Professional Documents
Culture Documents
Interpretive Guide
Press Release
Margaret Shelton (1915-1984) was a Calgary based artist with a deep passion for
the Alberta landscape. Her block prints illustrate the diversity and beauty of
nature, and they often portray the way we interact within it. Rather than express
landscape in the romantic and painterly way that was popular at the time,
Shelton’s interpretations are direct, honest, and detailed. Her contributions to the
development of printmaking in Canada are significant, having created hundreds of
block prints in her half-century career as an artist.
This exhibition presents a brief visual insight into how Shelton captures and
interprets the Alberta culture through printmaking, using 24 works that span her
long and prolific career.
Shelton
was
born
in
1915
in
Bruce,
Alberta
and
was
largely
raised
in
Rosedale,
near
Drumheller.
After
completing
high
school
in
1933,
she
moved
to
Calgary
to
attend
Normal
School
with
the
intention
of
becoming
a
teacher.
By
1936
Shelton
had
received
her
teaching
certificate,
and
spent
some
time
intermittently
teaching,
but
she
was
much
more
interested
in
the
art
courses
she
had
begun
to
take
at
the
Provincial
Institute
of
Technology
and
Art
(PITA).
Between
1933
and
1943,
Shelton
attended
PITA
in
various
capacities,
starting
with
night
school
and
eventually
becoming
a
full-‐time
student,
receiving
a
Fine
Arts
Degree
and
moving
on
to
take
Advanced
Art.
During
this
time
she
also
attended
a
number
of
summer
school
sessions
in
Banff
at
the
Banff
School
of
Fine
Art.
Shelton
worked
in
oils
and
watercolours,
but
has
gained
the
most
notoriety
for
her
block
printing,
of
which
she
made
hundreds.
Her
graphic,
illustrative
prints
depict
images
that
span
Western
Canada,
from
her
Southern
Alberta
home
through
British
Columbia
and
up
into
the
Yukon.
An
independent
spirit,
Shelton
collected
images
via
bicycle,
travelling
solo
for
long
distances
with
her
sketchbook,
paint
box,
and
camping
gear.
She
would
stop
to
paint
and
sketch
wherever
she
felt
inspired,
and
would
later,
back
home,
finalize
these
sketches
by
turning
them
into
woodcut
or
linocut
prints.
She
had
two
retrospective
shows
of
her
block
prints
before
her
passing
in
1984:
the
first
in
1981
at
the
Burnaby
Art
Gallery
in
BC,
and
the
second
in
1984
at
the
Glenbow
Museum
in
Calgary.
Shelton
was
a
member
of
(and
did
group
exhibitions
with)
the
Alberta
Society
of
Artists,
the
Society
of
Canadian
Painter-‐Etchers
and
Engravers,
the
Canadian
Society
of
Graphic
Art,
and
the
Calgary
Sketch
Club.
Her
work
can
be
seen
in
the
collections
of
the
Art
Gallery
of
Grande
Prairie,
the
Edmonton
Art
Gallery,
the
Alberta
Foundation
for
the
Arts,
the
Art
Gallery
of
Hamilton,
the
City
of
Calgary
Art
Collection,
the
Glenbow
Museum,
the
National
Gallery
of
Canada,
the
Nickle
Arts
Museum,
the
University
of
Lethbridge,
and
Rutgers
University.
Alberta Foundation for the Arts Travelling Exhibition Program
NOTE: FRAGILE WORKS- Carefully review how the works are packed.
Table of Contents
Education Package
How to Look at Art Handout ......................................................................1
Educator’s Guided Tour .............................................................................3
Japanese Woodblock Prints ......................................................................9
Gallery Notes: Printmaking........................................................................11
Art Activities
Note to Educators: These four stages of criticism help us analyze and appreciate
art. Without this guide, judgements may be made too quickly about a work of art
before it can be thoroughly looked at and interpreted. This is meant to be a
guideline that builds observational skills and critical thinking skills.
STAGE 1: DESCRIPTION
What do we see when we look at a work of art?
