throughouthistory, with constantreference to the present andimplications for the future

ELECTIVE COURSES*

OW al IMP MIL

Studio in Graphic Arts

Studio in AdvertisingDesign

Studio in FashionDesign and Illustration

Studio in Jewelry andSilversmithing

Studio in Product Design

Studio in Interior Design

Studio in Sculpture

IStudio in Ceramics

CinematographyII OW MO AMS 4110 ......

Independent Study 1

`Ancient Art

`European Art

IlNonEuropean Arte or es GO ......Modern Art

L Art of the Americas

r rrcaritecture ThroughI the Ages

r ,Esthetics and ArtCriticism

I Independent Study

J

1

1

1

j1

1

Mechanical Drawing andDesign

A year-long introduction toa universal graphic languagethrough which students canexpress their ideas withcreativity, clarity, andexactness

..... or MD ND =I alb

I Advanced MechanicalDrawinuind Desiag

ON NO MI IMO MO MO IMP NW

'Architectural Drawing1 and Design

LIndustrial Design

rUrban Design andLCommunity Planning

r Independent Studyfi

*Titles enclosed in dotted lines are suggestions for locally developedadvanced elective courses.

1

*Minor changes in titles have been made since the publication of STUDIOIN ART--A COMPREHENSIVE FOUNDATION COURSE.

iv

FOREWORD

This is the first volume in a series that includes the syllabuses for the advancedelective courses in the art program for grades 10. 11. and 12.

StudioStudioStudio

Studio inStudio inStudio in

Volume IDrawiog and PaintingGraphic ArtsPhotography

Volume 11

in Sculpturein Ceramicsin Jewelry and Silversmithing

Volume 111

Studio in Advertising DesignStudio in Fashion Design and

IllustrationStudio in Product DesignStudio in Stage Design

As with the other electives, those in this volume may be offered for one unit ofcredit to students who have earned credit in the basic course. Studio in Art. Thiscredit may he applied as part of the threeunit. major sequence in art. See the flow.chart of the art program on the facing page.

The following consultants were involved:

Ntuttio in Drawing and Painting

Studio in Graphic Arts

Minerva Marko.. supervisor of art. Niagara-Wheatfield Central Schools, preparedthe original materials for each of these courses of study.

Ernest Andrew Mills. associate in the. Bureau of Art Education. authored severaliections.

Vincent J. Popolizio. chief of the Bureau of Art Education. and James V. Gilliland.associate in the. Bureau of Art Education. provided additional materials.

Studio in Photography

John Roder. art teacher. Ossining High School wrote the first draft.Denise Kaplan and Jared Fast. photography instructors at Deer Park High School.

reviewed the manuscript and made meaningful suggestions for inclusion.The new svIlalatses were prepared under the general direction of Mr. Popo lizio.

The draft materials prepared by the writing consultants indicated above were furthersupplemented and revised by Mr. Mills and Harold Laynor. formerly associate in arteducation. now on the faculty of Millersville State College. Pennsylvania. The layoutof the publication was planned by Mr. Gilliland,

The curriculum responsibility for preparing the preliminary drafts for publicationwas carried out by Richard G. Decker. formerly associate in Secondary Curriculum.now retired. Robert F Zimmerman. associate in Secondary Curriculum. coordinatedthe final revisions and prepared the materials for publication.

Gott ov E. V AN noon. DirectorDivision of Curriculum Development

CONTENTS

Acknowledgments .. .

Forewordiii

V

STUDIO IN DRAWING AND PAINTING ... 1

Introduction to DrawingPastels and charcoal . 6

PencilCrayonInk and felt-tip pens . ...Equipment and supplies for drawing..."

Introduction to Painting 4

Watercolor .. .......-........Equipment and supplies for watercolor paintingOil paints p. .....Equipment and supplies for oil painting ..Acrylic paints ..Equipment and supplies for painting-with acrylics

Glossary of terms .. 23,

._

.4 jk 4 6;6. 4i4 0000 6 6.:

ri ..... 41.

.i 6 0000 ,41 6.4 4. o 6

18f f.0

000 21

STUDIO IN GRAPHIC ARTS (Printmaking)

Introduction to Printmaking .. .. 26

Relief printing ...... .

4.. .

0.6 2830

,444af Monoprint . . oo

.z...,'4,

4 4; 4 oL ,.printingblock printing .... .. 30tr Woodblock printing. .. .4. ......... 31

W.4.. ood engraving 31

ge./ Related media 44,6 's . 41 *

,* :0 .1.

... , 32

ea,-44/ Line etching46

o 6

00000000000000000 o 000000 00066Intaglio printing

-iv Soft ground etchingAquatintDrypoint engraving on plastic 81:'Drypoint engraving on metal 35

Mezzotint 36

Lithography 36Serigraphy (silk screen) 38Printmaking equipment list 41

Suggested reading 41

.. 34.. _au

ow. .

vi

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STUDIO IN PHOTOGRAPHY 43

Introdtketion, to. Photography 44The nature of photography a 44Historical development 45

The work of leaders. in photography 46Photography as an art form 47

The importance of design in photography 47Camera' 47

.... ......... 47Darkroom techniques . 48Studio procedures and lighting 49

Color photography 50Photography equipment list 53',.71.iggested reading . a 53

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INTRODUCTION TODRAWING

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I 4,1.% HI! is a lia4ic :kill, It is the result of disciplined.Ucti% cmipled 11 ItII rism.% perceptionand motor control niined and maintained through ,on-.taut practi( e. 1)1.(44 ill_' Ai:tract (I('. ice 141

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Pastels and Charcoal/),/itets are made b% combining pigment Iith it binder

made of gum tragacatith. Student: shoitld ktim that

pastrIS 1111' 114i1111% prepared in :oft. medium. and hard'trade :, and that t%lieti prpiql ii-(I and protected. the%can he ited a. a permanent (11.1111 in...! medium.

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in::: or hold k -1.01 come ill :oft.medium. and hard j:.

The paper selected for pastels and charcoal must haveenough grain, or tooth, to tile off and retain particles ofpastel. Students should be encouraged to use free. largestrokes and to attempt bold blending of values and colors.

In charcoal and pastel draw big. the eraser heroines adrawing tool. For this purpose the kneaded rubber orplastic eraser may be used.

All finished charcoal and pastel (Iran inns should beprotected by a plastic or fixative spray.

Demonstration and DiscussionIf the teacher wishes to encourage student use and

experimentation, she might include stumps, chamois skins,erasers, a shallow pan of water. tempera paint, plastic jars..rayons. ink. and charcoal.

Place these media and a variety of papers on the demon.stration table. Show and discuss briefly several methodsof using charcoal and pastels, Include spontaneous andfree drawings created with these materials, and show howthey may be intermixed with other media.

Studio ExperiencesThe student should he encouraged to

Experiment with several different methods of usingchalk or pastels using subject matter from the sketch.book, and explore the potentials of the charcoal orpastel media.

Use charcoal and pastels to work out charactersketches from a student model. Unique costumesfrom the drama group wardrobe might be used forvariety and color.

Set up an unusual still life for either a charcoal orpastel drawing.

Use charcoal or pastels in large, bold strol-cs to drawa composition suggested by views from the art roomwindow.

Examine the paintings of Pablo Picasso. Juan Gris.and Georges Braque for style. composition. and tech.nique.

Select a method of using chalk or pastel in combination with other media to emphasize textural effects.Illustrate individual reaction or attitudes toward aparticular concern of government or society.

PencilDemonstration and Discussion

The teacher may wish to display on the demonstrationtable a variety of types and grades of pencils (graphite,carbon. chalk, charcoal. pastel, lithograph, conte) ; as

sorted types of papers with a variety of surfaces: sprayfixatives: and eraser'. Explain the unique chars eteristicsof each material. including the specific quality of papers

3

for particular types of art work (charcoal paper, litho.graph paper, rice paper for printing, and drawing papersof various textures and qualities).

Demonstrate hov, the paper used will affect the char.acter of the drawing.Demonstrate how white chalk pencil may be used forhighlights on charcoal drawings.Show how the eraser can be used to enhance a draw.ing.

Emphasize the importance of protecting drawingswith a fixative or other similar product.

Demonstrate the many ways in which the pencil canbe used to enhance the line and the tone of a draw.ing.

Show how each medium can be rubbed or blendedwith the finger, stump. a wad of blotting paper orchamois leather, and spread with cotton, wool, orfacial tissue.

Try these demonstrations on papers of various qualities and textures. After the demonstration, encouragethe students to test and explore the materials.

4 BEST COPY AVAILABLE

Studio ExperiencesThe .student might

Crumple a piece of 9" x 1.2" drawing paper and drawa picture of it, using accented lines.

With a graphite pencil. sketch the hand in different

Sketch any object t$ith a combination of charcoalpencil and chalk pencil on small sheets of coloredcharcoal paper. The charcoal could represent thedark areas, and the chalk the highlights. Valuechanges might be expressed through blending.

Use pastel pencil on dark paper to draw a series Of3.minute sketches of a student model.

Try a contour drawing with chalk pencil on colored

construction paper. or with colored peneilt. on conmisting colored paper.Explore gesture drawing with pewit. creating theillusion of form or movement. Experiment with linesthat move across and within the form as well as alongthe contours,

Draw a series of distorted sketches of a model froman " ant's e " view i as if viewed front below themodel) .

Try another series from a " bird's eye " view (as ifviewed from above the model).Sketch dried or fresh weeds, a branch with blossoms,driftwood, shells, gourds, Or a combination of these.

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Select an athletic theme such as wrestling, football,basketball, or track. Rough out a page of drawingssketched from life while teams or individuals arepracticing.

Try a cubistic composition with a predetermined ideain mind, such as an abstraction of figures. animals,still life, or music. Experiment with textured papersuntil the desired effect is reached. This could be de.veloped into a large finished drawing.Sketch a corner of the art room, a section of theinterior or exterior of the school, or a dwelling. Em.phasize pictorial representation through the use ofperspective.

After doing the necessary research, develop a seriesof activities in which crayon is used in a mannernot demonstrated in class, such as rubbings, trans.fers, batiks.

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Evaluation

Has the student explored each of the drawing mediapresented?

