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Margaret Shelton: Block Prints

Interpretive Guide

Shooks Barn, 1974


Courtesy of the Alberta Foundation for the Arts

The Alberta Foundation for the Arts


Travelling Exhibition Program
The Alberta Foundation for the Arts
Travelling Exhibition Program

Press Release

Margaret Shelton: Block Prints

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.

Curated by Todd Schaber and Tessa Embleton


Art Gallery of Grande Prairie
The  Alberta  Foundation  for  the  Arts  Travelling  
Exhibition  Program

Margaret  Shelton:  Block  Prints  


Artist  Information  
The  Art  Gallery  of Grande Prairie  is  pleased  to  present  Block  Prints,  by  Margaret  Shelton.  Block  Prints  
is  a  small  retrospective  of  Shelton’s  print  works,  both  woodcut  and  linocut,  that  she  created  between  
the  years  1941  and  1982.    

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

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

1. Bankview 2. Vermillion Lakes


woodblock print, 1979 linocut print, 1945
16” x 18” framed 16” x 18” framed

3. East Calgary 4. Cabin West of Athabasca Falls


linocut print, 1941 linocut print, 1972
15.5” x 18” framed 15” x 18” framed
Alberta Foundation for the Arts Travelling Exhibition Program

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

5. Untitled 6. Ranch House in the Foothills


linocut print, n.d. woodblock print, 1941
12” x 12” framed 14” x 18” framed

7. Wind Swept Farm 8. Upper Hot Springs, Banff


woodblock print, 1949 woodblock print, 1979
14” x 18” framed 14” x 18” framed
Alberta Foundation for the Arts Travelling Exhibition Program

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

9. Castle Mountain 10. Table Mountain, Rosedale


woodblock print, 1979 woodblock print, 1941
14” x 18” framed 35.5” x 46” framed

11. St. Mary’s, Banff 12. Fishing on the Bow


woodblock print, 1979 woodblock print, 1979
14” x 18” framed 36” x 46” framed
Alberta Foundation for the Arts Travelling Exhibition Program

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

13. Windblown Fir 14. Banff Avenue


linocut print, 1947 woodblock print, 1943
8.5” x 11” framed 14” x 18” framed

15. Gawduns Waterwheel, Rosedale 16. Rural Mail Route


woodblock print, 1982 woodblock print, 1979
22” x 28” framed 16” x 18” framed
Alberta Foundation for the Arts Travelling Exhibition Program

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

17. Homestead at Revelstoke 18. The Last Peak at Exshaw


woodblock print, 1976 woodblock print, 1975
16” x 18” framed 16” x 18” framed

19. Untitled (The Fraser Canyon) 20. Rosedale Mine


woodblock print, 1953 linocut print, 1950
40” x 54” framed 14” x 18” framed
Alberta Foundation for the Arts Travelling Exhibition Program

Art Gallery of Grande Prairie Presents


Margaret Shelton: Block Prints
Artworks Inventory
Courtesy of the Alberta Foundation for the Arts

21. Cascade Mountain 22. Shooks Barn


woodblock print, n.d. woodblock print, 1974
16” x 18” framed 30.5” x 46” framed

23. Second Falls, Johnson Canyon 24. Mt. Louise, Banff


woodblock print, 1974 woodblock print, 1974
14” x 16” framed 14” x 16” framed
Abridged  Curriculum  Vitae  
 
Margaret  Shelton  (1915-­‐1984)  
 
Education/Training:  
-­‐ 1933:  Rosedale  Village  School,  AB;  High  School  Diploma  
-­‐ 1933-­‐34:  Normal  School,  Calgary;  Teaching  
-­‐ 1934-­‐35:  Alberta  Provincial  Institute  of  Technology  and  Art  (PITA),  Calgary;  Fine  Arts  
-­‐ 1935:  Banff  School  of  Fine  Arts,  Banff  Summer  School  
-­‐ 1937:  Banff  School  of  Fine  Arts,  Banff  Summer  School  
-­‐ 1937-­‐38:  PITA,  Calgary;  Fine  Arts  Diploma  
-­‐ 1939-­‐43:  PITA,  Calgary;  Advanced  Art  and  Printmaking  
-­‐ 1941:  Banff  School  of  Fine  Arts,  Banff  Summer  School  
 