List or describe all that you see. Hint: Start with what you know.
Describe the subject: What is this a picture of? Landscape, nature, people,
animals, flowers, still life, etc.
Describe media (materials): what is this work made of? Oil painting, clay,
sculpture, photography, etc.
Describe elements of design: (line, shapes, colours, textures, values) what
colours are used? Describe the types of lines. What kinds of shapes are
used, natural or geometric? Is there texture? Rough, smooth, dry, or wet?
Does the work have dark and light areas/values?
Describe the style of the work: (for advanced students) Is the work
representational or abstract? Does the work have a subject or theme that is
non-objective? Can you describe a style that it resembles? (For example
Impressionism, Expressionism, Surrealist)
STAGE 3: INTERPRETATION
What meaning or reason did the artist have in making this work?
This stage is a statement to help make sense of all the observations. It is the most
difficult, yet most creative stage and it requires courage. It is an educated guess
that makes connections between the work of art and the viewer’s personal
experiences.
Give an explanation of the work or describe the problem the artist is trying to
solve. Remember, there are no right or wrong answers in interpretation; each
viewer will bring their own ideas and life experiences into their ‘guesses’ and
explanations.
Decide what you like about the work or what you dislike about the work. This is
purely subjective, however, the decision should be backed with valid explanations
and possibly ideas as to how the artist could have changed the work to make it
better.
Shelton’s love for nature is clearly evident in her carefully constructed prints, but
they are so much more than just pretty landscapes. Shelton, having grown up in
the mining town of Rosedale, witnessed how difficult the lives of miners were and
how immigrants were segregated and mistreated. She identified with the working
class people and developed a sense of social justice, contributing her work to
labour projects. For a brief time she supported the Communist movement. While
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The Art Gallery of Grande Prairie
it may be said that Shelton’s work isn’t overtly political, Shelton’s daughter, Pat
Marcellus, argues that Shelton’s political beliefs are found in the way she
portrayed the ordinary scenes of life. “She captured the everyday things around
her. The places where ordinary people lived and the places they valued. Their
homes, churches, schoolyards, neighbourhoods, she captured them honestly and
with charity…” Marcellus explained about her mother’s work.
Shelton’s work still connects with audiences today with these prints showcasing
her travels and insightful observations.
Let’s examine a few prints from this exhibition. In Rosedale Mine, we see dark
hills with a grouping of buildings in front of them. The black hills provide
contrast for the details of the white buildings and patterned hillsides. The white of
the sky helps balance the work, ensuring it doesn’t feel too dense with black while
the curving lines provide a sense of movement in the rather static image. The
sweeping lines in the sky may represent clouds or may be a depiction of the wind
itself sweeping through the landscape. The pattern on the hills adds to the visual
interest, implying a sense of texture and helps break up the expanse of black. At
first glance, it may appear to be a regular day at the mine, but upon further
inspection the viewer may determine that is not the case. In the lower right corner
is a sign that reads ‘No Help Wanted” and there are no people located in the
image. The stacks do not have smoke billowing out of them indicating that the
mine is not running. This print may tell the tale of a mine shut down either from a
recession or an exhaustion of resources. The black hills in the background may
appear ominous and foreboding as the future of so many workers remains
unknown to the viewer.
Shelton was a master at depicting stunning landscape scenes. Her colour prints,
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The Art Gallery of Grande Prairie
while not as intricately carved as her black and white ones, offer the viewer warm
and inviting scenes to enjoy. Table Mountain, Rosedale is one such example. It’s
a rather simple and straightforward composition with the foreground, middle
ground, and background clearly defined. Shelton also employs the use of
atmospheric perspective in this print. Atmospheric perspective occurs when the
background has fewer details and less saturated colours compared to the
foreground and this helps create a sense of space and depth in the image. In Table
Mountain, Rosedale the foreground is finely detailed with vegetation and rocks
along a riverbank. The colours are also bright and saturated. The background has
considerably less detail and the colours are softer. Shelton’s use of black, bold
lines to outline shapes as well as using expanse areas of black creates a flat
graphic style. The mountain in the background does not use black lines to create
detail and instead relies on colour to show the different planes on the surface of
the mountain. This gives the background an ethereal quality. Shelton’s choice of
colours is also important as the warm colours instill a sense of the area being
bathed in a pleasant light. Additionally, the colours add a cheerful and peaceful
energy to the work.
