Children's print course

1. Which two printing technologies are missing?

1, missing print, missing print. The principle of making it is to make a plate by engraving, and then print the colo

1. Which two printing technologies are missing?

1, missing print, missing print. The principle of making it is to make a plate by engraving, and then print the color on the special drawing paper below. Colors can be tiled or superimposed many times to finally get the desired picture.

2. The paper tray is missing. This method is the opposite of coloring method. First, the hollow image is cut on the hard paper for printing or rubbing.

The same figure forms the regularity, structure and continuity of the plane through angle change and infinite cycle. Whether it is to cover the whole plane with recognizable graphics or to repeat the basic pattern many times with a plate to produce a sense of rhythm, this dramatic taste is illusory and unreal.

For example, the images of birds, fish, lizards and people are the basic elements. Through translation, rotation, reflection and sliding reflection, these operations may make a pattern copy itself and form a special plane effect.

(1) Extended reading of children's printmaking course

The rubbing materials are: glass, wood board, plywood, plastic board, cloth, paper, slate, iron plate, etc. When rubbing on the glass, a piece of white paper can be lined under it to show the trace of ink color and the change of depth.

1, a single ink color is directly printed.

2. Multi-ink direct rubbing

3. Local friction

Step 4 rub repeatedly

5. Continuous friction

There is still a little ink on the printed material, so you can continue printing while it is still dry, and you can get the fun of cracking the autumn wind.

2. Does Hebei Normal University have a printmaking major? Are there any graduate students?

Training plan:

All teaching activities of this major are carried out under the teaching management mode of school credit system. The direction of printmaking specialty is divided into three main courses according to the types of printmaking media: lithograph, copperplate and screen printmaking. According to the application types of printmaking, there are two extended courses: illustration creation and book design. On the basis of the basic study of subject comprehensive specialty, the theoretical knowledge and production knowledge of each edition are studied and studied respectively, including the ontology form, painting form and creative concept of printmaking. Production method, technology and application. According to the professional direction, two teaching laboratories are set up, the classroom and laboratory functions are integrated and used reasonably, and the conditions are * * *; Take the combination of teaching and discussion and the corresponding teaching operation and management methods.

Training objectives:

The direction of printmaking specialty aims at taking the teaching of printmaking specialty as the training way and adopting a scientific, standardized, pragmatic and flexible teaching mode. Enable students to master the knowledge and skills of this major and related majors, comprehensively improve students' ideological and cultural quality, and cultivate high-quality compound artistic talents who can meet the needs of China's socialist scientific and cultural development and engage in artistic work such as printmaking creation, research and education.

Courses:

1, basic painting course (6 courses)

Black and white composition painting theory, color composition painting theory, landscape sketch, sketch performance analysis, color performance analysis, modeling thinking transformation.

2. Printmaking Art Creation Course (7 courses)

Introduction to Printmaking Art Traditional Printmaking, Copper Printmaking, Woodblock Printmaking, Screen Printmaking, Printmaking Proposition Creation and Free Proposition Creation.

3. Extended printmaking course (3 courses)

Art investigation, illustration creation, book design

4. Graduation thesis and graduation creation

Employment direction:

Students majoring in printmaking have strong adaptability and universal social adaptability, and can engage in easel painting, photography, multimedia and other work. Have the ability to engage in teaching, scientific research, publishing design and other practical fields.

Yes, there is a professional introduction on it.

3. How to make a good start to attract students by teaching children printmaking for the first time?

Tutorial lecture on children's printmaking

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Children's printmaking education has long been valued by children's art educators all over the world, and many countries have set up printmaking classes in primary and secondary schools and kindergartens according to their own reality. Such as the former Soviet Union, Bulgaria, the United States, Germany, Britain, France, Canada and other countries, children's printmaking education is very distinctive. Japan, known as "the country of printmaking", attaches great importance to the education of children's printmaking, and lists children's printmaking as a compulsory course in primary schools, which is also one of the important means of quality education, with rich contents and forms. Using the brain and hands, developing thinking and cultivating creativity have outstanding social benefits. In the early 1980s, China Children's Printmaking Society was established in China, and various organizations for children's printmaking activities were established in various places. Since 1990, the State Education Commission has added printmaking to the full-time art syllabus of primary and secondary schools. Therefore, children's prints are gradually emerging on campus and are familiar to people. At present, the essential problem of curriculum reform embodied in the new curriculum standard is the integration of curriculum, and the setting of comprehensive practical activity curriculum is also the general trend. The new "Standard" also proposes to change the old learning style from single, passive and outdated to diversified, among which independent exploration, cooperation and communication, and operational practice are the most important learning styles. In the process of creating children's prints, besides students' independent ideas, painting, engraving and printing are very important, which embodies the new standard practice learning mode. The reform of students' learning style is the focus of basic education curriculum reform. Because of its own advantages, children's printmaking teaching has naturally become the experimental field of the new standard, with broad prospects.

