SchoolArts - January 2009

Painting Materials:

UÊ visual references

UÊ pencils

UÊ £ÓÊÝÊ£n"ÊÎäÊÝÊ{ÈÊV ®Ê iÜÃ«À ÌÊ

UÊ LÀÕÃ Ê«> Ì }ÊÃiÌÃ]Ê ]Ê ÀÊL >V Ê«> Ì

UÊ Üi i`Ê«> iÌiÃ

UÊ LÀÕÃ iÃ

UÊ ÊÝÊÓÓ"ÊÓÎÊÝÊxÈÊV ®Ê Ü>ÌiÀV ÀÊ«>«iÀ

Chop-Making Materials:

UÊ visual references

UÊ `À>Ü }Ê«>«iÀ

UÊ pencils

UÊ tracing paper

UÊ «iÀ > i ÌÊL >V Ê >À iÀÃ

UÊ £"ÊÓ°xÊV ®ÊÃµÕ>ÀiÊL V ÃÊ vÊ iÕ Ê ÀÊÃÕLÃÌ ÌÕÌiÊ material

UÊ linoleum cutting tools UÊ Ài`Ê Ê«>`

When the paintings are dry, students use a red inkpad to stamp their chop on their painting. Sometimes they trade chops with another student to get different images in their work.

This project addresses areas of painting and printmaking technique. But more importantly, in its simplicity, this art form exposes students to some of the beautiful and ancient art forms of Asia.

Reference

Chen-Sun, Cheng. A Young Painter:

The Life and Paintings of Wang Yani—China’s Extraordinary Young Artist. New York: Scholastic, 1991.

5. Trace over transferred lines with a fine-line permanent marker.

6. Using linoleum cutting tools, help students carve away all areas that should not print.

Painting and Carving In the next class, students warm up by doing another practice sheet.

When they are confident with their practice sheet, I give them watercolor paper for their final painting. Rice paper is traditional, but watercolor paper doesn’t wrinkle and holds the ink nicely. While the final painting is drying, students carve their chops and test them until they are satisfied with the results.