Has the student understood drawing as a process ofdiscovery based on improvisation, experimentation,and as an interpretation of nature?Has the student developed his own individual style?Has he shown inventive ways of expressing himself?

Has he shown appreciation of drawing as a skillthat has been used for thousands of years?Has the student shown confidence in the way he expresses himself graphically?

Is the student original and flexible in his work?Has the student demonstrated ability and feeling inhandling the various materials presented in thiscourse?

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44.

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Equipment and SuppliesFor Drawingatomizer or spraybrushes: from soft camel's hair to stiff bristle; of vari

ous sizeschalk and charcoal stickschamoiscontainers for drawing equipmentcrayons: wax, pressed, unite, lithographic, oildrawing boards, 18" x 24"erasers: gum. kneaded rubber, rubberfixativeink ( black india as well as colored inks)paper: bond, charcoal paper. pastel paper. velour,

strothmore paper. rice paper, vellum paper, newsprintof different weights, construction paper

pencils: graphite, carbon, lithographic, colored, chalk.pastel. conte, charcoal

penpoints and holders. ballpoint pens. felttip penssand padscratch toolssketchbookwater pans

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INTRODUCTION TO PAINTING

WatercolorWatercolor is a spontaneous. free.11ow big medium

whose colors range from very pale to very brilliant tovery deep. The traditional painter thought in terms ofwetness and transparency all watercolor. In this cenwry. watercolor is used in a less pure manner. for it isoften combined with the opaque. with inks, and withother media.

Transparent tuaterrolar is a paint in which the vehicleis a water dispersion of the binder. which may begum or glue. It comes in tubes. semimoist pans, orin dry cakes. Simplicity and directness of approachare two basic characteristics, of this medium. Inthis pure form. transparent watercolor wash is applied to dry. damp. or wet paper. taking full advantage of the color of the paper and typically givingthe painting a bright. sparkling effect. When thewatercolorist works in this direct manlier he musthave complete control of his design, since the firstimage is often the last one possible (unlike oils, inwhich the artist may work over the design again and

Tempera and gouache are opaque watercolor paintsin which various binders are used, such as egg. glue.gelatine. gum arabic. starch, or other colloidal me.ilium, Water is used as a vehicle.Egg tempera was widely used before the advent of oil

9

painting. Because tempera is opaque, the surface tobe painted is usually completely covered and areasmay be painted over. One distinguishing character.istic of all opaque watercolor media is their abilityto render extremely fine details. When tempera isvarnished, it may appear much like an oil painting.

Casein paints have an alkaline solution of caseinas a binder. which is produced when. milk is curdledby rennet. Casein may be used as a fairly transparent medium or it may be thick and opaque, depend.ing on the method of application. The paintingsurface may be smooth or textured. but must be poroils. Unlike other watercolor media discussed here,casein becomes waterproof when completely set anddry.

Suggested palette for watercolorstitanium white raw umbercadmium yellow light ultramarinecadmium orangecadmium red mediumyellov. ochreHooker's greenviridianraw siennaburnt sienti.,burnt umber

cerulean blueprussian bluealiktrin crimsonmagentaPone's grayblackcobalt blue

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Demonstration and discussionDemonstrate and discuss the specific characteristicsof each of the w atereolor media ---- transparency, flu.idity. covering power.

t)emonstrate and discuss the importance of the char.acteristics of the painting surface for transparentwatercolor. such as the tone. texture. quality. weight.and absorbenct ,

Show how the surface itself becomes an integral partof the design and coloring in transparent watercolor.

Show how various effects can he achieved throughscraping. blotting. and adding accents when paintis wet. semimoist. or dry.Show how washes mat: be used for underpainting.overpainting, blending. or intermixing.

Show various methods of stopping out through useof rubber cement. tape. and other means.Disc:1:AF, the importance of using the proper brush.Demonstrate w ash brushes, round brushes. flatbrushes and the various effects that may be obtainedby each.With a large brush. show host many effects may beachieved, from broad to fine lines.Demonstrate and discuss the specific characteristics

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of the surfaces best suited for tempera and caseinpaint. Point out that casein may be used on poroussurfaces such as posterboard, cardboard. or paper,but should not be used on tightly sealed surfaces suchas canvas board or tempeted hardboard, for thepaint might crack or peel.

Demonstrate and discuss various effects and char-acteristics of tempera and casein paints. Demonstratethe covering potter and how either medium may beused thin or thick.

Discuss the characteristics of the various brushesthat may be used, such as stiff bristle brushes or softhair brushes tsable, squirrel, camel's hair, or oxhair).

Demonstrate an.:l discuss methods of stretching water-color paper and the reasons for this procedure.

Demonstrate the use of the watercolor block and itsadvantages when painting "on location."

Stress the importance of proper care of all materials.Point out that brushes left standing in water for anylength of time will lose their shape. Emphasize thatcasein must be washed out of the brush immediately,for once it is dry, it will no wash out.

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Studio Experience%

The tudent mightboth transparent and opaque wate

colors on a ariets of surfaces. using different sizesand tpes of brushes to achieve a varlet!, of strokesand techniques.

Explore such techniques as the use of washes. drbrush. opaque tones. textured effects. dribbling.Tonging. and scraping..1..sing the sketchbook for reference. work out a shnplelandscape. stressing the wet watercolor medium itself.

Ifesign a series of abstract paintings. using wet ordry techniques. or a combination of both.Paint a still life. and try to simulate the various textures in the objects. such as glass. fabric. and wood.I2.1.n. a landscape that contains simple figures in

action or repose,Paint a group tot fissure studic,, of a student modeldressed in costume or colorful clothing.Work out a large design to emphasize a fantasytheme. Combine arious techniques demonstratedearlier. such as applying ink and lifting out areasof it ,vith tissue.

Plan and «,xecute a composition which will combinewatercolor. ink. and collage.

1C ork out a group of designs in paint using toolsother than brushes.Self'rt several completed paintings and cut mats fordisplaying them.

Independent Studio 111111 liesearch Projects

Credtv a painting that V.(iire40.4 a personal view of.1 current issue.

~toot the otipct: of fla% light on a subject as opposedto the effects of artificial illumination.\lake a of quick outdoor sketches which may

BEST COPY AVAILABLE11

be used for reference later in the classroom.Choose an idea from the sketchbook and work out apainting based on it. using areas of watercolor washwith pen and ink details,Work out an abstract composition which might stressa particular emotion or feeling. such as falling.dreaming. love, or insecurity.

Paint a nonobjective composition using the drip.and-drop technique on wet paper. Add details when thecomposition is dry.

Paint several studies of figures in sepia wash tonesith line accents.

Stud% the works of famous artists. such as the water-color: of .John Malin or Winslow Homer. and thetemperas of Andrew Wyeth and George Tooker.

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ffas student explored tach of the media presented?

lbws the student understand the characteristics ofeaeh of the waterolor media?

itas the student IleilIffiV4trated anti 'Mid*fa,: in the use of the:r media''

I {Wi the 41111fgli tit'1111414.triltr Akin and a personalizedapproach in hi: handlite, and control of these media?

ft.4 lore evidence that the student has a =ed ime,ination and innovation in Ili: work?Ili,: the 411fient attetlIpti'd ti, build strong compo,ilion %%Idle using the 1% itterculur medium?

Has the student :hot, n appef iation of. and PriSiiVit tn, the 11111411IP illartiCterktit?' of each rflefli(1111

Equipment and Supplies forWatercolor Paintingbrushes britle. .atuel's

hair. ox hair. and sable.in variety of sizes and

'';s );:ink t (SIR': See

:,ttgl.tested palette)

containers for individualstudent equipment

I otton

drawing boards I 18"X aror larger)

..a4els t folding)inksmuffin tinspalette knivespalettes (hinaroated.

Metal. of plaStiV)

pens and penholdersportfoliosrazor bladesrullber cementsketclikmkssponges

tempera 'cakes. jars. andtubes: s e e suggested

palette)

tissues

transparent watercolor(sets and tubes. dyecakes: see suggestedpalette)

water pansw.tx eras-onwax pans

Oil PaintsOil paints are made with organic or mineral powders

mixed with linseed or poppy oil as a binder.Paint emulsions used in past eras dried very rapidly..

whereas tube oil paints used in modern times dry muchmore slow Iv. Oil; paints will remain moist for 2 or 3days and some will not become completely dry for months.The reason for the extended drying time is the presenceof retarders which have been added to the preparedpaints.

Colors can generally be divided into two groups: theearth colors. such at venetian red. yellow ochre, burntumber, raw umber, burnt sienna. and raw sienna; andthe artificial or mineral colors (semipermanent. such ascadmium yellow. cadmium red, cadmium orange, cobalt,or viridian.

Since white is essential when painting in oil, it is im-portant to know that the common whites are flake white.zinc white. and titanium white. Flake white, a whitelead. dries fairly rapidly. Zinc white, derived from zinc.has a tendency to crack and yellow somewhat. Titaniumis a good mixer. is slightly stronger, and is judged tohe the best by many artists.

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I)IIAJTANTS, VARNISHES, DRYERS

A Mutant is a liquid which thins the paint and makesit easier to spread and handle. The preferred dilut-ant for oil paint is turpentine. Colors may also bethinned with linseed oil, but this tends to retard dry.ing and gives a inure glossy appearance to the surface. Stand oil is a good thinner when applyingglazes. Generally a good thinner would consist ofone part turpentine and one part stand oil.Varnishes generally consist of solutions of resin insolvents. or conked oil containing resin, made bycooking resin in oil and thinning with turpentine.Varnishes may be applied with a soft bristle brushor by spraying.

There are two types of varnishes:

Retouching varnish is a light varnish and is usually used while the painting is in process. Thishas the least concentration of resin.Datnar varnish is used to protect welldried paint.ings. It forms a permanent protective finish coat.

Dryers are substances added to the paint to cause it

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CHImit limdrette drier is the best drier for permannt painting.

f H USED IN (HI. P.IVI'ltit;/Iritih commorik used are made of hogs hairbristle or II% tin. and eome in a %Nide variet% ofshapes and soft brush such as sable is oftenti.,ed for detail.Pidette nire art' used fur mixing and for scrapingpaint from the palette. Palette and painting: knives, owe in man\ ,iies and Fhilie, and can be effectivetool: for ,111111 in_ paint.

l'ioiro, or nit 11/N.; grog: any portable. nonporous surfate vain %%oud. tempered hardboard.or 21,1,4 Ina% lie used fur this purpose.

