This document provides instructions for an art class. It begins by listing supplies students should bring and general classroom rules. It then discusses the units of study, including drawing, printmaking, ceramics, stencil art, and architecture. Students will explore materials, techniques, and artist influences for each unit. The document emphasizes developing skills in line, movement, and following the design process. Proper use of tools and respectful behavior are also highlighted.

1. introduction

2. • Find your spot on the seating plan
• Always bring your visual diary, iPad,
pencil case with pencils, rubber,
sharpener, scissor etc.
• Don’t bring food or ear phones as they
will be confiscated.
• Label your artworks with your name
and class in pencil on the back.
• Clean up after yourself and put your
artwork in the appropriate location
(tub or dry rack)
• At the end of the day put your chair
on the table.
• Punctual, (also with due dates) well
mannered and be organized
• Cooperative, considerate and
respect others
• Be open-minded to learning
something new.
• Listen carefully to instructions
• Wear a smock to protect your
uniform.
• Use tools and equipment carefully
and respectfully.
• Handle all art work with care
• Ask questions, seek advice from
teacher if unsure

3. Size: 11x14 inch = bigger than
A4 and smaller than A3.
Label your name and class
with posca pen in top right
corner.
Each Unit will be start with a
title page.
Keep notes, hand outs,
sketches and designs organized
per unit of work. Stick down
the first hand outs!
Take pride in the presentation
of your visual diary work

4.  4 Units (2 per Semester):
 Drawing/ Printmaking
 Ceramics
 Stencil Art/ spray painting
 Architecture
Each Unit will:
 follow concepts
 focus on artist influences
 explore different materials &
techniques
 follow the steps of the design process
 cover art terminology, address art
styles
 Is worth 50%

5. Year 7: Drawing on scraperboard and
printmaking

6. Line is used to communicate movement and journey through the experimentation of
ideas, techniques & media.

7.  Watch the movie “The Arrival” a wordless graphic novel from
Shaun Tan, published in 2006. https://youtu.be/vAay4myoEDE
 The arrival is a migrant story told as a series of wordless images
that might seem to come from a long forgotten time. A man
leaves his wife and child in an impoverished town, seeking
better prospects in an unknown country on the other side of a
vast ocean.
 Group task (4-5 students)
 Discuss migration, journey, (Melbourne), home and our space
and why it is important to us and how this changes over time.
 In groups create a mind map in response to the arrival. Take a
photo and stick into your Visual Diary.

8. MY PLACE
 Part 1 - Where do you live and visit? How do you feel about these
places? What do they look like?
 Start a visual brainstorm of all the places and the emotions that you
associate with this place. If you want you can include both Melbourne
and places you have visited recently (holiday).
 Part 2 - Take a series of 20 photographs of places that you connect
with. This could be your home city, Melbourne, countryside, cityscape.
Focus on capturing landscape and buildings rather than people.
 Watch Steve McCurry’s video below to give you some tips.
 https://petapixel.com/2015/03/16/9-photo-composition-tips-as-seen-in-
photographs-by-steve-mccurry
 Part 3: Make a contact print out of your photographs and glue into
your process journal. Beside your contact sheet write notes about your
photographs. See next slide for examples

10.  Open your visual diary on first 2 empty pages. On left page: write a heading
“LINE”
1. Write down 10 words which come up when you think of the word line.
2. Describe in one sentence how you create a line.
3. Find a fitting description for the Art element ”LINE” and write it down.
4. What do you get when you join up the two ends of a line?....
5. When you see repeated lines, what do you call it? ….
6. If you can not only see lines but also feel them, what is this called?...
7. Express emotion through a line: Draw a horizontal line and turn it into: calm,
happy, sad and angry. Write under the line the visualized emotions .

11.  What is line?
 Line- element of art. In terms of art, line can be described
as a moving dot. Line is a basic element of drawing.
 8. Stick down the work sheet on the right page in your
visual diary and review the element of line. (+hand outs)
 9. Draw various ways to represent ideas, feelings, and
form. Experiment with making marks. Create a line
technique that matches the description.

12. Line Variation - adding interest to your lines is important in
creating successful artwork
Length - lines can be long or short
Width - lines can be wide or skinny
Texture - lines can be rough or smooth
Direction - lines can move in any direction
Degree of curve - lines can curve gradually or not at all
Line quality or line weight - refers to the
thickness or thinness of a line.
By varying the line quality artists can make
objects appear more 3-Dimensional and
more interesting
Hatching and crosshatching - using lines to
create value
Hatching - lines going in the same direction
Crosshatching - lines that cross

14.  One of Australia’s most
significant artists, Margaret
Preston was a key figure in the
development of modern art in
Sydney from the 1920s to the
1950s.
 Renowned for her paintings
and woodcuts of local
landscapes and native flora,
she was an outspoken public
voice on Australian culture
and developed a distinctly
Australian style, based on the
principles and motifs of
modernist, Aboriginal and
Asian art.
paintings
prints

15. Donwood, which is the pen name of English artist and writer
Dan Rickwood, has been collaborating with the band
Radiohead on album covers and posters since 1994.
He explores printmaking, painting and written projects to
name a few. There is a consistency in his subject matter
(what you see) and his style (how he works) Donwood likes to
explore and question, society, war, conformity and politics in
his art. His work combines deep personal and political
emotions with modesty and humor. He is obsessed nuclear
apocalypse, Ebola pandemics and global cataclysm.