DISCUSSION QUESTIONS
The following are some general questions that can be considered when looking at
landscape images.
What do you see in the landscape? Are there manmade elements included
in the landscape?
If there are manmade elements in the image, such as buildings or farm
equipment, does it look like they are still being used by people?
Landscape art is typically described by what appears in the foreground,
middle ground and background. What objects can you see in these
different areas?
o Foreground: The part of the composition that appears closest to
the viewer.
o Middle ground: The part of the composition that is between the
foreground and background. It usually contains the horizon line.
o Background: The part of the composition that is furthest away
from the viewer. It typically has the least amount of detail.
If you entered the scene featured in the artwork, imagine what you would
see, smell, hear, touch or taste.
Is this a place you would want to visit? Why or why not?
Does the artwork remind you of a place you have visited?
How does the artwork make you feel?
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The Art Gallery of Grande Prairie
When viewing the landscape images think about where the artist was
standing and how their point of view affects the way the landscape looks.
What does the artist do to establish the illusion of space in the artwork?
Do they use a combination of the techniques listed above?
Is the composition symmetrical or asymmetrical? How does Shelton use
negative space in her images? Are shapes repeated throughout the image?
Some artists choose to work outside while others work in their studios
relying on sketches, photographs and memories. Do you think working
from a studio will affect how the artist interprets the landscape in terms of
composition, colour, and techniques used? What are the advantages to
creating art outside compared to in a studio? What are the disadvantages?
If you had to sketch or imagine a landscape, would it be the landscape
where you grew up? Do you prefer landscapes that remind you of home or
would you rather view something different? Do you think we define
landscape for ourselves as the place with which we are most familiar and
does it help shape our identity?
Shelton was a proficient artist able to paint in both watercolour and oil.
Why do you think she chose to use woodblock prints as a medium for
landscape images?
What are the advantages to using block prints to create art? What are the
disadvantages?
What differences are there between the black and white prints and the
colour prints? What are the similarities? How does the choice of colours
impact the image?
How does Shelton use pattern in her prints? Does her line quality change
throughout an image?
Do you think Shelton used the same colours for each print? If you could
make colour prints would you use the same colours?
Since each image can be reproduced over and over again, does that make
the image less special or unique compared to a watercolour or oil
painting?
Artists usually want to do more than just depict a pleasing landscape. They
have a goal or intent in mind to try and evoke certain emotions, a specific
mood/atmosphere, or make a statement. Do any of the landscape images
affect your mood, emotions, or make you think of something other than
landscapes?
Colours will greatly influence the mood of a piece. Bright and intense
colours are often associated with happiness while dull and muted colours
are associated with somber moods. Do the colour prints have realistic
colours or bright, unnatural colours? Is the overall colour scheme vibrant
or dull? How do the artist’s colour choices contribute to your
interpretation of the piece?
Do you think there is a different theme or feeling being conveyed in the
black and white prints compared to the colour prints?
Shelton incorporates people into some of her landscape scenes. How does
this affect your interpretation of the image? If people were not included
would your ideas about the work change?
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The Art Gallery of Grande Prairie
Shelton does not include any wildlife in the scenes of nature. Why do you
think that is?
All of the images Shelton created are based upon her experiences. Why do
you think she chose these particular scenes to depict? Do you get a sense
of her emotions or mood when she saw these places during her travels?
Would you choose similar scenes to create art about?
The block prints present a very stylized depiction of nature and landscape
scenes. Do you think Shelton was influenced by other art and artists for
her images? If so does that alter your interpretation of the image?