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oualk made of linen or I otton stretchedo%r fratile. 111i, material Italie. int4"0111.0*

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burlap. It is important that hardboard and card.board be primed on both sides to reduce warping.Gesso. acrylic gesso. or white lead paint may beused as a primer for these surfaces.

Demonstration and DiscussionDisplay all of the basic media and tools used in oilpainting.Demonstrate the various characteristics of the paintsthemselves and the mixing of paints.['sing a diagram. show how a palette is arranged andthe importance of always working from a full palette.Show the various effects that can be achieved by usingthe paint as a glaze or as a stain: how thick and thinpaints can be used for desired effects: how highlightsare achieved.Explain and demonstrate Iniw the (king process isaffected by the thickness of the paint as well as byvarion- (Mutants which have been added.Demonstrate and discuss various brush strokes thatmild hi. onid,,,-(1 in different t% lies of painting. andinclude the applkatiutl of paint with the ',Alain,:knife and other tools.Demonstrate the method of starting an oil paintingh% sketching (broil% on the demonstration paperwith a neutral color thinned %ith turpentine.

Sho the preparation of Y.trious painting ..urfacey.i.Oemonstrate how to stretch a canvas, and how toapply ground to other painting surfaces.

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palette of oil colors should be methodically arrangedfor quickne*s and efficiency in selecting mid mixing colors.One accepted is ay of placing the colors is to arrange themfront light to dark. grouped according to Value. In thismanner the student may s% stematically use the hue andit* orre..peetteling Atte. A great range of subtleties inan color ma% be discovered through proper selection andmixing.

There are many methods for keeping oil colors moistfor *everal days. such as placing the palette in an airtight.ntainer. placing protective film over the paint, or add.ins a drop of oil to each color. In time. the student willacquire it feeling for how much of each color to place Onthe palette.

Student* should start A ith the tnini,attm palette andgradually ork up to a more complete range of colors asthey gain experience.

Beginning minimum palette

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alizarin crimsonburnt umberblackpthalo blue

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Fulrange palettewhitelemon yellowcadmium yellow lightcadmium yellow mediumcadmium orangecadmium red mediumcadmium red deepvermillionyellow ochrepermanent greenviridian

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Sooner or later. a student will want to thin Out the pig.rents for special effects. To thin the pigment and retarddrying. try a mixture of two parts linseed oil to one partdamar varnish I a general mixing formula) . A largeamount of pure turpentine with the pigment should beused to make a thin wash solution.

Studio Experiences

T he student might

Prepare a simple palette of color. and on a sheet ofinexpensive paper. apply %% ith brush and knife a widerange of small dabs of color which have been mixedon the palette. Experiment with various consistencies

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of paint by thinning some samples w kb oil and otherswith turpentine.

Use a variety of brushes and painting knives to ex.lore different methods of applying paint to the sureLuce, such as spreading fiat areas, using pointillisticstrokes, making various textural effects, and usingpaint which has been diluted with oil or turpentine.Experiment to determine the mixing qualities of thedifferent pigments with respect to changes in hue,value, and intensity.

Work out a simple design in which flat areas of transparent color are set side by side, slightly overlapping.The overlapping areas should show the transitionaltones.

Work out a simple landscape from the sketchbook,emphasizing a particular mood.

Develop a composition to be painted in a very highkey. Maintain the purity of the various colors asmuch as possible.

Select a particular color and develop a painting whichwill emphasize this hue. Mix a wide variety of subtlecolors within the composition.

Work out a composition that expresses individualfeelings about a particular subject. Develop this incolors that best express these feelings.

Work out a character study of a model or member of .

the class, using colors which reflect his personality.Emphasize a specific center of interest.

Study a group of painters such as Kandinsky, Mother.well, Nolde, or Pollock. and work out an expressivepainting which was inspired by the works of one ofthese artists.

After setting up a still life. stain in the colors of thecomposition. Complete the painting with a paintingknife. and attempt to duplicate the textures of thevarious objects.

Independent Studio and Researelt Projects

Work out a composition that could have been inspiredby dreams, fantasies, or nightmares. Observe worksby such artists as di Chirico, Chagall, and Dali.Work out a painting inspired by the environment,Emphasize a personal approach in developing theforms, lines, and colors for this composition.

After studying such cubists as Cris, Picasso, Braque.make a series of sketches from a model, emphasizinga particular geometric motif. Develop a paintingfrom these sketches emphasizing flat colors, interlock.ing planes, and equivocal line and color.Develop a painting that expresses line quality. Tryto emphasize the repetition of similar lines andcolors, while avoiding monotony.

From a group of animal sketches. develop a paintingin which special effects are created by scratchingthrough the paint while it is still moist.Develop an expressive self-portrait.

Work out a landscape painting which will stress someaspect of the weather, such as rain, mist, snow, fog.or brilliant sun.Develop a composition in which various areas will liebuilt up thickly to emphasize textural relationships.

After studying the use of underpainting and glazesby such artists as El Greco or Jack Levine, use thistechnique in developing a portrait of a friend.

Using various materials such as fabric, wood, paper,or cardboard which will be attached to a rigid sureface. develop a composition in which these objectsare combined with oil paint to create textured effects.After studying works of Albers, Mondrian, Indiana,and Kelly. design a hard -edge painting which willstress the effect of motion through the position of contrasting colors and values.

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Has the student Al-m ri an msareness of the range ofthe oil pigments and hots the% are used as a vehicleof personal expression?

Has he demonstrated skill in handling the tools andmaterials essential to this medium?

Has he de% eloped a sense of independence in Ilkstork. including experimentation. innoation. and exploration of neW 1.141'4 and approaches to the oilmedium?

1)oes he demonstrate confidence and strength in hisuse of this medium as a means of expression?

lias he learned to appreciate the range of skillS, teril16(110'4. and '4tS!rq Which have been demonstrated in

painting of the past?I the + I t sensitive to the nets apprwirlie4 in the

use of oil paint?

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Equipment and Supplies forOil Paintingatomizerbrushes I sable, bristle;

in various sizes andshapes)

burlapcamp stoolscanvas boards, canvas

paper. oak tagcanvas (linen or cot

ton)charcoalglass jarseasels I good duality

folding easels foroutdoors

fixativehardboardlinseed oil

oil paints in tubeswhite: 1 lb. size:

color; 3" tubes orlarger; see suggestedpalette for colors.)

palette ( wood, masonite, glass; 10" x 14"minimum)

palette knife I varioussizes )

staple gun. tack ham.mer

stretching frames andpegs

paint thinnerturpent inevarnish (damn re.

touch Istand oilstretching pliers

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lal11 of the la ri till paint inl!eliminated. such as 41..11 dr\ lii iiffenie o, ors. fire haz-ard. and tittifi-consomite.2: Hyaline.: of palette. brushes. antibands. The problem of storing inpogress paintings is

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ashes

(1 retarder ma% be added to slo%% drying time.

\lam. other art activities nuts- utilize this medium. suchas silk screening. nionopinting. tumbling. papier !nitrite.and collage. ilecatise of the adhering finalities of acrylics,mitti other materials nut% be iiirorinalin.(1 in the climiniHint,. slid, as arid. pawl, ton(I. and fabric,

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ing canvas, hardboard, paper, plaster, and masonry. 'Flu,

only surface not to he used is one that is oily,In high school classes. good quality paper or cardboard

is more satisfactory than the more expensive Vi II1Vilt; urhardboard.

BRUSHES

Acrylics are inure destructive to brushes than oils orwatercolors are. Standard bristle brushes 1 which will losetheir shape in time, sable brushes, or camel's hairbrushes may be used for this medium, although nylonbrushes will generally last longer than others. Brushes

must be wet before using and must be kept moist duringuse. Immediately after use, all brushes should be washedwith a soap solution and rinsed. If a bristle or soft brush.is used, it should be pressed flat while drying so that itwill not lose its shape.

musTANTS AND EMULSIONS

Matte medium mixed w ith acrylic paints will retaina completely dull or flat finish. It may be mixedwith the gloss medium to control the amount of gloss.

Matte varnish is a nonglaring final varnish thatbrings out the richness of the color,

Gloss medium can be used as a glazing medium. afinal varnish. or it may be added to the paint,Acrylic gesso is a brilliant white ground for any typeof painting surface. This ground may also be usedfor oil, tempera, or casein paint. A

Modeling paste contains marble dust and proddesa three-dimensional effect when mixed with acrylicpaint. Or when used alone and painted over. It mayalso be carved or sanded when dry.Gel medium is clear and is mixed with paints to addbody, increase transparency. or reduce drying time.

Demonstration and Discussion

Discuss the unique characteristics of the acrylic poly.mer emulsion paints. Give a brief technical descrip-tion of the properties of this type of paint.

Demonstrate what these paints will do by themselvesand when mixed with each of the other paintingmedia, Show the range from transparent watercoloror glazing effect to heavy itnpasto.

Discuss the importance of caring for the paintingmaterials. Give specific directions for the care ofbrushes.

Show that practically any tool may be used to applythe paint. such as the palette knife. painting knives.wood sticks, cardboard, and sponges.

Demonstrate the many media for thinning and cluing-ing consistency. such as matte medium. gloss medium.

gel. modeling paste. gesso, and matte varnish.

Demonstrate the use of the various modifying media

19

I matte medium, etc.) with materials such as thoseused in collage, as well as their use in (*renting different textural effects.

Show how modeling paste may be used to hold to.gether the parts of au assemblage and a construction.

Demonstrate the wide variety of surfaces that maybe used. Show how gesso is applied for a paintingground.

Studio Experiences

The student might

Work out a nonobjective design using flat areas ofcolor on large paper or illustration board. Fitupha.size the wide variety of textural qualities whichacrylic paint offers.

Work out a large design on watercolor paper orillustration board which will show the wide range oftransparent tunes and glazes that can be achieved.

