Pro forma Scheme Plan

Title of Scheme: Etching print

looking at Georgian Birr as a
focal point (doorways, lanterns,
columns, buildings).
No. of Lessons: 8

Total Time: 10.5 hours
Group: 5
th
years

No. of Pupils: 22
Aims: (what students will learn)

Study and gain appreciation for the following artists work (etchings by Andrei Protsouk and
Rembrandt).
Students will explore mark-making techniques such as cross-hatching, contouring, stippling,
line, shape and from this will learn to create a three-dimensional drawing.
Students will learn to develop a line drawing from observation of photo provided (Georgian
birr). Analyzing the entire photograph knowing how pieces are combined i.e. street lamps.
Students will learn to distinguish the angle that the photograph was taken through observation.
Translate the line drawing into an etching on acetate which will increase students knowledge
of tracing technique.



Georgian doorway and street lamps in birr












Etching by Andrei Protsouk Etching by Rembrandt


Overall Learning Outcomes for the Scheme: (what students will know about and develop in terms of
skills on completion)

Observational skills - students will analyze photograph of Georgian Birr and distinguish
between middle-ground, foreground, background and placement of objects.
Drawing skills students will develop a line drawing by way of observing photograph.
Be able to identify the work of the two artists, Andrei Protsouk and Rembrandt.
Observe the work of the artists and select 5/6 mark-makings and apply them to drawing where
appropriate.
Transfer line drawing onto acetate using tracing technique.
Independently choose and apply visual knowledge (line, shape) to line drawing/acetate.
Technical ability skills of using tools, materials and processes of etching.
Assess individual work and be critical of it. Ask yourself the following questions:
- Where could I have improved?
- What do I need to do or change the next time.
Be familiar with materials and processes knowing how much ink to take off and leave on
acetate.
Discussion skills As a group, students will discuss their work, analyzing where improvement
is needed and being critical of one anothers work.


Investigating/Exploring/Creating (include illustrations, especially your own work):

INVESTIGATING:

Students will investigate features of Georgian Birr through observation of photograph provided for
them. They will gain knowledge of Georgian Birr and its features through a handout of information.
Students will gain an appreciation for their town. Student will also analyze the work of the two artists
and become familiar with their work, choosing mark making techniques from their work.


From observation of this image, I see a Georgian street lamp with three lanterns the centre lantern
being highest in position. The whole frame of the street lamp is a metal structure strong and sturdy.
It has a white, metal railing around it which consists of metal chains and twisted metal bars. There is
orange colored rust in areas of the street lamp. The three lanterns are framed in metal box which is
wide at the top and brought in small at the base. The lanterns have class windows and contemporary
light bulbs which are spiral in shape. The lanterns are connected together with curved metal arms.
There are decorative shapes like leaves and vines twisted around the metal arms with floral details in
each spiral arm. The three lanterns have a hat like structure on top of them with triangular metal
pieces on the corners. They have a conical shape on the very top consisting of two pieces one large
and one small piece on top. There are different connecting sections on the centre pole of the street
lamp which follows:
Centre lantern is connected to a short tubular piece - which is connected to a decorative short tube.
Next there is a T-bar metal piece which has an oval shaped metal section with floral shapes between
areas of the T-bar. After the T-bar is a short tubular piece attached to a long column piece which has a
vertical lines carved out of it. This column has a metal leaf base which curves outwards at the top. The
two other lanterns are attached by curling arms from this point. The leaf metal piece has a short curved
piece with a column attached. There is a rectangular, metal frame encasing the top of this column with
a leaf detail. Next there is a bigger T-bar like the smaller one. The pieces get bigger as your eye moves
down the lamp. Sections become more defined in shape. There is a flattened circular shape between a
column and a curved column piece which has cut out vertical lines all around its shape. This section is
attached to a rectangular metal piece in the centre which is made up of four triangles (isosceles). There
are three of these with thick columns in between. The base curves out with column features and a
curved base.
The centre background shows a white metal railing which has spear like shapes on top. In the left
middle-ground I can see a Georgian building with long wooden framed windows. The building is long
and rectangular in shape. It is grey in color with a variety of grey tones going through the old fashioned
brickwork.






The work of Andrei Protsouk consists of a horse with a soldier on his back. The etching is flat but the
mark making on the horse (cross-hatching, contouring) gives the horse a three-dimensional look. The
horse is in the middle-ground and decorated with stripes and zig-zags on his lower legs maybe it is a
horse going into battle. I can see a snake wrapping around the horses leg. There are dragonflies flying
around the horse and the soldier is fighting them off with his sword. Protsouk uses Aztec style design
in this etching ( on the horses tail, reigns and snake). He emphasises shadows with darker mark-
making. I see a disc-like shield belonging to the soldier which has concentric circles on it. The etching
has two frames around the border with the images overlapping on it. The zig-zag shapes on the soldiers
clothing are going in different directions showing folds and three-dimensional effect.