References on page 27
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The Art Gallery of Grande Prairie
Woodblock prints are thought to have originated in China around the seventh
century. This technique was most likely inspired by the much older use of bronze
and stone seals that created impressions in clay and silk. Initially, woodblock
prints were used for the spread of information on agriculture and medicine. The
text was carved into the wood and then printed onto paper in order to make books,
but this was a very time consuming practice. Woodblock prints were also used to
create calendars, calligraphy, and charms. This technology would eventually
spread to other cultures, such as East Asia, the Middle East, and lastly Western
Europe and would have a crucial impact on world history.
any other special effects or patterns. This proof would be sent back to the cutter
who would then make additional blocks for each colour. Usually the printer
would use paper made from the inner bark of the mulberry tree as it was strong
enough to withstand multiple printings. For colour prints, the printer would layer
the different blocks on top of each other and finish with the black outline, also
known as the keyblock. Gradients of tone and colour were produced by softly
wiping the wet ink on the blocks. The woodblocks would be used for several
thousand printings after which they would start to deteriorate. Artists produced a
considerable number of designs with one artist, Utagawa Kunisada, responsible
for creating as many as 50, 000 designs over the span of fifty years.
Western printmaking techniques were introduced into Japan when America re-
established trade with Japan in 1853. Japanese prints were exported to Europe and
greatly influenced artists like Gauguin and van Gogh as well as European art
movements such as Cubism and Art Nouveau. Japanese artists travelled to Europe
to study art and when they returned to Japan they were inspired to produce their
own prints by designing, cutting, and printing them by themselves instead of
working in a collaborative group. The subject matter of these prints expanded
considerably to include modern themes and artists would even produce abstract
prints.
References on page 27
11
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PRINTMAKING
What is a print? A print is an image made on a block or plate that is covered with
ink and pressed onto a flat surface, such as paper o� textiles. Most prints can be
produced over and over again by re-inking the printing block or plate. There are
many different processes and techniques to make t�ese multiple images. Print
making was traditionally considered a graphic arts medium, but contemporary
printmaking can also be considered a fine art.
Types of Printmaking Processes: greasy crayon or tusche and washed with water.
·
When the ink is applied, it sticks to the greasy
· � _ -- Generally there are four
.�� types of prints - relief crayon but resists the wet surface (the ground)
·· .,.:.'J,j-::(" _ prints, intaglio prints, allowing a print to be made of the drawing only.
���� · · planographic or Paper is placed on top of the plate or stone and
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lithographic and the run through a printing press. Lithography is a
����- -�- Ja
-�-,-,�-�- stenciI process. versatile process enabling artists to produce
multi-coloured works easily. This is achieved by
Margaret Shelton, Windblown Fir, 1947, Block print.
using a number of stones (or plates), one for
each colour, or by blotting out certain areas of
Relief Prints: A printing method in which a
the design, or a combination of both methods.
block or wood or linoleum (or some other flat
surface) is carved into so that an image can be Serigraphy (silkscreen printing):
printed from it. The ink is rolled on with a A stencil method of printmaking in which an
brayer. The uncarved areas receive the ink (the image is created on a screen made of silk (or
carved areas receive no ink) and when the block fine mesh). The stencil is (cut out of or painted
is pressed onto a paper surface; the image is on) a substance that
transferred. This is also known as block will block out the ink
printing. when the ink is
forced through the
Intaglio Prints: A printing method in which
screen using· a
the image is created by ink trapped in grooves
squeegie. For each
that are incised in a metal plate. Etchings and
colour used in the
engravings are the most common types of
print, a new stencil
intaglio processes.
must be made.
Lithography (planographic prints): A
printing method in which an image is drawn on a
flat surface such as a stone or metal plate with a WJ. Philips, Mary at Muskaka, 1926, coloured wood-cut.
12
,-
13
Monotypes
These are one-of-a-kind prints made by painting (with oils or inks) on a smooth
surface (metal, glass, stone or mylar) then printed on paper. The pressure of print
ing creates a texture not possible when painting directly on paper. Not to be
confused with monoprints.