On a large piece of heavy illustration board, card.board, binder's board, or hardboard, develop a de.sign using modeling paste and matte medium. Mixthe two together and push, scrape, guide, and drawin the material while it is still moist, and attach varions small objects where appropriate in the design.After all areas are thoroughly dry, the modeling pastemay be carved with a knife to create additional de.

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tail. Color ma) IT added when the design is completed.

Use matte medium as an adhesive to make a collagefrom such materials as tissue. newspaper. and fabric.Working from a preliminary sketch, lay out the mate.rials on the surface to he used, and rearrange themuntil the desired design is achieved. Adhere thematerials and add various pieces and colors as neededto strengthen the composition.

Paint a landscape directly from nature. Overlaptransparent shapes. and emphasize the brilliant qualities of the paint.From a posed model, make several quick sketchesdirectly with acrylic paint. Emphasize general characteristics of the model and the pose while avoidingdetail.

From a sketchbook or direct observation. develop acomposition with a city theme. Emphasize spatialqualities and light and dark patterns. Try using hard.edged tools such as painting knives or cardboard.Using several studies of figures in action for refereta c, design a composition containing groups of peopie or a crowd.

Independent Studio and Research Project:.Develop a mural with an appropriate theme. Makea series of working drawings which include specificdetails. Do the necessary research and consult withthe teacher throughout the entire project. Make ascale drawing of the design, including the colorscheme. This problem may be worked out by an in.dividual or by several students together.

After completing the necessary research, write apaper describing, the development of acrylics as apainting medium.

Using modeling paste, work out a relief design basedon a particular idea concerning the human figure.Finish with a staining technique, using color plusmedium.

Work out a series of experimental paintings to discover the full potential of this medium. Report to theclass the findings as to what acrylics will and will notdo.

After studying the works of an artist in recent history, develop a composition inspired by his subjectmatter, color, technique, or style.Using a limited palette, design a painting which willshow the artist as a propagandist, or art as a means ofsocial comment.

Work out a fantasy using a drip technique plus a wetonwet technique in which liquid color is applied toa wet or clamp surface. Add desired details when theinitial application has dried.

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Glossary of Termsacrylic a poly mer emulsion with a fast drying property,alla prima painting without underpainting.binder any one of the glues or materials used to make

paint adhere.canvas prepared cloth. usually linen or cotton (hick. used

to paint On,casein milkbased binder used in many paints; usually

called casein paint.chemical color pigment derived from chemical sources

ALA as the analine colors from coal tar and alizarincrimson from dihydroxyanthraquinone. precipitatedon a base of aluminum hydrate.

chiaroscuro treatment of light and dark in a paintingor drawing.

cobalt linoleate drier drying agent made by cookingsalts in linseed oil,

(!sonar varnish a resin varnish.earth color pigment derived from earth. chiefly clay t

low and red ochre, virdian. bone, lamp black. etc..egg tempera paint with egg yolk as a binder with dry

color. Traditionally used on gesso panel.encaustic wax binder with dry color, used by the an

cleats.

fixatives transparent spray used to fix media such ascharcoal and pastels,

fresco painting with lime water and dry color on freshplaster,

gesso white pigment with binder.glaze a darker transparent color film applied to a lighter

underpainting.glace media traditionally 2 parts stand oil. I part datnar

varnish, 2 to 5 parts turpentine.gloss shiny surface finish.goimehe opaque watercolor.ground material applied to a surface to prepare it for

paint.

23

hiding power the degree of opacity in the paint.impasto a thick, textured application of paint.linseed oil oil of the flaxseed. usually used in oil paint

ing.mat, matt, or matte dull surface.medium the material used to create an art object. Also

the liquid with which pigments are mixed to makethem suitable for painting.

oil paint pigment mixed with oil.organic color pigment derived chiefly from animal or

vegetable sources.

palette surface of paper, wood. metal, or glass, uponwhich paint is mixed.

palette knife a dull, knifelike tool with which paint ismixed or applied.

pigment pure color used in making paint.priming preparation of a surface (satne as ground).quickrying white paint developed for underpainting.resin any of the exudates of certain pine trees.scumble a semitransparent application of light paint to

a darker underpainting.sizing a gluelike material used to make the surface to be

painted impervious to oil, water, etc. Helps to protect the surface from damage such as rot.

solvent material which will cut through media such asturpentine or oil. Usually used in cleaning up.

stand oil nonyellowing linseed oil.texture structure of a surface (smooth, rough, granular.

etc.).

tooth roughness or graininess of surface.underpainting usually the first covering of a surface in

the making of a painting,value a color's degree of lightness or darkness.varnish a solution of resin in a dilutant,

STUDIO IN GRAPHIC ARTS(printmaking)(ouRsE DESC RIPTION

This course is designed for students who have completed a full year of Studio in Art and desire to takeadvanced work in the area of printmaking. In this pub.Region, printmaking is concerned with the art of usinglines, solid masses. tones, and textures in such a mannerthat many proofs may be produced or pulled from anoriginal. The course covers a 'variety of processes andmaterials for exploration. Since it would he impossiblefor the student to work in depth in all of the various areasof study introduced in this publication, it is suggested thatthe teacher introduce all processes early in the course, butthe student select his own special processes to pursue andmaster.

Students should keep a notebook of Glasswork andresearch. and a portfolio containing sketches, photographs. and examples of the various forms of printmaking.

25

STUDENT OBJECTIVES

Upon satisfactory completion of unique segments ofthis course of study. a student should be able to demon.strate:

Increased ability to express ideas logically. clearly,and esthetically through the medium of printmaking

Independent judgment based on knowledge of print.ing and processes, and the ability to substantiate theconclusions reached

Increased understanding of the eleints and principies of art structure and be able to apply them toprintmaking processes with esthetic sensitivity

Printmaking techniques of an esthetic nature

Proficiency hi the handling of tools and materialsA personal approach to problems

The understanding that printmaking demands artistry. skill, and the disciplines of persistence. organi.nation. selfreliance. concentration, good work habits.and a respectful attitude toward materials

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INTRODUCTION TOPRINTMAKING

The traditional eonrept of the graphic arts includes 'iiifiirms of Nodimensional tisual expression: drat% ing.

pa int int!. print and photography. However, thisdourse includes (Ink the processes of printmaking andoffers a fe suggestions concerning the area of photograph,.. See also the elective course Sturho 1Jt Photog.ro ph y.

A rPrOnit revival of interest in the area rif graphic artsgre out of the realization that printmaking, is a bightsexpressite meditun. The trend is in creating unique textural effects, superimposing shapes %%id' transparent inks,

offregister effects to give the feeling of riverlappio2 forms. possilph. -temming front the ideas expressedin kulaism. Vuturism. and Cithism. Contemporary pint-maker are now producing prints equal in artistic meritto painting and deserving recognition as a fine expressivemedium %%ortliv of a definite place in the museums andgalleries of art.

.k wither recent trend in printmaking has liven the reliefprint. using the hdraulic press. Many contemporaryartist.: are cleating embossed Ilite.oiAllite prints. usingfound *vets glued to a hard hoard to make a threedimensiimal print.

V, !tether materials are plentiful or limited. printmakingbas roori sad,- if :trident: have learned the importance of

rinrd -raftsmattship. and 1 espect and care for took

materials, and equipment. Careful planning will mainmin a balmiee betteen freedom of expression and disci.plined craftsmanship.

Printmaking might be divided into two classifications:

Ili Printing by trans /erring images from a sur /acecoated with paint or charged with ink or some similarntedia, onto another surface. The character o/ thesurface has much to do with determining the process.The planographic, or surface printing process, is donefrom a flat plate: the design neither raised nor low.creel.

The monoprint is a simple Orthographic process in.yoking the following methods: additive, subtractive,overlay, cylinder printing, mixed media, or a corn'dilation of any of the above. This type of printingis often done on glass, metal, or other slick surfaceswith oil. or vaterbased paint or ink, and is thentransferred by contact to paper. Usually only oneprint is made front each design.Lithogrnphy is based on the fact that grease repelswater. In this process the artist uses a wax crayon,lithograph pencil. or wax.based paint to draw orletter on the surface of a slab of limestone or onalumirouti The surface is sensitited. kept moist.inked, then printed.

The relief process requires raised surfaces to receivethe ink so that the image can be reproduced onanother surface. Wood and linoleum blocks are themost common materials used in this process.

The intaglio process includes both etching and en.graving. Both depend upon indentations in metal orcelluloid to hold the ink, which will transfer an imageonto paper under pressure. In etching, indentationsare made through the use of acid. Engraving refersto carving or inscribing marks into metal, wood, orcelluloid with a sharp or pointed instrument.The collagraph is a contemporary intaglio printmaking process in which prints are pulled from a reliefblock a block in which patterns are built up in themanner of a collage. The surface is inked, then wipedto leave ink only in the depressions. then printed inan etching press.

() Printing by reproducing an image through a negativearea. The type of aperture determines the printingprocess.

Serigraphy is a process whereby a tine mesh, usuallyof silk or organdy. is tightly stretched over a woodenframe. The areas to he printed are left open, and thenonprinting areas are stopped out with a coat oflacquer, shellac, glue, paper. or a commercially pre.pared film. Paint is then squeezed through the openmesh onto the surface of paper. poster hoard. fabric,or other material.

Photography employs a negative film placed overlightsensitive paper. Light passes through the trans.parent areas and is stopped by the opaque areas.Hence.. that which is negative becomes positive. Thesensitized and exposed paper. glass, plastic, or fabric

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is developed and fixed by means of chemical solu-tions. then dried.

General MICUS8i011

After showing various examples of the printmakingprocesses mentioned above, discuss such topics as:

The unique advantages printmaking offers

The printing surfaces of the relief, intaglio, and litho.graphic processes

How are they different and how are they thesame?

Which method is more direct in recording ideasand feelings?Which method is more closely related to offsetprinting?How is lithography done in color?

- What are some common forms of lithographythat we see every day?