16. Work in pairs: Each student selects one artwork (with visible line drawing) of Margaret Preston and
Stanley Donwood or artist of own choice with consultation of teacher.
Make a Pic Collage and show in a Venn diagram the images and your comparative findings of your
discussion about: the differences and similarities in these two artworks. Are there any elements that are
the same? Differences?
Address some of the following Elements and Principles: technique, line, shape, colours, textures, space,
patterns, balance, proportion, movements, mood.
What is the subject matter? What are the artists trying to say?
Print out your Pic Collage and provide it with both of your names. Stick in your visual diary.

17.  In your process journal create a Visual
Brainstorm of ideas for a final scraper
board (A5 size)
 Develop different design sketches
 Remember your final artwork must
incorporate the following elements:
 communicate an idea of a ’Journey’
 line must show movement and a variety
of line techniques
 include a variety of line and texture in
your design
 incorporate ideas and/or techniques of
Stanley Donwood and Margaret Preston
 Extension: Include inspiration of an artist
that you have researched.

18.  Choose from your visual brainstorm, refine your
ideas to finalize a plan for a scraper-board drawing.
Think about the format of your drawing (landscape
or portrait size)
 Create a composition in the style of Stanley
Donwood or Preston, using line to create a
composition that shows movement, texture, pattern,
and depth.
 You will then transfer this composition onto a
scraperboard.
 Using tools provided, scratch the composition onto
the scraperboard, keeping in mind the work will be
WHITE on BLACK, or a negative of the composition
you originally created.
 Use what you learned with your studies of
movement, line, white on black studies, etc. to help
you create your piece. Use line variations.

19.  In the Renaissance (+-1500) Thomas
Gutenberg invents a printing press in 1440
which made it possible to print text. It was
based on the principle of a stamp, an inked
relief which prints on paper.
 Bibles (first books) no longer had to be hand
written and copied by monks (500-1500)
Knowledge and Christianity spread quicker
and easier.
 First printing presses were huge, each
letter/word was manually set, nowadays our
printers much smaller.

20.  First printed
images:
 15 century
(Renaissance)
Artist cut the
image in a wood
block, inks and
prints it off many
times.
 Albrecht Durer
made thisvery
detailed woodcut
of a Rhino in
1515
 Another famous artist who made this
woodcut is M.C.Escher (1898-1972).
It is titled: day and night and made
in 1938

21.  Hokusai (Japan 1760): the wave (1830-1833)
 Multi coloured wood print.
 For each colour another wood block is used.

22. Linoleum was invented in 1855 and used for flooring material
(cheaper then rubber). It is made out of flax and oil.
Artists found out lino was softer and easier to cut then wood and has a
hessian backing.
Both lino and woodcut belong to the relief print family, meaning the
bits which are sticking out will print.

23. Lino-cut process
Donwood creates his
black and white prints
by using the lino cut
technique.

24.  View the slides about the linocut process. Use your scraper
board design. Your teacher will photocopy this in mirror
image and negative on A4 size.
 Select an A5 area (focus on an interesting composition) in
this photocopy that you will trace onto your A5 lino.
Transfer the design using carbon paper on the lino. The
carbon paper faces the lino with the blue side. Put your
design (mirror image side) facing you on top of the carbon
paper and trace all the lines with a blue pen. Your pen lines
will be transferred on the lino.
 Discuss with your teacher if you can do a one or multi
coloured lino print.
 Determine which areas will be white/ colour 1/colour 2 (give
them a different type of line)
 Use the lino cutting tools to cut out all the white areas in
your design.

25.  Use a bench hook/ red protection
button to put the lino against, to
protect your fingers from getting cut.
 Always cut away from your other
hand.
 If lino is very hard to cut, make
warm by sitting on it or heat up with
hairdryer.
 Work concentrated, leave tools on the
table, not on the chairs.
 Turn your lino into the most easy
direction to do the cutting.
 If you have cut yourself, disinfect
and put a band-aid on.

26.  Start with cutting out all white areas in your
design.
 Then ink in the lino in the lightest colour visible in
your design.
 Print off 4 times. Ink the lino after each print.
 Clean the lino with water and cut out the second
light colour in the design. Ink the lino and print on
top of 4 light colour prints.
 Do this again for the medium colour and finish with
black.
 Every time you cut out more you print with a
darker colour. The image on the lino is getting
reduced.

27.  Always make sure your work space
and your hands are clean.
 Put 2 ‘handles’ (masking tape) on the
back of your lino.
 Put ink on plastic sheet with spatula,
spread out evenly with a roller.
 Ink your lino evenly
 Place a piece of A3 paper on the
plank
 Position your lino with the inked side
facing the paper. When printing on
other colour, line up lino from bottom
side.
 Place a sheet of news paper on
top and roll it through the
press once without stopping.
 Take of the protective sheet of
paper and then your lino.
 In the right hand corner of the
print, write down your name
and the number of the print.
(First one is AP=Artist Proof,
3rd of 10 = 3/10)
 Put your print in the dry rack.
 Always have enough
newspaper and printing paper
on table.

28.  Present photos of the printmaking process in a chronological order and provide
comments
 Discuss your best print using the following questions:
 What journey is visible in your work?
 Have you shown movement in your work, how?
 Name the key elements and principles that have been used in your work. Make
sure you use descriptive words for each element and principle discussed.
 Which artist inspired you and how can you see this?
 Which part are you happy with and why?
 Which part doesn’t work and how could you improve this?
 Provide your name and class in this document and submit online/ email

29. After viewing the
slides about history
of printmaking and
the print
terminology, you are
ready for the quiz.
You will get the quiz
from the teacher
and when you have
finished, check your
answers.
Stick down the
handout in your
visual diary.