Etching
An intaglio printing process in which an etching needle is used to draw into an acid resistant resinous ground
applied to a metal plate. The plate is submerged into a series of acid baths, each time biting into the metal
surface only where it is unprotected by the wax ground. The ground is removed
and ink is pressed into the etched depressions, the unetched surface is wiped clean
and an impression is made onto paper by running the plate through a printing press.
Soft Ground Etchings: The process is the same as etching, but the plate is
covered with a soft ground such as wax or grease. A pencil could be used instead
of a'sharp needle to execute the drawing.
Colour Etchings: Colour etchings are created by making two or- three plates
(same size), each holding different elements of the image and inked in a number of
colours. The paper is passed through the printing press each time with a different
plate (and colour) to create a final image.
Engraving
A print method of cutting or incising into a metal plate (or wood) with a sharp tool called
a graver. The ink is then rubbed into the incised surface and wiped off the smooth (uncut)
areas. Paper is placed over top of the inked plate and run through a printing press.
Wood engraving uses hardwood on the end grain. Wood engravings are more
intricate in design than a wood-cut.
Drypoint: Another type of engraving method, in which burrs are left on the printing
plate using a pointed needle that directly inscribes lines. This kind of engraving has soft,
fuzzy lines because of the metal burrs. The disadvantage of this process is that is limited
to SO or fewer editions as plates wear out quickly.
14
Brayer: A tool used for rolling ink onto the surface by hand. Used for
block printing or monoprinting.
Burnisher: A tool with a hard, round smooth surface used to polish metal.
Burr: In engraving or drypoint, the ridge of metal plowed up by the burin or needle, on the surface of a metal
plate. In line engraving the burr is removed to produce a clean line; in drypoint it is not removed.
Edition: A set of identical prints, numbered and signed, made by the artist (or under supervision of the art
ist). Two numbers are written at the lower edge of the print. The top number indicates the print's place in the
order of all prints in the edition, and the bottom number indicates the total number of prints in that edition.
Embossed: To create a raised design or relief on a flat surface, usually metal or paper, by hammering or
pressing a design on the back side.
Plate: A flat, smooth, relatively thin object of uniform thickness; a sheet of any material prepared to be inked
to make prints.
Silkscreen: A screen made of silk or fine mesh, used for the stencil process in silkscreen printing also
known as serigraphy.
Squeegee: A tool with a flat, smooth rubber blade used to spread ink evenly all over back of stencil or silk
screen, making a clean image on the printed surface.
Tusche: In serigraphy and lithography, a black liquid used most with brush or pen to paint a design or image.
Aquatint: In etching a plate is first bitten-in an acid bath to create a solid aquatint. Then an image is created
on top of the aquatint with a burnisher to produce a result similar to mezzotint.
Mezzotint: In printmaking, an engraving process that is tonal rather than linear. A copper or steel plate is
roughened to a texture of fine sandpaper. This is done with a tool to create burrs. The burrs hold the ink
which creates a soft dark tone. Lighter tones are created by burnishing areas to hold less ink or no ink. The
final image results in a sandy grain structure.
References: www.artlex.com; Edmonton Art Gallery Branch Gallery, Printmaking Techniques publication.
15
The Art Gallery of Grande Prairie
Objectives:
Materials:
Does the image look like it could have been taken with a camera? Why or
why not?
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The Art Gallery of Grande Prairie
Explain what pattern is and ask them to identify some different patterns in the
images.
Explain what atmospheric perspective is and ask them to describe how Shelton
achieves it in the image.
Project:
Depending on the skill level of your students, you may wish to demonstrate
the project first.
2. Using pencil students can lightly draw a line about a quarter from the
bottom of the page and two mountains overlapping in the background.
3. Within the mountains students will create two different patterns using their
vegetable and fruit stamps with a light coloured paint. For example in one
mountain they can use corn dipped in paint and rolled over the area. For
the other mountain they can use the head of a piece of broccoli dipped in
paint and dabbed over the area. If students prefer, they can try to come up
with their own patterns for the mountains.
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The Art Gallery of Grande Prairie
4. Now students can make flowers using a variety of the stamps as well as
the plastic fork. To make the stem they can use the side of a carrot
lengthwise..