Solo  Exhibitions:  
  Many  solo  exhibitions  throughout  her  career,  including:  
-­‐ 1937:  Watercolour  Painting  Exhibition;  G.F.  Anderson’s  Store;  Drumheller,  AB  
-­‐ 1939:  Watercolour  Painting  Exhibition;  University  of  Alberta,  Edmonton  
-­‐ 1981:  Retrospective  Print  Exhibition;  Burnaby  Art  Gallery,  BC  
-­‐ 1984:  Margaret  Shelton:  Block  Prints  1936-­‐1984;  Glenbow  Museum,  Calgary.  
-­‐ 2014-­‐2016:  Block  Prints,  Alberta  Foundation  for  the  Arts  Traveling  Exhibition  Program;  
Art  Gallery  of  Grande  Prairie  and  throughout  Alberta.  
 
Group  Exhibitions  
  Many  group  exhibitions  throughout  her  career  at  various  locations  and  events,  including:  
-­‐ 1938:  Calgary  Stampede  
-­‐ 1938:  Edmonton  Fair  
-­‐ 1939:  Canadian  Society  of  Painters  in  Watercolours,  Toronto  
-­‐ 1941:  Alberta  Society  of  Artists  (ASA)  Exhibition  
-­‐ 1942:  50  Canadian  Prints,  Society  of  Canadian  Painter-­‐Etchers  and  Engravers  (CPE)  
Exhibition;  National  Academy  Galleries,  NY  
-­‐ 1942:  Calgary  Sketch  Club  Exhibition  
-­‐ 1950:  Open  Show,  ASA  Exhibition;  Green  Valley,  AB  
-­‐ 1968-­‐77:  Calgary  Sketch  Club  exhibitions  
 
Other  Employment:  
-­‐ 1935-­‐36:  Teacher;  Dorothy,  AB  
-­‐ 1936-­‐37:  Substitute  Teacher;  various  districts    
-­‐ 1945-­‐46:  Advertising  Agent,  Toronto  
 
Collections:  
-­‐ Art  Gallery  of  Grande  Prairie,  Grande  Prairie,  AB  
-­‐ Edmonton  Art  Gallery,  Edmonton,  AB  
-­‐ Alberta  Foundation  for  the  Arts,  Edmonton,  AB  
-­‐ Art  Gallery  of  Hamilton,  Hamilton,  ON  
-­‐ City  of  Calgary  Art  Collection,  Calgary,  AB  
-­‐ Glenbow  Museum,  Calgary,  AB  
-­‐ National  Gallery  of  Canada,  Ottawa,  ON  
-­‐ Nickle  Arts  Museum,  Calgary,  AB  
-­‐ Rutgers  University,  Camden,  NJ  
-­‐ University  of  Lethbridge,  Lethbridge,  AB  
 
Awards:  
-­‐ 1934:  Calgary  Gas  Company;  PITA  scholarship  
-­‐ 1935:  Royal  Drawing  Society;  honours  in  portraiture  
-­‐ 1937:  Calgary  Gas  Company’s  Scholarship  for  P.I.T.A.  
-­‐ 1940:  Calgary  Local  Council  of  Women's  Scholarship  for  P.I.T.A.  
-­‐ 1941:  The  Calgary  Gas  Company's  Scholarship  for  P.I.T.A.  
-­‐ 1942:  The  T.  Eaton  Company's  Scholarship  for  P.I.T.A.  
-­‐ 1977:  Life  Membership,  Calgary  Sketch  Club  
 
Associations:  
-­‐ Alberta  Society  of  Artists  
-­‐ Society  of  Canadian  Painter-­‐Etchers  and  Engravers  
-­‐ Canadian  Society  of  Graphic  Art  
-­‐ Calgary  Sketch  Club  
 
Publications:  
-­‐ Cochran,  Bente  Roed.  Printmaking  in  Alberta,  1945-­‐1985.  Edmonton:  University  of  
Alberta  Press,  1989.  
-­‐ Ainslie,  Patrici.  Margaret  Shelton:  Block  Prints  1936-­‐1984.  Calgary:  Glenbow  Museum,  
1984.  
                                                 