The theory behind lithography

Why a monoprint is considered a printing process

How the monoprint method of printing differs fromthe lithographic process

The primary differences between engraving andetching

How color is employed in woodcut, linoleum block.intaglio, and silk screen prints

How scrap material can be used in various printingprocesses

How relief printing is used in modern printingprocesses

Presentation of a print (proper matting, signing,numbering, dating)

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Ink a kraer with printer's irk and roll it on (Irawingpaper. using different kinds of strokes and directions.Tr. %ariations of the above. such as t%inding therulie string 10 tarri. or scraping and scratchingthe printed. surface s ith %minus twits.filita ,1 nonobjective pattern on a glass or polishedmetal -urface. using rrii paint. and print h% placing

stet or dry paper over the painted surface andrrrllin it IA ith a clean braver.

Print frion tt%() of More plate:, ,()Ittbillitert differentI (noel': arid puviditi:! effect; of (0,11'1;111/i:1W and 4)ver

i.".;neriment 0,%eral kinds of braver prints, usingfrrrtnri material, such as string. fabric, plastics. aridt libber tnattito, fur textural effects.1..Tior4. the use 111 % ril")11,4 types rfillir; of paper.both moist and firs, for munoprititing.\lake a lit.ier print pif're of glass 114)ng

printe', ink. Ls', the additive and the-ubtractie method of brayer printing .

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ztlIrm to (Irv. Secure an image b rubbing with thehand or a spoon. and pull the print.

Independent Studio Projects

Alwiint-nt further in monoprinting. using a persimalapproach toward the expression and the process.Create a design using still life or animals as subjectmatter. and attempt to get sharp value contrasts.unique textural effects. and interesting color bar.monv.

Create a monoprint that rotiVeys a mood such asrains night. haunted house. or alone.

Evaluation

1)11V,-. the student under:tamd that mottoprinting is a

method 111 revudilritig one image by applying paintof ink to a .411tface, I iistii111 a glass airfare). thentransferring the image onto paper?

Has the student considered the unique qualities of thenum0print :0 that these characterWir4 110e. litrotnea part of his oiAti rompositiotis?

fills the ,..torlent explored the +Aide Satiety of mono.printing processes?

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Relief PrintingRelief printing is a process in which the design to be

printed is cut or modeled in relief or built up from a flatsurface with various materials such as cardboard. wood.or glue.

Relief printing is considered the oldest of the graphicprocesses. dating from the ancient Egyptians and theTang Dynasty A.D. 618-007) in China. in the form ofthe woodcut.

After the invention of movable type by Gutenberg in1436, hooks made their debut and woodcuts and wood engravings became the standard means of illustration.

Albrecht Nirer was one of the first artists to use thewoodcut to reproduce his drawings. Hans Holbein alsodesigned for the woodblock and worked with one of theforemost masters of the medium. Hans Liitzelberger.

Thomas Rewick. who was influenced by Croxall's wood.cuts of illustrations of Aesop's fables, was the first artistto give the white line wood engraving popularity and distinction. William Blake also used the white line method.Although his engravings were not technically skillful. theyhad a plastic quality and exploited the inherent quality ofthe medium. Blake is considered a pioneer of the tech.pique used by many contemporary artists.

During the 19th century, woodcuts were used to illus.trate newspapers. magazines. and books. The Japanesealso excelled in woodcut printing. which is probably oneof the most popular printmaking processes for high schooluse. In relief printing little is left to chance. and everycut is a result of a definite decision.

Linoleum Block PrintingThe linoleum block process is an excellent introduction

to relief printing. in that it involves the basic cutting tools,materials. and printing processes.

The student must learn to create in terms of negativeand positive areas while cutting the block. After he hasworked with a linoleum block, he will be better preparedto go on to woodblock printing. Unmounted battleshiplinoleum is fairly inexpensive for class use and is com-paratively easy to cut.

Demonstrate ami discussThe proper use of these tools and the process of reliefcuttingSeveral variations of cutting which produce patternand texture in reliefThe proper sharpening and care of toolsThe types of nibs and gauges used, and the resistanceof the material to the toolThe body weight method of making a print on fabric,using a piece of wet scrap such as old sheeting

The use of register marks on the back of the linoleumand on the fabricMaking a collage print. using found materials suchas rope. string. rubber tile, cardboard scraps, andfabrics mounted on a piece of cardboardHow to print two colors using the offregister methodThe method of color printing using two or three col.ors on a single plate

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Woodblock PrintingThe woodblock lends itself to a greater variety of tex

tures, line gradations. and tonal gradations, and requiresa higher degree of discipline than does ill,. linoleum block.Woodblock printing can be a challenging process, in thatthe student is constantly making decisions as he chips orcuts with or across the grain.

In woodcutting, the student must recognize that thegrain of the wood is an inherent part of the completeprocess and plays an important role in establishing thedesign or idea. Cherry is an ideal wood for blocks sincethe grain pattern is inclined to add character to the print,but pine and fir are easier to cut and less expensive. See-ing the grain pattern permits preliminary planning andan opportunity to incorporate it into the design. Inkingthe surface and making a print of it helps to show thegrain. The grain can add textural effects and movement,and if used imaginatively. the grain pattern can suggesta theme or a design.

DemonstrateSketching an idea for a print, using a bold drawinginstrument such as a felt-tip pen or crayonUsing a soft pencil, tracing the design onto onionskin, and including areas of the grain as a register toplace it on the block properly

Adjusting the register and transferring the designonto the woodblock by burnishing the back with aspoon

Using the knife. gouges, and chisels in cutting theblock

Printing the woodblock. using the burnishing methodand body pressure method

Using a wire brush to remove the soft grain and bringout the texture of the wood

Applying several colors to one block. with each colorin a particular location on the block

Discuss

The characteristics of various woods and how theseshould be incorporated into the designExamples of woodcuts by Albrecht Diirer, LeonardBaskin. Hans Ho lbein. as well as Japanese woodcutsThe process of printing with a reduction block

Wood EngravingThe wood engraving differs from a woodcut in that the

end grain of hard. fine.grained wood is incised with sharp1,ok called burins and gravers. The manipulative skillrequired for cutting the block is the result of long hoursof practice, and requires great control. This is a selectiveor high1.7 4pecialized form of printmaking which is notoften attempted at the high school level. but might be explored as an independent study.

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There are many ways to approach relief printing with-out using the traditional me.dia. Creative results need notdepend upon materials and facilities but rather upon inge-unity. resourcefulness. and sensitivity. Other materials

van be used to give the student an opportunity to expio,the relief roce3s, A block of hardened plaster can beused for a plate, and areas can he removed with ceramictools. inner tubing or asphalt tile may be cut into shapesand glued to a firm surface in a relief pattern. Scrapmaterials such as cloth, cork, plastics, rubber matting,screening, and string may also be used.

Studio Experiences

The student mightUse brush and ink or a felt-tip pen to make a simpledirect drawing of a scene outside the classroom wine(low or a scene from memory to be transferred to apiece of linoleum and cut. Attention should be paidto contrasting values or patterns, as well as to the

characteristics of the material being used.

Design a cover for a notebook using a linoleumblock print on burlap or other textured material.

Using pieces of wood about 12" x 6", make severalprints of the uncut surface to show texture and grainpattern. Study the prints and try to incorporate thedesign of the grain into the composition. Transferthe design to woodblock and cut, making several trialprints to observe the progress of the cutting. In print.ing the final and finished cut, experiment with differ.ent types of paper.

Independent Studio and Research ProjectsUsing scraps of construction paper, design a motif fora linoleum block print to be used as an overall pat.

tern for a textile design.

More advanced students might be encouraged to at.tempt a simple wood engraving.

Create a composition of overlapping shapes, spatialmovements, and decorative quality for a threecolorwoodblock print.

Work out a character study of a friend, to be repro.

duced as either a linoleum or a woodblock cut.

Using an old house or building in the community asa point of departure, work out several sketches to be

developed as a woodcut. When cutting the block,exaggerate the detail and ornamentation found in the

subject.

Develop a sketch of one or several figures, emphaslz.ing a lyrical line quality. Transfer the sketch to lino.leum or woodblock and cut only the line areas sothat they will remain the color of the backgroundpaper or material.

Prepare a visual presentation concerning relief print.lug. emphasizing the famous artists noted for theirwork in this medium.Prepare a paper on the development and use of thecc nodblock print.

Evaluation

Has the student incorporated his knowledge of design,as %sell as the characteristics of the medium, into hiswork?

Does the student realize the limitations and potential.ities of the materials he has used?

Has the student gained the necessary skills requiredto produce a relief print?

Intaglio PrintingIn the intaglio process of printing, the image comes

from inkfilled incised lines, furrows, or depressions in theplate. which under considerable pressure deposit the inkon the paper. Two distinct techniques are involved in theintaglio process: engraving on metal or other material,and etching on metal. Engraving is considered one of themost highly skilled methods of the graphic arts, and itstechnique can only be mastered through slow, deliberate,and diligent practice. Engraving differs from etching inthat in the former, depressions in the metal are made withtools instead of by the action of acid eating away themetal. In line engraving, the artist uses a burin (or anetcher's needle. if engraving on plastic) ; in mezzotint heuses rockers and scrapers; in drypoint (a variation ofetching). he uses scribers or needles,

BEST COPY AVAILABLE33

Although there are many methods of intaglio printing,such prints are usually referred to as either engravings oretchings. Engravings may be done on copper, steel,aluminum, plastic, or lucite; etchings are made on copper,steel, or zinc. Although the appearance and general effectof both the dry point print and the etched line print havemuch in common. their methods vary considerably.

The art of etching with acid appeared north of the Alpsin the 16th century, Prior to this, however, goldsmithshad used burins to engrave decorations on their wares.The appearance of etching apparently started whenknights demanded elaborate ornamentation for theirarmor and swords. Goldsmiths, looking for a way toincise the armor, found that the corrosive action of acidmet their needs. To observe their work in progress, theyrubbed black ink into the bitten lines and discovered thatthey could preserve records of these embellishments bypressing the inked metal against a sheet of damp paper.

Through the influence of the great master, AlbrechtWirer, intaglio printing spread from Nuremberg, Ger.many and Northern Italy to the Netherlands.

Intaglio reached its highest development in the Nether.lands under the influence of such painteretchers as Rem.branch and Van Dyck. The former has often been refer.red to as the father of etching. Perhaps the most widelyknown etchings of all time are Rembrandt's Three Trees,&cc, Homo, and The Three Crosses.