Rembrandts composition shows Jesus in the centre background, on the cross. The use of light
emphasises Jesus and everything going on in the centre. It looks like there are rays of light shining
down from the sky. There is lots of cross-hatching and fine lines used to compose this image. I can see
a soldier with a sword at the front of the cross. He is holding the sword up maybe to show his
authority. There is another cross with a criminal nailed to it. In the left and right middleground there
are people huddled together. The right middleground is much darker than the rest of the etching, made
up of many close lines. There is emphasis on a pathway in the centre of the etching which draws your
eye to Jesus on the cross. Rembrandts etching looks bare but its is made up of mark-makings, use of
light/dark to compose the etching.




Vintage: bird/cage/musical notes/lace drawing and first proof print in etching technique which has
excess ink on plate needs to be cleaned up in these areas for second print. Proof no. 2 I didnt put
enough ink on plate in certain areas. Better than first proof.

EXPLORING:

Students will explore scale and proportion in the photograph (6x 4) and enlarge the
Georgian photograph in their line drawing to (7x 5.5).
Students will explore mark-making in the work of the two artists, choosing which marks
will be appropriate to their line drawing.
Students will explore the angle that the photograph was taken so as to be aware of
background, middle-ground, foreground and placement of objects.
Explore processes and methods of printing by observing teacher demonstration.

CREATING:

Students will create a line drawing from observation of a photograph of Georgian Birr.
Students will create the dimensions of the acetate (7 inches x 5.5 inches) and compose their
line drawing in this space.
Choosing 5-6 mark makings and incorporating them into their drawing and acetate using an
etching tool (made from a thick sewing needle attached to a pencil).
Students will place their drawing under the acetate and tape it into place so that it is easier to
trace over without it moving around. Students will create their drawing, acetate and prints
using the following process:

#1 mix oil paint and linseed oil with spatula
#2 make a dibber using t-shirt fabric rolled up and taped at the end
#3 apply oilpaint mixture to acetate plate using dibber, in circular motions
#4 use newspaper (flat) to clean acetate plate be aware of amount you are taking and leaving on
#5 soak fabriano paper for 2 mins
#6 blot fabriano paper with newspaper taking excess water out of it
#7 put newspaper down on printing press bed..acetate plate nextfabriano paper nextnewspaper
last. Put blanket over all.
#8 start wheeling all through print press twice
#9 take off blanket..newspaper..fabriano print making sure not to smudge it
Print 1 = proof print

Art history/critical and contextual studies (include illustrations):
Georgian Birr, Co. Offaly
Birr is a town in County Offaly, Ireland. It was formerly called Parsonstown, after the Parsons family
who were local landowners and hereditary Earls of Rosse, and renamed at some time between 1891 and
1901.
[6]
The town lies within a parish of the same name in the Roman Catholic Diocese of Killaloe.
Birr is a designated Irish Heritage Town with a carefully preserved Georgian heritage. Birr itself has
graceful wide streets and elegant buildings. Many of the houses in John's Place and Oxmantown Mall
have exquisite fanlight windows of the Georgian period.
The town is known for Birr Castle and its gardens, home of the Parsons family and also the Leviathan
of Parsonstown which was for a time the largest telescope in the world.

Birr crest and buildings (council office and theatre)
Birr is a designated Irish Heritage Town due to the preservation and wealth of Georgian architecture in
the town.
[11]
The earliest Georgian style buildings dating from 1740s are located in Emmet Square and
Emmet street (then known as Cumberland Square and Cumberland Street).
[12]
The column in the
centre of the square dates from 1747 and was built to carry the statue of the Duke of Cumberland,
known as the Bloody Duke and the victor of the Battle of Culloden. The statue was removed in 1915
as it was in danger of collapse. The Oxmantown Mall was laid out in the early 19th Century and was
designed as a promenade leading from Birr Castle gates to the Church of Ireland. The mall is tree lined
on one side with the Georgian houses on the other.
[12]
John's Mall was also built during this time also
with fine Georgian buildings.
[12]
The area is also known as the chains due to the sturdy chain railings
enclosing the central plots in the centre of the Mall. Birr Town Council meets here in a building known
as John's Hall built in the style of a Greek Temple.
[12]