 
 
Crate  #1  –  Margaret  Shelton:  Block  Prints  
 
Artworks:  Courtesy  of  the  Alberta  Foundation  for  the  Arts  
 
 
 
1.  Bankview             Wood  Block  on  paper    

2.  Vermillion  Lake           Linocut  on  Paper  

3.  East  Calgary           Linocut  on  paper  

4.  Cabin  West  of  Athabasca         Linocut  on  paper  


5.  Untitled             Colour  Linocut  on  paper  

6.  Ranch  House  in  the  Foothills       Colour  Woodblock  on  paper  

7.  Wind  Swept  Farm           Woodblock  on  Paper  

8.  Upper  Hot  Springs,  Banff         Colour  Woodblock  on  Paper  

9.  Castle  Mountain           Colour  Woodblock  on  Paper  

10.  Table  Mountain,  Rosedale       Colour  woodblock  on  Paper  

11.  St.  Mary’s,  Banff         Colour  Woodblock  on  paper    

12.  Fishing  on  the  Bow         Colour  Woodblock  on  Paper  


13.  Windblown  Fir           Linocut  on  Paper  

14.  Banff  Avenue           Colour  Woodblock  on  Paper    


 
 
 
 
NOTE: FRAGILE WORKS- Carefully review how the works are packed.

NOTE: Only remove foam packing that is marked remove/replace.


Keep all packing with the crate.
Repacking – Line up the numbers.

Concerns Contact: The Art Gallery of Grande Prairie


Todd Schaber – TREX Curator, 780.357.7483
Region 1, AFA Travelling Exhibitions
     
 
                                                       
                                                 
 
 
Crate  #2  –  Margaret  Shelton:  Block  Prints  
 
Artworks:  Courtesy  of  the  Alberta  Foundation  for  the  Arts  
 
         
 
15.  Gawdun’s  Waterwheel,  Rosedale       Woodblock  on  Paper  
 
16.  Rural  Mail  Route             Woodblock  on  Paper  
 
17.  Homestead  at  Revelstoke         Colour  Woodblock  on  Paper  
 
18.  The  Last  Peak  at  Exshaw           Woodblock  on  Paper  
 
19.  Untitled  (The  Fraser  Canyon)         Woodblock  on  Paper  
 
20.  Rosedale  Mine             Linocut  on  Paper  
 
21.  Cascade  Mountain           Woodblock  on  Paper  
 
22.  Shooks  Barn             Woodcut  on  Paper  
 
23.  Second  Falls,  Johnson  Canyon         Colour  Woodblock  on  Paper  
 
24.  Mt.  Louise,  Banff             Colour  Woodblock  on  Paper  
 
25.  AFA  Didactic  
 
26.  Exhibition  Didactic  
 
Labels  and  Interpretive  Guide  
 
             

NOTE: FRAGILE WORKS- Carefully review how the works are packed.

NOTE: Only remove foam packing that is marked remove/replace.


Keep all packing with the crate.
Repacking – Line up the numbers.

Concerns Contact: The Prairie Art Gallery,


Todd Schaber – TREX Curator, 780.357.7483
Region 1, AFA Travelling Exhibitions
 
The Art Gallery of Grande Prairie

Margaret Shelton: Block Prints


Educator's Guide

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

Printmaking with Fruits and Vegetables (Kindergarten to Grade 3) .........15


Gelatin Prints (Grades 2 to 7) ..................................................................18
Styrofoam Prints (Grades 4 to 12) ...........................................................21
Simulated Woodblock Print (Grades 4 to 12) ...........................................25
Cut Foam (or Lino) Print (Grades 7 to 12).. ...............................................28
Bibliography..............................................................................................31
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How to Look at Artwork

Based on the Four Stages of Criticism

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.

AGE LEVELS: (Kindergarten – Grade 3) Do stage 1, and possibly stage 2;


(Grades 4 – 6) Do stages 1, 2, and possibly stage 3; (Grades 7 – 12) Do all 4
stages.

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 2: ANALYSIS – OBSERVING RELATIONSHIPS


How is this artwork (composition) arranged?