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Drypoint Engraving on PlasticI )f' f11011,4trate and fliMetiS

ifih11'.". 41,riber in a mad% etical position

racing a line drawing on a clear :Fleet of plastic.plexigla :s. or aetate made espr!cialh, for engrasing.or :floe a reverse of the dra%%ing to the back of theplate

H,.1,1titi iif line depth ti, the hlitckties: of the printedline

1:11prkiti:z the lo inserting v.hite parr underthe plastic to make the cut: visible

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rtlekittV MOH" ti W.F."ink Intl] till' lint'liptlito, itp2 \ ink Ir. %kipin,,, the plate sitliiIlf.r-prloth pad

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\biking prints on an en hind pe..

Drypoint Engraving on MetalDetimtistratt. 411141 dismiss

44 Poli.hing a plate of copper. zinc. of aluminum

()riming the image on the plate %%ill' a soft pencil.1101 its a Iitho:.:raph pencil

Ling a ."harp .pointed drtpoint needle to go over thelines %% itit firm. sure strokes

Vat.% ing the line finality and tonal effect: 1)% varyingthe prf-,,4111`. angle of the needle. and spacing of thelines

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MezzotintBEST COPY AVAILABLE

Because of the intricacy of the mezzotint process, itmight be best to only discuss and demonstrate it so thatstudents will be acquainted with it, although lackingactual practice,

Studio Experiences

The student might

Create a continuous contour drawing of a still lifeto be, reproduced as either an etching or an engraving.

\lake several still life sketches in various styles. Selecttte and reproduce it by engraving or etching.

Draw an object in several positions. Create an illusionof form and depth through the use of lines. Repro.duce in line engraving.

Work out several sketches based upon forms or pat.terns in nature. and develop them in one of the tech.niques demonstrated.

Independent Studio and Research Projects

With chalk on black paper. develop a few designsthat can then be used for either an engraving or anetching.

Work out a group of simplified sketches of crowds ofpeople perhaps waiting for a bus or at the beach,or spectators at a carne. Choose one or several to bereproduced by one of the means demonstrated inclass.

Collect examples of intaglio printing: annotate andmount in notebook,

Evaluation

Has the student developed skills in working in oneor more of the processes?

Does the student's work reflect imagination and sensitivity to the medium?Has the student exhibited interest in expanding hisknowledge by doing independent study?

LithographyPrinting by lithography was invented by a Bavarian.

Aloys Senefelder. about the year 1798. using a fine.granted limestone, Lithography gained popularity earlyin the 10th century. and it number of the great artists ofthat period, including Goya and Dautnier. made litho.graphs, Many of the painters in the Impressionist movement also worked in lithography using black and white aswell as color. There followed a period in which the populaity of this medium declined. But in the 20th century.it has again regained much of its original popularity andhas been used as an original medium by such artists as

Picasso, Braque, *1.6, Modigliani, and Kiithe Kollwitz.In this period, many painters as well as sculptors havebeen interested in creating lithographic prints. As aresult, new and exciting techniques have been developed,

The use, of varied materials plays an important role.Techniques such as toothbrush splatter, scraped whitelines, smudging, draping tusche in puddles of water,tuschedaden areas, and line pen strokes of tusche, are employed to add special and unique effects, The followingare good examples of lithographs by contemporary. artists:

Eugene Berman, Nocturne CathedralSue Fuller, New York, New larkWilliam Cropper, Paul BunyanJules Heller, FarmerMax Kahn. Blue Cat

In the late 19th and early 20th centuries, lithographybecame quite popular with commercial printers. Usingstones, however, restricted the printing process to flatbedprinting. which is relatively slow. Later on, zinc plateswere used, which were eventually fixed to a cylindricalform so that rotary printing became possible. It is in thisform that most commercial lithography is done.

Lithography differs from most of the tither printingprocesses in that it is a planographic, process; that is, theimpression is taken from a flat surface. The process is

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Serigraphy (silk screen)Silk screen printing is a method of reproduction in

whit-h colors are forced through a lute mesh screenustialk in those areas left permeable. other areas

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silk .cretin is l'Obilb11 till! most recent of the graphicprocesses. It df.veloed from a rather crude hand stencil.bv.! process to is f tal.tledged industry employing tnanyartists and thousands of skilled craftsmen.

.11thouult stencil printing has a long histotl. the firstrecord of silk :cretin printing as it is known today alepeard iu l',110,111d in 1907 and was patented by SamuelSil114111.

'Hie process grew in meria during the 1930's. Addingtil its ilevr.141pttit'llf alt that time tsiig the W11,1 Federal ArtsProject.

Carl te:21....seir, rorittor f prints at the ist olelphia

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graphy."The pioneers of the process with outstanding technical

kill and esthetic achievement include Anthony Felonis.Guy Maccoy. Ilyman Warsager. Edward Landon. Elizabeth Olds. Harry Gottlieb. Mervin Jules. Ruth Gehow.and Harry Sternberg.

The silk screen print can be made to give the appear.amp of a transparent watercolor or the heavy impastoof a gouache or Oil painting. It may be in one color orin many colors. Its versatility as both all industrial andcommercial medium adds to its prominence as a graphicart. There are three primary methods of silk screening:the cut 4tent'il method !rutting a prepared film which isthen adhered to the screen the tusche method I paintinglacquer directh onto the screen,: and the method oftran,fering the image to the screen through photography.

The past hto hityr Seen a great eXallSiMI in

the use of the photographic image. such as the popularizaLion of photographic silk screening by Robert Rauschenberg, the silk screening on plastic of Louise Neve ism,. andthe silk screen photomatics of ,%ndy Warhol.

DemonstrateMaking the stencil, using paper mask, lacquer film,tusche, glue, and if available. photography. (Thelatter method should be discussed and examples dis-played, if equipment is not available in the art depart.meat.Positioning the printing paperApplying the inkExamining the print

Signing the print

Cleaning the screen and the squeegee

Studio ExperiencesThe student might

Choose either the tusche or lacquer film stencilmethod and make a design for a poster to advertise aschool activity !such as a play, campaign, or athleticactivity 1. Make several layouts and select the best,to be developed in actual size. using colored pencilsor chalk to represent the colors.

Work out a group of sketches for a lr!vdscape, a stilllife. or a creative design using serigraphy as a fineart form.Make a design suitable for reproduction on a textile.This might be a repeat pattern and can be worked outby experimenting with many ideas, mo...tifs, and mate.rials. I Brush and ink or tempera. felttip pen, orconstruction paper could be used to plan the design.)When a suitable motif or design has been worked out.use the tusche or lacquer film method to reproducethe repeat pattern on at least 1 yard of material.Work out several ideas for a greeting card. Use the

4

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39

tusche or lacquer film method of stenciling. whicheverbest fits the idea and the effect desired, In printingthe cards, try different kinds and colors of paper,Exchange cards with members of the class for usein notebook..

Independent Studio and Research ProjectsAfter studying examples of wallpaper. create a designsuitable for wallpaper and print two or more feet.Create a design suitable for use on a poster promotingsafety or health, to be used throughout the school orcommunity. Print the design using one or two colors.Study the serigraphy of a contemporary artist suchas Corita Kent.

After completing research, write a comparison be.tween the contemporary and the traditional uses ofsilk ,,screening.

Cowmbine two or three silk screens to make a printsuitable for exhibition purposes. From this design,make a bulletin board display that demonstrates thesilk screen process.

Make a display from samples of textiles, posters, andgreeting cards, which may be used for bulletin boardand notebook.

Make simple signs that are needed for various purposes in and around the school. Use the paper stencilmethod of printing.

Evaluation

Has the student explored each of the silk screen processes available?

Can the student identify a silk screen print?Does the student realize the potential of this processfor mass production?Does the student's work incorporate the unique char.acteristics of this medium?

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Printmaking Equipment ListWoodblock and linoleum block

bench hooksblockprint papers and

fabrics with varietyof weight and texture

brayers of good qualityfrom 2" to 12" diameters

linoleum blocks (varietv of sizes)

Iinc''leurn unmountedoil paints. or oil block-

printing inks

Etching

asphaltumbraversburnishersburnt plate oilclothsetching blanket or blot.

tern

etching groundetching needles

Drypoint

brayerburnishercloths

copper. zinc. or plasticplates

engraving burins orgravers

et( fling blanket orblotter

Lithography

abrasivesacidacid brushasphaltumboiled linseed oilbrayersdraw ing- bridgeetching solutionfelt blanketfiber papergum iambic

printer's press ( high qual-ity) which can be usedfor etchings. drypoint,lithography. woodcuts.engravings, or letter-press

steel cutting tools of goodquality. including V.gouge, Ugouge, andstraight chisels

woodblocks (glued shelving or pine is satisfac-tory )

etching traysfilesfine linen polishing paperinkspowdered resinprinting papersstoppingout varnishzinc or copper plates

(from 4" x 5" to 10" x14")

fileshandlesmachine oilplate visescribersharpening stonestracing needles

lithosketch platespowdered garnet and flint

of various gradespowdered resinpowdered soapstonepressprinting paperspumice sticksscrapersheep's wool or spongesspatula

41

inking slablithograph crayonslithograph needleslithograph stones'ithograph transfer

paperlithograph varnishlithographic ink

Serigraphy

adhering liquidbrushescutting knivesextendersfiller removerfilm sheetsfilm (thinneoluble or

ateoluble)frame tapegummed tapeink or paint thinner re

dicerlacquer thinnerliquid tuschemixing knives

tannic acidturpentinetusehewater containers ( pave

lain or glass)zinc or aluminum plates

grained)

organdy or silkprinting frames ( with bar

drop) from 9" x 12" to16" x 28"

printing papers of differ.ent weights, textures,and qualities. (Wood,metal, or glass may alsohe used.

register guidesretardersilk screen inks or paintsqueegeestencil fillertransparent base

SUGGESTED READING

Andrews, Michael. Creative Printmaking. EnglewoodCliffs, N.J.: PrenticeHall, Inc., 196.

Brunson, John. The Technique of Etching and Engray.ing. New York: Reinhold Publishing Corporation,1967.

Cliff. Henry. Lithography.. New York: WatsonGuptillPublications, Inc., 1965.

Erickson and Sproul. Printmaking Without a Press. NewYork: Reinhold Publishing Corporation, 1966.