The Seffin Stone is said to mark the centre of Ireland.
[12]
Mentioned by Geraldus Cambrensis, who
referred to it as Umbilicus Hiberniae, the indentations on the stone are as old as megalithic sites, such
as Newgrange. Myths claim that the indentations are from the hand ofFinn MacCool, hence the origin
of the name as Suigh Finn (pronounced "See-Finn"), the Seat of Finn. It is located to the left of the
gates to St John's Hall, on John's Mall, close to Emmet Square.
In Emmet Square stands Dooly's Hotel: one of the oldest coaching inns in Ireland, dating from 1747.
The name of Galway Blazers was given to the Galway Hunt after a celebration held in the hotel in
1809 resulted in the premises being set on fire. Film director John Huston was latterly a member of
the Galway Blazers. Australian soprano Dame Nellie Melbafamously sang to crowds gathered below in
the Square, from her hotel room above in Doolys Hotel. The nightclub attached to the hotel is named
"Melba's" to mark the occasion.

ICT: photocopier, computer, overhead projector.

Literacy:
etching, cross-hatching, contours, acetate, Georgian, transfer, trace/copy, dibber, linseed oil, methylated
spirits, spatula, fabriano paper, photo-etching, photographs, printing press, proofs, blotting, threaded
paper, re-interpret, camera angles, background, foreground, middle-ground, observation, dimensions,
process, oil paint, circular motions, newspaper, burrs.
Numeracy:
Acetate is accurately measured out with a ruler with dimensions of 7 inches x 5.5 inches. Fabriano
paper (200/250 weight) and textured paper will be accurately measured slightly larger with dimensions
of 7 inches x 9 inches leaving a frame around the paper. Students will enlarge their line drawing
which will be on A4 paper, from the photograph dimensions 6 inches x 4 inches to 7 inches x 5.5
inches.

Teaching/Learning Strategies:
Introduce the project to the class briefly, explain lesson 1 to them, so as not to overload them
with too much information.
Allocate handouts to the students introducing them to the work of Andrei Protsouk and
Rembrandt etchings.
Present a Power-point presentation informing students about the printing press and its
beginnings.
Demonstrate the etching technique using a students drawing under acetate, showing them how
to use an etching tool and make different mark making.
Demonstrate use of oil/print materials and importance of cleaning acetate plate before
printing- student demonstration for the class.
Demonstration on using the print press and how pressure is important as well as the cleaning
aspect, for a successful print.
Discussion after every printing class with the group on their progress of work ie improvements
or issues they might have.
Work displayed on the wall at the end of the project with discussion on what worked and
what could be improved on the next time.

Materials:
printing press, fabriano paper 200/250g weight, basin, textured paper, water, etching tools, guillotine,
acetate, oil paint, linseed oil, methylated spirits, lots of newspaper, latex gloves, plastic plates for mixing
paint, spatulas, dibbers, photographs, handouts, pencils, craft knives, wooden boards, A4 paper.

Safety Precaution:
School bags under the desks
Be careful using craft knives
Methylated spirits find an odorless one!

Differentiation:
Students at a lower level with their work and finding it difficult with their etching, can keep it
in its basic line form incorporating less mark making than the other students. They must take
their time and keep lines clear and concise.
Quicker students can work back into their acetate and produce more prints.

Timeline/Sequence of Lessons:
Lesson 1 :

Introduce myself and the four week project briefly. Explain the plan for todays lesson. Observe
handouts which contain the etchings of two artists Andrei Protsouk and Rembrandt and discuss.
Allocate A4 paper (which has pre-drawn acetate measurements on it) and photographs to each
individual. Students will re-interpret their photograph in a line drawing using pencil. They will
incorporate 5-6 mark makings in this drawing referring to the artists work.

Lesson 2:

Explain plan for todays lesson. Continue line drawing of Georgian Birr photograph incorporating all
mark-making techniques which student has referred to. Demonstrate etching technique on acetate
using students drawing as an example.

Lesson 3:

Explain plan for todays lesson. Finish line drawing completely if student has not already done so. (tape
drawing to the back of acetate in order to trace through it using etching tool).
Commence working on acetate with etching tool observing visual language line, shape, contour
etc recap lesson 2 demonstration on acetate. Demonstrate next step of etching process:
Mixing linseed oil with oil paint using spatula
Applying oil paint with a dibber to the acetate plate using circular motions
Cleaning acetate plate with newspaper flat newspaper in circular motions be precious with
how much oil paint you take off and leave on
Teach students how to use printing press
NUMBER YOUR PRINTS AND PUT NAME AT BOTTOM OF PAGE

Lesson 4:

Explain plan for todays lesson. Continue working on acetate etching. Initiate inking of acetate plate if
student is ready wearing latex gloves. Proof print no. 1. Observe print and distinguish areas that need
to be improved. Clean acetate plate using methylated spirits. Work back into acetate if student wants
more detail in certain areas. All students should be printing at this stage.