List or describe the principles of design (movement, contrast, unity, balance,


emphasis, rhythm, scale and space).
 Are there contrasts of dark and light colours?
 Are colours or shapes repeated to create unity or rhythm?
 Is there one object that stands out and is more emphasized than other
objects?
o What makes the object stand out more?
 What type of balance is it, symmetrical or asymmetrical?
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 Is there a sense of motion or something moving?


 Do the objects seem to be close and in a shallow space or move far back to
create deep space and distance?

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.

 What do you think this work is about?


 What mood or feeling do you get from this work?
 Why did the artist create this work?
 What do you think the artist thinks or feels about their world?

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.

STAGE 4: JUDGEMENT – CONCLUSION ABOUT WORK


What do I think or feel about this work?

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.

 Do you like the work? Why or why not?


 What are the strengths about this work?
 What are the weaknesses and how could they be changed?
 Has your impression of the work changed after observing and analyzing
the piece?
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Margaret Shelton: Block Prints

Educator’s Guided Tour


Margaret Shelton: Block Prints offer us a unique glimpse into the past through
the experiences of artist Margaret Shelton. With each artwork Shelton captured a
little piece of history, whether it be the stunning landscapes of Alberta, or a quiet
scene from rural or urban life. In 1941, the artist W.J. Philips taught Shelton the
techniques of Japanese wood block printmaking and she embraced the medium.
She created hundreds of prints throughout her career and contributed significantly
to printmaking in Canada.

Shelton was not interested in presenting romantic impressions of landscapes like


so many other artists during her time. Instead, she relied on nature directly,
interpreting it honestly in a representational style. Compared to other landscape
artists, such as the Group of Seven, Shelton included people and the evidence of
people in her art. Often times the Group of Seven artists would omit the presence
of humans in their work giving the distinct notion of a pristine and untouched
landscape. Shelton’s style is characterized by directness, clarity, and simplicity
and she chose scenes based upon what interested her. Her black and white prints
are intricately carved using a multitude of exquisite patterns to differentiate
objects and show depth. They often have an element of drama to them with large
expanses of black, but they maintain a whimsical quality with the soft, flowing
lines. Shelton’s colour prints are more simply carved as the forms are more easily
distinguished with different colours. The images have an added warmth to them
from the soft, bright colours Shelton chose to use. Shelton explored much of the
province by bicycle during the 1930s and 40s and spent summers in Banff living
in a canvas pup tent sketching her surroundings. The tenacious artist also planned
to cycle from Vancouver, British Columbia back to her home Rosedale, Alberta
while recording the sights along the way. Her journey was cut short, however,
when Shelton was involved in an accident with a truck outside of Revelstoke,
British Columbia. Thankfully Shelton was not seriously injured and managed to
make the rest of the journey home either by hitchhiking or catching the train.

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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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.

Gawduns Waterwheel Rosedale captures a different energy and feeling compared


to Rosedale Mine. The dense pattern of lines adds to the illusion of movement and
the bright white sky keeps the overall work open and light. The black water helps
ground the image and provides a resting space for the viewer’s gaze amongst the
busy patterning of the trees and land. The pattern in the water is repeated in the
sky and creates unity within the picture. Shelton’s meticulous carving of
condensed patterns using delicate lines gives the art an energetic liveliness and
helps move the viewer’s gaze throughout the entire composition. The viewer can
also see two men in coveralls working while a dog is drinking at the water’s edge.
These elements give the image a radically different feeling compared to Rosedale
Mine. In Rosedale Mine the viewer is presented with a very linear and industrial
image. The lack of people gives the art a feeling of abandonment and it appears to
lack warmth. Gawduns Waterwheel Rosedale, however, is a serene and inviting
rural scene with lively marks for vegetation and people peacefully working.

Shelton was a master at depicting stunning landscape scenes. Her colour prints,
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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.

Elementary Level Questions

 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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Secondary Level Questions

Depicting space in landscape images is essential and artists use different


techniques to accomplish such goals. Sometimes knowing how the artist depicts
space helps the viewer understand the artist’s process and appreciate the art.

o Atmospheric Perspective: As subjects recede further into the


background of the work they lose much of their detail. The
intensity of colour fades and the contrast between light and dark
lessens.
o Overlapping: Objects are placed in front of other objects in order
to create the illusion of depth and space.
o Relative Size: The size of an object in the foreground will be much
larger than the size of a similar object in the background. The
further the object is from the foreground, the smaller it will
become.

