How to make a Collagraph. A playful relief print using card, leaves & twigs, by Rob the Art Teacher скачать в хорошем качестве

How to make a Collagraph. A playful relief print using card, leaves & twigs, by Rob the Art Teacher

This ‘How to make a Collagraph’ video is for printmaking beginners, for teachers whose students are beginners, and hobbyists. Follow my simple steps and explanations to learn how to make your first collagraph or use my video with your young art students in the art classroom. Це відео «Як зробити колаграф» призначене для початківців графічної графіки, для вчителів, чиї учні є початківцями, і для любителів. Дотримуйтесь моїх простих кроків і пояснень, щоб навчитися зробити свій перший колаграф або використовувати моє відео з вашими молодими студентами мистецтва в класі мистецтва. Playfulness, discovery, and a sense of experimentation are important with this project. Collagraphy provides great opportunities for young artists and students to discover the creative versatility of relief printing. У цьому проекті важливі грайливість, відкриття та відчуття експерименту. Колаграфія надає чудові можливості молодим художникам і студентам відкрити для себе творчу багатогранність рельєфного друку. Teacher Notes: This is a great unit for teaching elements such as texture, line, mass, and light-and-dark / tonal values. It balances using prior learning (collage) with new learning (relief printing) and is rich in playful discovery opportunities. I find it suitable for children aged 10 years and upwards as a first experience of picture-making with relief printmaking; and I teach the unit in two 90-minute lessons in consecutive weeks. By focusing on the discovery aspects, children should feel free to experiment and to make mistakes and have things ‘not work out’ without jeopardy. I try to instil in my students the idea that artists often try things for the first time to discover what might be possible, what works, and what doesn’t work. So, in their first attempts at something new, artists don’t judge themselves – they play and trust that the process will reveal things they would like to use in the future. I use this unit as an introductory discovery session, with the expectation that we will then work on a unit where we plan a collagraphy / relief print ‘artwork’ based on what we learned through our first attempts. You might also like to watch my other PRINTMAKING videos: How I improvised my printmaking table:    • Got no money, got no space for printm...   Doing my printmaking ‘mise en place’:    • My classroom mise en place: Printmaki...   Inking the Roller in Printmaking:    • Inking the Roller in Printmaking. A h...   CREDITS This video uses the following artworks by other artists: Glen Earl Alps (1914-1996), "The Three Chickens" (1959), collagraph on paper. Aglaya Nogina (Ukrainian artist), cardboard relief print of a seated figure with a silhouette of scissors. Charlene Cloutier (Elementary Art Teacher), collagraph of a tower, tress, and stars. This video uses the royalty-free music: “Misty Mountain Top” from MS Photos Video Editor Audio “Dreams” from https://www.bensound.com. If you enjoyed this video, be sure to like and share. If you’d like to see more content like this, please subscribe to my channel:    / @robtheartteacher   Let me know what you think, in the comments above. You can also find me on LinkedIn:   / robgarrettcfa   Rob Garrett is an accomplished art teacher, writer, and contemporary art curator. With fine art and art history degrees from leading New Zealand Universities, he is a certified art teacher with 45 years’ experience teaching art to all ages, having worked in primary/elementary schools, high schools, and higher education art schools, including time as the Head of New Zealand’s oldest art school, the Dunedin School of Art (founded in 1870). He is currently teaching the art program at The American Elementary School in Gdynia, Poland. He has also had the honour of senior public service in New Zealand, first in a governance role as Council member with New Zealand’s national arts council ‘Creative New Zealand’, and then as the senior manager for national pan-arts development in the same organisation. His national and international work for and with artists has included initiating and administering artist residency programmes, artists’ wage/labour rights advocacy, managing New Zealand’s presence at the 2005 Venice Biennale of Contemporary Art, and curating numerous contemporary art exhibitions, public space festivals, artist commissions, and city-wide public art programs in New Zealand and Poland.