5. To make grass the students can use the plastic fork and press it along the
pencil line they drew earlier.
6. Once the grass and flowers have dried have the students outline them in
black marker.
The fruit and vegetables listed are only a suggestion and you can adapt the lesson
to include other objects as well, such as bubble wrap. Students may also want to
have a scrap piece of paper to test out their stamps first to see what kind of marks
they will make with them.
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The Art Gallery of Grande Prairie
Gelatin Prints
Purpose:
Objectives:
Materials:
This project will introduce students to a form of printmaking using ink. It will
focus on creating pleasing compositions using the principles of design and
introduce the concept of positive and negative space. Students will also
experiment with creating their own patterns by varying their line quality. Select a
few of Shelton’s black and white prints and have the students carefully observe
the different patterns and line quality. Ask them the following questions.
How does Shelton use pattern in her images? Does the pattern change as it
recedes into the background?
Does Shelton vary her line quality throughout the image? Do her lines get
thicker or thinner the further back they go in the image?
Positive and negative space plays a vital role in compositions. It can either be
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The Art Gallery of Grande Prairie
balanced between each other, so both positive and negative space is roughly equal
within the image or unbalanced so one is greater than the other. Explain positive
and negative space to the students and ask them to find examples of them in the
images. Ask the students the following questions.
o Positive space: The main focus of the picture or the subjects of the
image.
o Negative space: The area around the subjects or the background.
Discuss the principles of design, such as balance, emphasis, and unity with the
students. Have a discussion about how Shelton has used these in the images.
For further information about the principles of design please refer to the following
link:
https://artsedge.kennedy-center.org/educators/how-to/from-theory-to-
practice/formal-visual-analysis
Project:
1. The night before printmaking prepare gelatin and pour into a cookie sheet
so it is roughly 1 inch thick. Approximately 7 people can use one pan. The
day of printmaking the gelatin should be firm to the touch.
3. Have the students arrange an assortment of leaves vein side down into a
pleasing composition following the principles of design on the gelatin.
Use the brayer to spread ink over the entire surface.
4. Lay a piece of paper on top and gently smooth it over the gelatin so the ink
transfers to the paper. Slowly peel the paper off the cookie sheet to reveal
the print.
5. Remove the leaves from the gelatin. Place a new sheet of paper over the
cookie sheet and gently rub. Slowly peel the paper off to reveal a positive
image of the first print.
6. Once the ink has dried students can use the first print and create a variety
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The Art Gallery of Grande Prairie
of patterns within the leaves using pens and markers, drawing inspiration
from Shelton’s work. Older students may wish to try intricate and difficult
patterns in their work.
While based upon Shelton’s black and white prints, this project can also use a
variety of colour inks and papers.
Styrofoam Prints
Purpose:
Objectives:
To learn and experiment with different line qualities and mark making
when creating landscapes
Reinforce the concepts of foreground, middle ground, and background
Introduce the concepts of creating depth in a landscape scene
Materials:
This project will allow students to carve their own landscape print, whether they
are nature scenes or urban environments. Students will experiment with different
line qualities and create landscapes that feature a foreground, middle ground, and
background. Students will also learn about the different ways depth and space is
created in landscape images by using atmospheric perspective, relative size, and
overlapping. Select a few images for the students to take a closer look at and ask
them the following questions.
Explain to the students what the foreground, middle ground, and background are
and ask them to point them out.
Students may wish to take a sketchbook with them and record any thoughts or
ideas they might have about the landscapes Shelton made. For their project
students can either draw inspiration from Shelton’s work or from the environment
around them. Students may even rely on their memories for a landscape scene.
Project:
1. Ask the students to sketch a few small studies of landscapes using only
line they would be interested in turning into a print. Each landscape should
include a foreground, middle ground, and background. Also they should
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The Art Gallery of Grande Prairie
consider how they are going to show space and depth in their image using
one of the perspective techniques outlined above. The landscape may be a
natural or urban scene.