Green, Peter. Introducing Surface Printing. New York:WatsonGuptill Publications, 1967.

Hirsch. S. Carl. Printing From a Stone. New York: TheViking Press. Inc.. 1967.

Kinsey. Anthony. Introducing Screen Printing. New

York: WatsonGuptill Publications, 1968.Rastnussen. Henry. Printmaking With Monotype, New

York: Chilton Co.. Book Division. 1960.

Weaver. Peter, Printmaking, A Medium for Basic Design.New York: Reinhold Publishing Corporation, 1968.

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Studio in PhotographyCOURSE DESCRIPTION

This is an advanced course to be elected after the student has completed a full year of Studio in Art. Thecourse is designed to help students to use the cameracreatively. to consider photography as an art as well as atechnical operation and a hobby. and to realize its poten-tial as a possible vocation. Although the student mustheroine familiar with the technical aspects. the ultimateemphasis must remain sy ith photography as an art form.

SCOPE

The course covers the development. the nature. and thefunction of photography. the creative use of the camera.and the various technical processes involved. includingthe study of the camera. film. lighting. composition. de.veloping. printing and enlarging. cropping. and mount.ing. The special aspects involved with cinematographyare not included. Teachers especially interested andknowledgeable in this area may develop such a courseand submit it to the Bureau of Secondary CurriculumDevete Tment for approval.

COURSE OBJECTIVES

To increase the student's understanding of the use ofthe camera. film, and light

To emphasize the importance of design in the coin.posing. printing. and display of photographs

To interpret the developing and pr:nting processes sothat the student w ill realize the potentialities andtations of the media

To give the student opportunity to sharpen his visualperception and become more fully aware of his en-vironment, through illustration and personal interpretation of subject matter

To encourage the student to express his feelings abouthis physical and social environment as well as abouthimself

To give the student a feeling of accomplishment andthe tangible proof of such, as well as the pride andconfidence gained through the exhibition of originalwork

To acquaint the student with the importance of theadvent of the camera and its use in recording history

To acquaint the student with important historicalevents in the development of photography

Each student should compile a notebook which includesall class material. notes on discussions and demonstrations. titles of reference works consulted on photography.and illustrative material and related research.

A portfolio of all mounted photographs by the studentshould also be kept for evaluation and exhibition by thestudent and teacher.

Each student will be responsible for his own creativeportfolio display. allowing for personal interpretation ofthe course. The necessity for student exhibits suggests asemiannual display or " photographer of the month "showcases,

Students may broaden their understanding of the potential of the photographic media through field trips andthrough contact w ith guest photographers.

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INTRODUCTION TO PHOTOGRAPHY

The Nature of PhotographyPhotograph% is a stepchild of both science and art. By

Malin it (pies Acktaific theory to produce artistic achieve-ment. Its name. from the Creek phos. photos meaninglight. and graphein. to %%rite. %%as suggested b% the Englishastronomer and pin 4iViSt. Sir John Herschel. in 11139.take this concept a step further. it could he =aid that thephotographer designs irr draws with light.

There are four essentials to photography:11 1 light. either natural or artificial

cheinicallv treated film or paper with a light-sensitivesurface. that k. the surface becomes chemicallytired 111m11 exposure to a certain amount of light

13) a light tight chamber to contain the filmchemicals to develop and fix the image in order topreserve the picture

Photography pos,,1,..es certain signitkant properties asa medium of communication and Is an art form. It. is

typically instantoneons: it records at tintlit%; it is Wit prilV

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erned I, the rules of human vision: and it exists withinthe fourth dimension t time .

Photography is instantaneous. Most pictures are re-corded in less than a second. This can be an advantageor a severe disadvantage. depending on the photographer'sknowledge of his media.

One advantage is that a picture ran capture motion thattoo rapid for the eve to follow. Photography allows

man to record this movement as either a sharp or blursimage. 'the camera can capture and organize details r. atno one conschnisiv perceives. Fleeting actions. suet. as afacial expression or the motion if an animal. ran also berecorded.

disadvantage of instantaneous recording lies in thefact that the photographer. unlike the artist, cannot changehip picture while the exposure is being made. All details.composition. and lighting must be worked out in advance.The plo.tographer trout t%ork in accordance with this con.

dition by treating every exposure as though it were hislast, by infusing into it all his knowledge, skill, and imagination.

Photography records actuality. A photograph usuallyhas more factual detail than a drawing or painting, andthus may he regarded as a representation of an acttul timeand place.

Photography is also a universal language. Steichen'sFamily of Ilan is an excellent example of a series of pic-tures that are universally understood.

The medium of photography is in fact so real that somephotographers, through various techniques, transform theimage from the natural or real to the supernatural orabstract. The viewer while perhaps unable to recognizethe subject, knows that it is derived from an actual sceneor object.

Photography is not governed by the rules of humanvision. Because the eyes are separated, they providestereoscopic I three-dimensional I vision. Most camerasare oneeyed, however, and produce flat pictures (althoughsome cameras are designed to produce special effectssuch as stereographic cameras, which produce three-dimensional images.)

While the human eve and the camera " see " the samesubject. some distortion is frequently evident in the photo.graph. The eye sees the distortion also, but the brain sub-consciously compensates for it. The camera cannotcompensate, though. and records the perspective (therelationship between an object's apparent size and its dis-tance from the viewer) as it is, according to optical laws.Unlike the artist, who can interpret and modify his per-spective. the photographer must alter or compensate for itmechanically. The most common method of doing this isby selecting the proper lens, viewpoint, and angle.

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Photography exists within the fourth dimension. Theelement of time in art is an abstract one. Often called thefourth dimension, it is used extensively by the photographer. Photography comes closer than any other mediumto capturing and preserving an instant that can never berevisited.

Historical DevelopmentThrough discussion and observation, and by means of

slides, films, and prints, the following may be explored:

The history of photography before 1700, includingthe camera obscura and the " magic lantern."

The history of photography after 1700, including:the work of J. H. Schulze (1725)the first photography of nature made by J. N.Niepce (1826)the work of L. J. M. Daguerre (1835-39)George Eastman and roll film (1844)Thomas A. Edison's motion picture camera(1891) and projector (1896)Roentgen's disc.ivery of X-rays (1895)0. Barnack's use of the 35 mm film in a Leitzcamera

--- sound motion pictures (the " talkies," 1927)color photography as it is known today(1936-39)early photojournalism, beginning with LIFEmagazine (1936)the uses of photography today in newspapersand magazines, advertising, science, explora-tion, and other fields.

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The Work of Leadersin Photography BEST COPY ROUBLE

Demonstrate and discuss

i!:arl photographs of Nicpce and l)aguerrecivil War photographs of Alexander Gardner.Nlathew B. Brad), and Timoth O'Sullivan, comparedwith photographs of «orid Wars I and 11. notablythose br Alfred Stieglitz, Edward Steichen, andRobert Capra

Works of Edward Weston, with special emphasis onhis choice of lighting. his concern and feeling fornature, and his style of cropping pictures

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Intimaterecord photographs of Erich Salomon

Social comment photographs of Dorothea Lange.Walker Evans, and Henri CartierBresson

Landscapes of Ansel Adams, Gene Smith, and MinorWhite

Work of contemporary photographers in the fields ofadvertising, photojournalism, and the fine arts; howthese photographers are aided by technological ad.vanees of the 20th maul.)

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Photography asan Art Form

The Importance of Designin Photography

Photography in the hands of a capable, designconsciouspractitioner is an art. The general concepts upon whichthe elements and principles of design are haled are appliedby the photographer to create photographs of a highlyartistic nature. The photographer has at his disposal avariety of techniques and devices. including assortedscreens and filters, equipment for manipulating light, various films and papers, automatic timers and light meters,special lenses, as well as many other devices. The mostimportant asset, however, is a creative, perceptive eye.The alert photographer who both consciously and subconsciously employs the concepts of design can he A creative artist.

Camera

Demonstration and DiscussionThe teacher can present the basic essentials of the

camera through demonstrations and discussions. To fur.ther illustrate these, a comparison between the can: A andthe eye can be made.

The lens of both the camera and the eye collects, refines, and focuses light rays. Discuss how glassescan refocus a student's vision. Demonstrate with amagnifying glass and a piece of white paper how lightis refined.

The diaphragm and its function of controlling theamount of light entering the camera should be discussed. The diaphragm, unlike the selfadjustingpupil of the eye, mina be manually adjusted for differ.ent light conditions. After setting the shutter on" time " and directing a light into the lens, slowlymove the diaphragm from the largest opening to thesmallest, with the shutter open. Explain fully thefnumbers on the aperture scale.The camera's shutter functions much as the lid of theeye. Until it is opened. it prevents the passage oflight through the diaphragm. The shutter speedsshould be demonstrated using a camera with variableshutter speed. Have the class listen to the sound ofthe shutter at different speeds. The speeds may heshown by darkening the room and placing a flashlightbehind the lens of an open camera, then releasingthe shutter at different speeds.

Iiight.sensitive film located at the back of the camerarecords the image in an inverted position. Comparethis with the retina a the eye.

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After these basic explanations are understood by theclass, the same components of a camera may againbe demonstrated in greater detail. include the fol.lowing:

camera lenses of various sizes (normal, wideangle, telephoto) ; their uses and distinct featuresin gathering and focusing lightthe relationship of top to depth of field, ex.plained through photographs or slidesshutter speeds

-- the remaining parts of the camera-- the various types of cameras-- the care and cleaning of cameras and lenses

Film

Demonstration and Discussion

At this point a thorough discussion of film its composition. use. and exposure should he presented to thestudents through illustration and demonstration,

Film is composed of a base material, usually acetate,coated with a lightsensitive particle emulsion,Discuss fully the process of exposing the film, as wellas the various type of film available. Include athorough discussion on the ASA number and its relation to light.

Discuss the formula for proper exposure (exposuref.stop + shutter speed). introduce exposure tables

to he used as preliminary guidelines, and explainfactors that determine underexposure and overexposure.

To provide a thorough understanding of exposure,demonstrate the use of exposure equivalents in determining various depths of field.

Demonstrate the loading and unloading of film in thecamera.