 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?

Making woodblock prints is a complex process and a time consuming endeavour


for an artist. To make a print an image is transferred to a wood block and then
carefully carved. The parts of the image that do not have ink, such as the white in
a black and white print, are carved away from the block so the areas will not
contact the paper. To make colour prints, the artist needs to carve additional
blocks for each colour they want to add. Linocut prints use a similar process as
woodblock prints and have a piece of lino that is used to carve the image into.
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 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?

Interpreting the Exhibition

When it comes to interpreting art it is important to remember that there are no


wrong answers. Everyone will have different experiences and memories that will
influence how they view art. An individual’s interpretation may be very different
from the original intention of the artist, but that is okay as that is how art remains
relevant for generations to come.

 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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 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?

Discussion questions about landscapes from:


http://www.getty.edu/education/teachers/classroom_resources/curricula/landscape
s/background2.html

References on page 27
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Japanese Woodblock Printing

Margaret Shelton was introduced to the techniques of Japanese woodblock prints


in 1941 by the artist Walter J. Phillips. Phillips, originally from England, was a
highly regarded artist and a pioneer of the colour woodblock prints in Canada.
Shelton took to the medium, creating hundreds of prints depicting natural and
urban scenes throughout her long career and made significant contributions to
printmaking in Canada.

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.

Japan learned the technique of woodblock printing approximately during the


eighth century from China as these two countries were linked through cultural
exchange. Japan also used woodblock prints mainly for creating text until the
eighteenth century when new technology allowed for multiple colours to be used
in a single print. Wealthy Edo patrons commissioned these first polychrome prints
for calendars as it was custom to exchange calendars at the beginning of the year.
The subject matter of these prints branched out to include scenes from legends,
kabuki actors, and courtesans. Eventually the prints also included charming
landscape scenes and in the late nineteenth century they were depicting historical
moments. The prints often portrayed popular subject matter and the target
audience were the affluent townspeople.

Early woodblock prints were a collaboration between four people consisting of a


publisher, artist, block-cutter, and printer. Papermakers and other craftsmen were
also involved in the process. The publisher was responsible for choosing the
theme and commissioned an artist to execute their idea. The artist created a design
on thin, somewhat transparent paper that was given to the cutter to glue face down
onto a cherry woodblock usually aged to prevent any warping. The image was
then carved in relief, meaning that the areas to be coloured, such as the outlines,
were raised with the other areas carved away. The cutter also carved the kento, or
registration marks that the printer used to ensure accurate placement of blocks for
multiple colour prints. The printer would make a black and white proof of the
print that was sent to the publisher who would indicate colours to be used and
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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.

The invention of woodblock printing had critical implications on world history


and the art would influence people all over the world. Traditional Japanese
woodblock prints still serve as inspiration for artists today with their expanse
areas of flat colour, lack of perspective and shadows, and off centre compositions.

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.

Mono-prints: One of a series of prints in which each image has differences in


colour, design and texture applied to an underlying common image.

Jim Stokes, Soft Light 1994 Monotype

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.

Thelma Manarey, Bush #3, 1971, Etching

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.

James Agrell-Smith, Portrait of a Poet, 1956 Wood engraving.


,-

14

General Printmaking Terms & Tools:

Asphaltum: In etching, a liquid used on the plate as a soft ground.

Brayer: A tool used for rolling ink onto the surface by hand. Used for
block printing or monoprinting.

Burin: A tool used in engraving to incise metal plates or to carve in stone.


Similar to a chisel, it has a knob-like wooden handle and a long sharp metal
shaft with a bevelled point. Also called a graver.

Burnisher: A tool with a hard, round smooth surface used to polish metal.

Colleen Shepstone, Brian, 1987, Colour Etching.

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.

Incising: Cutting into a surface, usually metal or stone.