2. The students will select one landscape they would like to turn into a print.
They will redraw the landscape on a piece of paper the same size of the
Styrofoam available. Students should ensure they have different line
widths and movements in the drawing.
3. Attach the completed drawing to the Styrofoam with bulldog clips or tape.
Retrace the lines with the pencil pressing down hard enough to create an
impression in the Styrofoam. If students wish they can draw directly on
the Styrofoam instead of using their drawing as a template.
4. Remove the paper once the image is traced to the Styrofoam. Apply ink to
the Styrofoam with a brayer. Place a new piece of paper on the Styrofoam
and gently rub the paper for a few seconds before slowly peeling it off to
reveal their print.
5. The Styrofoam can be cleaned and used repeatedly. Students may want to
experiment with different ink and paper colours. They may also want to
try making gradients in a print by softly wiping the Styrofoam to remove
some of the ink.
http://myartfulnest.blogspot.ca/2012/02/line-
landscapes.html?showComment=1334620633856#c743894912549611604
1
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The Art Gallery of Grande Prairie
https://carla65.wordpress.com/2008/06/18/landscape-1/
Purpose:
To create a print of a landscape scene using colour and for students to explore
how colour affects the mood of the work
Objectives:
Materials:
This project will simulate what it is like to create a colour print in woodblock
printmaking. For colour printing, the artist needs to carve additional blocks for
every colour they want to incorporate into the image. During the printing process
it is very important to use registration marks. These marks ensure the paper is
accurately lined up every time a new colour is added to the print. This project will
have a simplified process of that technique. Students will explore how to simplify
the world around them into flat shapes using different line qualities. They will
also learn how colours affect the mood of a piece and experiment with creating
different feelings or moods for their print. Select a few colour prints you would
like the students to examine closer and ask them the following questions.
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Does Shelton use flat shapes to describe natural objects in her prints?
Where do these most often occur?
How does she create a sense of depth in objects without shading them?
Does Shelton vary the thickness of her lines throughout her images?
Colour plays a vital role in art and helps artists communicate certain moods or
feelings to the viewer. Warm colours, such as red, orange, and yellow can cause
the viewer to feel a range of emotions from joy and comfort to anger and
aggression. Cool colours, such as blue, green, and purple can cause the viewer to
feel serene and peaceful as well as sad and solemn. Warm colours can energize a
work, giving it a sense of vitality and liveliness while cool colours can make a
work seem calm or somber. Ask the students the following questions.
What kind of colours does Shelton use? Are they warm or cool?
How does the image make you feel? Does the work have a specific mood
to it?
Are the colours realistic?
Do you think the mood that is conveyed by the image is the same way
Shelton felt when she experienced the scene in real life?
Do you like the colours that Shelton used? How would you change them
in your work?
Project:
2. Cut a piece of drawing paper that is larger than the foam board by a 1 inch
border. For example, if the foam board was 4x5 inches then the paper
would be 6x7 inches. Or use a large piece of paper and after the print is
completed trim the paper to have a 1 inch boarder around image.
3. Fold a single side of the 1 inch border of the paper under the foam board
and secure to the back of the board with masking tape. This fold, or hinge,
will be the registration throughout the printing process where the paper
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The Art Gallery of Grande Prairie
will be lifted and printed several times. To achieve a clear final image
students must lay the paper down in the exact same place for each colour
pass.
4. Students are ready to start printing their design one colour at time. They
should decide what kind of feeling or mood they want their artwork to
evoke and decide on a warm or cool colour scheme to achieve this. For
each colour have the students mix a small amount of liquid dish soap into
their paint. They should apply the paint to their foam board and then
firmly press the paper down to transfer the paint to the paper. After
transferring the colour they can paint a new section with a different colour
repeating the process until they have coloured their entire print one colour
at a time.
5. Once the print is dry they can add texture or gradations of colour on top of
previously printed areas for depth.
6. Students will then use the black marker or pen to trace their design to
simulate the black outlines in a woodblock print.
7. After completing their image remove the paper carefully from the foam
board and smooth out the folded edge.