Demonstrate the procedures for taking a picture,determining the exposure, and adjusting the fstopsand shutter speeds. by creating mock situations in theclassroom. if a light meter is used, a demonstrationand explanation of this device should he given.

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Suggested Student Activities

The student might

Load a camera and determine the proper exposure,using an exposure chart or a light meter. Take apicture at the correct exposure. Purposely overexpose a second picture of the same subject by changingeither the fstop or the shutter speed. Photographthe subject it third time, this time underexposing it.Record the fstop. shutter speed. time (light condidons). subject, and film type in a notebook for laterreference.

Take a series of outdoor pictures, emphasizing comeposition as well as textures and forms in nature.

Take a group of pictures varying the depth of field:for example, a landscape series in which the depth offield ranges from very slight to infinity.

Take a group of pictures of the human figure in actiongut+ as cheerleaders, football players, track team).

Take a group of pictures using the light meter asan exposure guide,

Take a series of action pictures with mopping, pan,ning. and blurring effects.

Darkroom Techniques

PROCESSING RIACkANDVIIITE FILMDemonstrate and discuss

Tank development of roll film, using a demonstrationroll and water substitutes for the chemicals,

Loading an exposed roll of film in the darkroom andprocessing it in the closed tank in the lighted room.The inspection method of film processing in the dark.room.

The maintenance and care of negatives, includingratting. labeling. and storing.How to " read " negatives of the three general types:low, normal, and high contrast. This may be illus.trated by placing the different examples in slidemounts and projecting them on a screen.

PRINTING

Demonstrate and discussThe care and use of the enlarger and other darkroomequipment.

How printing paper works in relation to the negativeor the film material.The steps in making a print: developing, stopping,fixing, neutralizing, washing, drying.

The steps in making a print in a contact proof printeror frame. (This demonstration may be made in thelighted classroom.)

Making contact sheets from a roll of negatives undersafelights in the darkroom. The contact prints canhe numbered and kept for reference in a looseleafbinder with the negatives secured in glassine envelopes behind each contact sheet.The differences in exposure time, grain, contrast, andbasic print quality that occur as a negative is en.larged. Illustrate, using a series of enlargementsranging in size from 5" x 7" through 11" x 14".The techniques of burning in, dodging, and flashing.Print quality, illustrated by high. and lowkey photo.graphs.

FINISHING

Demonstrate and discussMarking pictures for cropping. using two pieces ofmat board, each shaped like it carpenter's square (orAn old picture mat cut at diagonally opposite coretiers.

The technique of spotting the finished print.l)ry mounting anti presentation of the finished photograph,

Suggested Student Activities

l'ItocEssING

The student might

Co through the process of developing the film by theclosed tank method. using a roll Of demonstration

Develop a film exposed in connection with a previousproject,

Inspect the negatives on a fully processed film forunderexposure or overexposure, detail. contrast. andemulsion density, to achieve a full understanding oflight and its effect, Compare data recorded 'in thenotebook with the original exposure guide for pus.sible corrections.

PRINTING

The student might

Make contact prints of good negatives. After examineing the negatives, select printing paper of the propercontrast for each negative.

Experiment with various exposure times for the samenegatives and observe the results in terms of relativecontrast in the prints.Make an 8" x 10" enlargement and crop to secure thebest composition.

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Make an enlargement and vary the exposure in partsof the picture by dodging and burning in.

Studio Procedures and LightingDemonstrate and discuss

Studio portrait lighting with one model and one light.Include flat, hatchet, top, bottom, threeuarter, halo,glamour. and Rembrandt styles.The same process, using two and three lights,The proper lighting for copying.Tabletop or stilllife lighting,

Suggested Student ActivitiesThe student might

Photograph any of the following subjects, using appropriate lighting. Experiment with different lighting arrangements and exposures. Mount the printsand display them for class evaluation.

a series of formal portraits of a class member-- a self portrait

a common texture and an uncommon texture---- a subject portraying rhythm

a found still life, a found object, or a very com.mon object

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Suggested Student Activities

The student might

Take a series of osettp shots of natural objects suchas flowers. shrubbery, vegetables. or rocks. to empint

color andtextural qualities tinder natural light.'These ma% then be commercially processed as 2" x 2"

'rake 4rie of color Ilktlite of his fltt1 artwork,

Take a erie of indoor color photos of the art clamsin action.

Take I odor slide-. that de.cribe the school art pro.ratti

Repeat the black.atukvhite assignments, using color.If the laboratory is not equipped for color, have slidesor prints made b) it reliable color processing lob.oratory,

Independent ProjectsThe following activities are to encourage the student to

explore photography more deeply and to broaden his ex.periences. Teachers may assign or suggest these to indivictual students in accordance with their interests andea7abilities:

Illustrate a selected poem, using not more than 10photographs. Design an effective layout for mount.ing them.

Mount five photographs that convey a positive or neg.ative comment on a social issue.As part of an advertising campaign. take a photo.graph that will help to sell the product or communicate a specific idea to the viewer.

Photograph a luminous object such as fire, moon,candle, lamp, etc.

Display one photograph that seems to portray theessence of a school, town, country. or experience.Do a photo story about a close acquaintance. Limitthe number of photographs to 14, and mount themeither individually or in a story sequence.Print one good negative 13 different ways so thateach print makes a different picture.Tell by means of one 11" x 14" photograph what photography means to the student.Take a series of blackandwhite photos of variousstudent activities. Include both group shots and closeups of the students in action. After careful croppingand enlarging. work out a composition for a double.page spread montage for the school yearbook.

After the necessary individual research and consultation with the teacher, develop a plan for a home dark.room.

Select a particular event or historical discovery thatstudents feel had great influence on photography aswe know it today. and write a composition on thistopic.

Develop a roll of film taken in connection with aprevious activity. Mount. display. and evaluate theresults with the class.

Shoot candid portraits of people. characterizing thetype of person photographed.

Take several editorial portraits that reveal somethingabout the person photographed, Photographbeautiful girl and a homely man, or vice versa.Mount. display. and evaluate the portraits with theclass.

Photograph. mount, and display a group of opposites.

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Work out a photographic essay that shows a feelingabout a particular subject such as war, integration,love, religion, intolerance, Take the necessary pie.tures and develop, enlarge. print, and mount them ina presentation album, Work out an appropriatecover photograph and title.

Evaluation

Has the student demonstrated reasonable competencein the following techniques?

camera manipulation finishingfilm processing displayingprinting and enlarging

Do the student's photographs reflect an understand.ing of design in composing, printing, cropping, anddisplaying?

Do the photographs in the student's portfolio indicatethat he has utilized a wide range of the various pro.cesses and techniques discussed and demonstrated inclass?

Has the student used photography to express feelingsabout his physical and social environment as well asabout himself?

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Photography Equipment ListThe Darkroom

The darkroom must he totally dark, relatively dust free,and should he used only for photography. It must beequipped with electrical outlets, a sink with runningwater, good ventilation, safelights, storage cabinets, andadequate working space for developing, printing. and en

It must be separated from the classroom by a

double door or light baffle to permit access without ad.mitt ing

Camera work

cable releasescameras

exposure metersfilmsfilters

interchangeable lensesI telephoto. wide angle

tripods

Chemicals

developer: film, paperfixerhypo neutralizerphoto.floreducerstop bathtoners

Finishing

adhesive spray.dry In( Hinting pressdry mounting tissuemat boardprint rollerstacking ironyardsticks. rulers

Film processing

bottles 1 plastic) : quart.half gallon. gallon

can openersfilm clipsfunnels

glassine envelopesgraduates ( 16 oz,rubber gloves

issors

sponges

stirring rodstanks & reelsthermometerstimers

Printing and enlargingcontact printing frames

or contact printerdust brusheseasels

enlargers lenses

enlarging timerspaper: contact, enlargingpaper cutterpaper safepolycontrast filtersprint dryerprint washerspotting fluid R brushestongstrays (8" x JO" or larger 1

SUGGESTED READING

This bibliography is intended to list some of the mostuseful and readily available publications on the subjectof photography. Anyone interested in more than simple" snap shot " photography should become familiar with

53

the Kodak pamphlet series. The various volumes of theti/e Library of Photography are full of practical advice,as well as theory presented in easily understandable terms.The books by Ansel Adams are relatively technical, butare required reading for anyone interested in photographyas a science or an art form, Some of these publicationsmay be available from local libraries or through inter.library loan. Most photographic equipment dealers stockKodak pamphlets, or they can be obtained directly fromEastman Kodak, Department 454, Rochester, New York14650. Several mailorder distributors of photographicpublications regularly advertise in photographic magatines.

Adams, Ansel. Artificialight Phowgraphy. Morganand Morgan, Inc., 1968.

. Camera and Lens. Morgan and Morgan,Inc., 1970.

Naturalight Photography. Morgan andMorgan, Inc., 1965.

The Negative: Exposure and Development.Morgan and Morgan, Inc., 1968.

. Polaroid Land Photography Manual. Mot.gan and Morgan, Inc., 1963.

. The Print: Contact Printing and Enlarging. Morgan and Morgan, Inc., 1968.

Boucher, P. E. Fundamentals of Photography. Van Nos.trand, 1968.

Eastman Kodak Company:Light and Film PhotojournalismThe Print Special ProblemsColor The StudioCaring for Photographs The Art of PhotographyPhotography as a Tool The Great PhotographersThe Great Themes Photographing Nature

Neblette, C. E. Photographic Lenses. Morgan and Mot.gan, Inc., rev. ed. 1971.

Newhall, Beaumont. The History of Photography. Mu.seum of Modern Art, Doubleday, 1964.

Newhall, Beaumont and Nancy. Masters of Photography.Braziller, 1958.

Pittaro, E. M. Photoab Index. Morgan and Morgan,Inc., reprinted annually with four supplements peryear.

Rhode, Robert and Floyd McCall. Introduction to Pho.tography. Macmillan, 1966.

Simmons, Robert. CloseUp Photography and Copying.Amphoto, 1961.

Taft, Robert. Photography and the American Scene.Dover Publications, Inc., paperback ed., 1964.

Modern Photography. Billboard Publications, monthly.Petersen's Photographic Magazine. Petersen Publishing

Co., monthly.Popular Photography. ZiffDavis Publishing Co., monthly.

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