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.
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The Art Gallery of Grande Prairie

Art Activity for Kindergarten to Grade 3

Printmaking with Fruits and Vegetables


Purpose:

To introduce students to the concepts of printmaking and create a landscape scene


using fruit and vegetables as stamps

Objectives:

 Learn about a new form of mark making


 Learn about pattern
 Understand the difference between photorealistic and stylized depictions
 Introduce the concept of atmospheric perspective

Materials:

 11 X 17 in. white construction paper or cardstock


 Variety of fruits and vegetables (carrots, celery, bell peppers, mushrooms,
corn, broccoli, apples, oranges, etc.)
 Knife (adult use only)
 Variety of colour paints
 Black felt markers
 Pencils
 Plates or shallow containers for paint
 Plastic forks
 Corn holders

Discussion and Motivation

This project will introduce students to the elementary concepts of printmaking.


Students will also learn about pattern, the concept of atmospheric perspective and
how artists simplify an object in a stylized manner with the viewer still
understanding what object the artist is depicting. Select a few images of Shelton’s
you would like to discuss with your class. Ask the students to carefully observe
the image and ask the following questions:

 Does the image look like it could have been taken with a camera? Why or
why not?
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 How has Shelton simplified an object? For example in Upper Hot


Springs, Banff several people are located in the image. Shelton portrayed
these people as solid blocks of colour with an outline, but the viewer still
understands they are people because they have the same basic shape of a
head, body, arms and legs.

Explain what pattern is and ask them to identify some different patterns in the
images.

o Pattern: The repetition of an element or thing throughout the


work. Pattern can be created through the use of lines, shapes, or
colours.

Explain what atmospheric perspective is and ask them to describe how Shelton
achieves it in the image.

o Atmospheric perspective: As subjects recede further into the


background of the work they lose much of their detail. The
intensity of colour fades and the contrast between light and dark
lessens. Subjects furthest away in the background will be indistinct
and tend to have a bluish-grey colour.

Project:

Depending on the skill level of your students, you may wish to demonstrate
the project first.

1. Prepare the fruits and vegetables beforehand, cutting them in half or


lengthwise. Ensure they are thoroughly dry before stamping with them.
Use either the plates or shallow containers to put the paint in.

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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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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Activity for Grades 2 to 7

Gelatin Prints
Purpose:

To explore another form of printmaking to create a simple image focusing on


composition and positive and negative space using leaves

Objectives:

 To understand and use the principles of design to create pleasing


compositions
 Introduce the concept of positive and negative space
 Experiment with different line qualities and mark making to create
patterns

Materials:

 Unflavoured gelatin (Knox is readily available in grocery stores)


 Cookie Sheets
 Paper large enough to cover cookie sheets
 Various leaves and grasses
 Printmaking brayer
 Printmaking ink (such as Speedball Fabric and Paper Block Printing Ink)
 Pens and markers

Discussion and Motivation

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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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.

 Is the positive and negative space balanced or unbalanced?


 Does the positive and negative space have the same colour or different
colour? How does that impact the overall mood or feeling of the image?

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.

2. Using a brayer to cover the gelatin with ink.

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.

1st print with leaves 2nd print with no leaves

Lesson plan and images from http://cassiestephens.blogspot.ca/2012/02/leafy-


spring-prints.html
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The Art Gallery of Grande Prairie

Art Activity for Grades 4 to 12

Styrofoam Prints
Purpose:

To explore the use of a variety of lines when creating a landscape print

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:

 Styrofoam – varying sizes from takeout containers, meat trays, and


Styrofoam plates
 Pencils
 Ink (or acrylic paint)
 Brayer (or paint roller)
 Paper
 Bulldog clips
 Tape

Discussion and Motivation

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.

 How would you describe Shelton’s line quality?


 Do the lines help create movement in the image and help your gaze travel
throughout the work?
 Do you like the way Shelton has used line in her prints? What would you
do differently?
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 What do you like about Shelton’s landscapes? What do you dislike?


 Do you prefer scenes where the subject matter is solely about nature or do
you like when the images have people in them?
 What do you think the mood of the image is? How did Shelton achieve
this?

Explain to the students what the foreground, middle ground, and background are
and ask them to point them out.

o Foreground: The part of the composition that is closest to the


viewer.
o Middle ground: The part of the composition between the
foreground and the background. It usually contains the horizon
line.
o Background: The part of the composition that is furthest away
from the viewer. It usually contains the least amount of detail.