Purpose:
To create a print using cut foam or lino and to explore the importance of
positive and negative shapes in printmaking
Objectives:
To explore the use of positive and negative shapes when creating a printed
landscape
Understand the fundamentals of what creates a good composition and
apply them to their art
To use references, either from sketches or photographs, when drawing
their landscape
Materials:
Paper
Foam (with an adhesive back) or linoleum blocks
Foam boards or cardboard
Cutting knife (exacto knives work well) and wood/linoleum carving tools
Paint roller or brayer
large spoons or rolling pins
Plexiglas or glass
Paint (acrylic works well)
In this project students will carve foam pieces in order to create a printing block.
They will explore the importance of positive and negative shapes in their
compositions and use the elements of art and the principles of design when
creating their art. Additionally, students will rely on references they have gathered
to create their landscapes. Select a few prints you would like the students to
examine further and ask them the following questions.
Shelton’s prints are all a record of her life experiences. Choosing a scene
that captured her attention, Shelton would sketch it and use this as a
reference for creating her prints. Do you think her prints are an exact
replica of the landscape scene that she saw?
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The Art Gallery of Grande Prairie
What are the benefits to working from your own drawing? What are the
disadvantages?
Do you think it would be different working from a photograph? How so?
How has Shelton simplified forms, like trees and people for instance?
Explain positive and negative space to the students and ask them to find examples
of them in the images. Ask the students the following questions.
o Positive space: The main focus of the picture or the subjects of the
image.
o Negative space: The area around the subjects or the background.
How does Shelton use positive and negative space in her black and white
prints? Is it different in her colour prints?
Positive and negative space can either be balanced where both are equal in
the image or unbalanced where one takes up a larger area than the other. Is
the positive and negative space balanced or unbalanced?
What are the challenges of creating black and white prints? What are the
advantages?
How do the black and white prints differ from the colour prints?
Is the positive and negative space used the same in both black and white
and colour prints?
Describe the elements of art, such as line, value, texture, etc. and the principles of
design, such as balance, unity, emphasis, etc. with your students. Discuss how
Shelton has or has not used these within her work.
For more information about the elements of art and the principles of design please
refer to the following link:
https://artsedge.kennedy-center.org/educators/how-to/from-theory-to-
practice/formal-visual-analysis
Project:
2. Using their references, have students sketch out a landscape scene the
same size their print will be while keeping in mind the elements of art
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and the principles of design. Students should simplify their shapes. Also,
they do not have to include everything that is in their reference image in
their final landscape image. If needed, students can edit objects out in
order to obtain a pleasing composition. Students should also keep in mind
the interplay between positive and negative shapes.
3. On the foam with the adhesive back students will redraw their landscape
scene on it. The foam should be the same size as the paper.
5. After they are finished cutting their design the students are ready to apply
paint to their carved block. Using a paint roller or brayer have the students
apply paint to the Plexiglas or glass to ensure the roller is evenly coated
before applying to their carved block. This will result in an even
application of paint to the carved block.
6. Place a piece a paper on top of the foam or linoleum block and use a spoon
or rolling pin to rub the back of the paper to transfer the paint to the paper.
Slowly peel it off to reveal the print.
Bibliography
Ainslie, Patricia. Margaret Shelton: Block Prints 1936-1984, Glenbow Museum,
exhibition catalogue. Calgary, Alberta, 1984, p.8.
“The Invention of Woodblock Printing in the Tang (618-906) and Song (960-
1279) Dynasties.” Asian Education. Asian Art Museum. Accessed August 2,
2015.
McCoy, Heath. Beaten Bicycle tells the story of beloved Alberta artist Margaret
Shelton. Calgary Herald. Calgary, Alberta, 2012.
“Walter Joseph Phillips, Prints & Watercolours April 25th – May7th, 2013 in
Calgary.” Loch Gallery. Accessed July 31, 2015.
“Woodblock Prints in the Ukiyo-e Style.” Heilbrunn Timeline of Art History. The
Metropolitan Museum of Art. Accessed August 2, 2015.