Lesson 5:

Explain plan for todays lesson. All students should be printing proofs of etching. Students should be
aware of importance of cleaning acetate plate, clear and clean lines no smudging. Students should be
working towards REAL print on fabriano paper 250g.

Lesson 6:
Explain plan for todays lesson. Students will be working back into acetate if needed and improving on
prints. Printing on real fabriano paper. Discussion on how students are getting on with their prints.

Lesson 7: Explain plan for todays lesson. All students should have at least 4 prints if possible at this
stage.

Lesson 8: Explain final lesson. Students will finish printing on fabriano paper and textured paper. Being
extra precious with creating a clear and concise print. Complete display of students work so we can
discuss the process and look for change and improvement.


Assessment Rubric: PRINT USING ETCHING TECHNIQUE CREATE AN ETCHING FOR A PRINT ON
ACETATE, LOOKING AT GEORGIAN BIRR AS A FOCAL POINT. SECONDLY, USE ORIGINAL
PHOTOGRAPH TO CREATE A PHOTO ETCHING USING THE SAME PROCESSES AND TECHNIQUES.

1.DRAWING/PLANNING
LAYOUT
Students should demonstrate:
Observational
skills:
Concentrated
observation of
photograph.
Drawing skills:
Sound studio
drawing practices
and attention to
camera angles used
in photograph,
analysing it
entirely.
Visual knowledge:
5/6 mark making
techniques
referring to the
works of Andrei
Protsouk and
Rembrandt.
Independent
thought choosing
and applying
visual knowledge
to line drawing.
Awareness of scale
and perspective
when planning the
layout of drawing.


Evidence of learning
Evidence that the student:

Effectively set up
drawing area with
a clear view of the
photograph and
drawing materials
pencil.
Observed
photograph closely
creating a line
drawing containing
the compositional
qualities that are in
the photograph
scale, proportion,
camera angles.
Created 5/6 mark
making in their
line drawing
emphasizing dark
tones, forms,
surface texture and
detailed areas of
photograph.
2.TECHNICAL
ABILITY
Students should
demonstrate:
Technical ability:
Developing skills
in the use of
general materials,
tools and
equipment
(acetate, etching
tools, printing
press, paints
etc)
Ability to
transfer line
drawing onto
acetate by way of
tracing.
Ability to create
5/6 mark
makings, giving a
visually complete
piece.
Ability to show a
3-dimensional
look to the
etching by way
of mark making.

Evidence of learning
Evidence that the student:

Became more
skilful in use of
tools and
equipment such
as etching tools,
printing press,
acetate.
Accurately traced
line drawing onto
acetate
combining 5/6
mark making into
the etched
drawing.
Confidently
applying mark
making where
appropriate.
Modifying
technique if
needs be i.e.
more mark-
making or cutting
away from
acetate for
effectiveness.

3.MAKING CRAFT
Students should
demonstrate:

Process: Ability
to use materials
and processes for
completing print
(soaking fabriano
paper, mixing oil
paint with linseed
oil, use of dibber
and oil on
acetate, cleaning
plate).
Application of
newsprint,
acetate, fabriano
paper and more
newsprint to the
print bed. Use of
printing press.
Critical
awareness to
what a good print
looks like and
how to improve
on it.

Evidence of learning
Evidence that the student:

Is able to modify
the etching on
acetate in order
to add another
dimension to
prints.
Technical
ability: using the
printing press.
Process: Created
a series of prints
showing
improvement
throughout each
one.
Is a team player
aiding fellow
classmates when
setting up the
printing press.

4.UNDERSTANDING
AND ATTITUDE
Students should
demonstrate:
Willingness to
cooperate and
contribute to the
print workshop
learning
activities.
Willingness to
persevere and
overcome
creative and
technical
challenges.
Openness to new
subjects, ideas
and methods.

Evidence of learning
Evidence that the student:

Is personally
engaged with the
project in all
areas as reflected
in the full and
integrated nature
of the work,
creative and
critical/contextua
l.
Discussion
skills: Can
explain some key
points on the
etching
process/methods
and its
importance.


Applied visual
knowledge
effectively creating
a 3 dimensional
form in the line
drawing.
Correctly enlarged
the line drawing on
A4 paper, with
correct dimensions
of scale and
perspective.