Explain to the students about atmospheric perspective, overlapping, and relative


size. Ask the students to find examples of these in Shelton’s work.

o Atmospheric perspective: As subjects recede further into the


background of the work they lose much of their detail. The
intensity of colour fades and the contrast between light and dark
lessens. Subjects furthest away in the background will be indistinct
and tend to have a bluish-grey colour.
o Overlapping: Objects are placed in front of other objects in order
to create the illusion of depth and space.
o Relative size: The size of an object in the foreground will be much
larger than the size of a similar object in the background. The
further the object is from the foreground, the smaller it will
become.

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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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/

Vitamin D by OboyStudios on etsy.com


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The Art Gallery of Grande Prairie

Art Activity for Grades 4 to 12

Simulated Woodblock Print

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:

 To understand how colour can be used to create a certain mood or feeling


for a piece of art and use those concepts in their own art
 Learn about the printmaking process and registration marks
 To understand how to simplify the natural environment into flat shapes
and line

Materials:

 Scratch-foam (made by Scratch-Art) – alternatives are Styrofoam or


linoleum
 Watercolours
 Liquid dishwashing soap (clear)
 Small palette or plate
 Paint brush
 Ballpoint pen or pencil
 Fine tip black pen or marker
 White drawing paper (70 or 80 lb)
 Masking tape

Discussion and Motivation

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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The Art Gallery of Grande Prairie

 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:

1. Using Shelton’s prints for inspiration ask the students to sketch a


landscape scene, either natural or urban the same size as the print. Remind
the students to simplify shapes and vary their line widths. Once they are
satisfied with their image students will place the paper on the scratch-foam
board and trace over their lines to transfer the image to the board. Once
the image is transferred, remove the paper and trace over the lines on the
foam board again with a ballpoint pen or blunt pencil to create deep
grooves between the shapes.

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.

8. Students may wish to make several prints experimenting with different


colour combinations to see how it affects the mood of their image.

Lesson plan from http://education.asianart.org/explore-resources/lesson-or-


activity/create-simulated-woodblock-print-lesson
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The Art Gallery of Grande Prairie

Art Activity for Grades 7 to 12

Cut Foam (or Lino) Print

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)

Discussion and Motivation

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:

1. Drawing on the inspiration of Shelton’s work have students select a


landscape, either from a place they have visited or somewhere close to
where they live to collect references for. These can either be photographs
or sketches they have made.

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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The Art Gallery of Grande Prairie

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.

4. Attach the foam to a foam board or cardboard that is equal in size.


Students will use a knife to cut away the sections of the foam. The areas
that have foam left on them will be the areas that will print on the paper
with ink. Alternatively students can use a linoleum block instead of foam.
Students can sketch their design on the linoleum block and carve their
design using various woodblock or linoleum carving tools.

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.

Milton Street by Penny Streeter


http://www.pennystreeter.co.uk/landscapes/244001_milton-street.html
Lesson plan from http://www.cutoutandkeep.net/projects/faux-foam-woodblock-
printing
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The Art Gallery of Grande Prairie

Bibliography
Ainslie, Patricia. Margaret Shelton: Block Prints 1936-1984, Glenbow Museum,
exhibition catalogue. Calgary, Alberta, 1984, p.8.

“Discussion Questions about Landscape Art.” Landscapes, Classical to Modern:


Lessons and Ideas for Discussion. The J. Paul Getty Trust.
http://www.getty.edu/education/teachers/classroom_resources/curricula/landscape
s/background2.html

“The Invention of Woodblock Printing in the Tang (618-906) and Song (960-
1279) Dynasties.” Asian Education. Asian Art Museum. Accessed August 2,
2015.

“Japanese woodblock print production.” The British Museum. Trustees of the


British Museum. Accessed on August 2, 2015.

“Margaret Shelton.” Glenbow. The Glenbow Museum. Accessed on July 25,


2015.

McCoy, Heath. Beaten Bicycle tells the story of beloved Alberta artist Margaret
Shelton. Calgary Herald. Calgary, Alberta, 2012.

Pietzcker, Eva. “Japanese Woodblock Printing – moku hanga.” Printmaking


Studio. Accessed on August 2, 2015.

“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.

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