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First, the theoretical basis of children's printmaking education:

The general goal of the new art curriculum standard clearly points out: "Students participate in various art activities in the form of individual or collective cooperation, try various tools, materials and production techniques, learn the methods of art appreciation and criticism, enrich visual, tactile and aesthetic experiences, experience the fun of art activities and gain lasting interest in art learning; ..... in the process of art learning, stimulate the creative spirit, develop the artistic practice ability, form the basic artistic accomplishment, cultivate the noble aesthetic sentiment and improve the personality. "

With the introduction and implementation of the new art curriculum standards, the original teaching content, teaching methods, curriculum structure and evaluation system have been comprehensively reformed. Children's printmaking teaching, because of its unique artistic form and learning style, will not be weakened, and will even be further enriched and developed in the implementation of the new standards. Compared with the current new standards, children's printmaking teaching can reflect its necessity and foresight in many places, and can find its blending point and vitality in many aspects.

The process of printmaking is a comprehensive course of children's painting and handwork. In childhood, the arm strength is weak, the cooperation between wrist and finger is inaccurate, the feeling is general and the concept is vague, which often leads to many accidental effects in the whole process of painting, carving and printing. It is these accidental factors that make children's prints have a naive, simple and natural childlike interest, which is hard to get from adult prints and other paintings.

Second, the practice of children's printmaking education

Children's printmaking education needs two basic conditions: one is a caring, enthusiastic and patient teacher; Second, we should have a set of scientific educational methods for children's printmaking. Only in this way can we explore the artistic potential hidden in children, carve out children's pure jade materials, or directly lead children from the first hall of description to the second hall of printmaking, or lead children with certain painting foundation cultivated by others to your second hall of printmaking. Whether this easy operation from painting to printmaking is difficult or not is the key to inspire children's interest in printmaking. My experience in the practice of children's printmaking education is that it takes at least three stages, step by step. This is: first, the enlightenment of interest; Second, the fun of making; Third, the expansion of imagination.

(A) the enlightenment of interest

Some children really like painting, or we regard painting as a natural interest, and some children only like to look at pictures without drawing themselves. However, it can't be said that the child has no talent for painting at all, because he doesn't like painting, and some people like painting but have no confidence in themselves. There are also some people who have suppressed their smearing ability and developed clean habits since childhood because their parents don't allow them to scribble. In any case, we should use love, enthusiasm and patience to inspire children to appreciate and make the potential of painting art and be tempted to do it. The performance of this potential in children is "interest". In other words, whether a teacher can arouse children's interest in printmaking in various ways is not only the first goal, but also the key to success.

For example, one of my students, Wei Yi, refused to do it herself when she first started class. Sometimes the teacher holds her hand and doesn't want to draw. To this end, the teacher thought of many ways. First, enliven the atmosphere of the scene, let her get along with other students more, and let some students humorous sketches during recess, so that she can develop a mentality of being close to other students and liking each other; Second, the teacher tried to make a print demonstration on the spot to show the magical effect of children's prints as much as possible, so that they could try it on the spot and break the mystery; Third, as long as students have a little good effect or a little progress in production, they should be fully affirmed by praise. Fourth, cultivate children's self-reliance and self-confidence, and get along equally with other students on a platform and a starting point. Under such circumstances, this classmate slowly began to become active. Teachers and classmates often chat with her and ask her to talk more and draw more pictures. Now she can not only make prints independently, but also help other students draw pictures.

(B) the joy of production

Some theorists say that art originated from games. And the production of this kind of children's print can really be positioned in the game from the perspective of behavior. Children naturally like to play games, but they must come from interest. Small hands that like to build mud houses are likely to be the hands of architects in the future; A little hand that loves to smear everywhere may hold a brush in the future. Therefore, after starting children's interest in printmaking, we should guide them into the joy of printmaking, which of course starts with the simplest printmaking.

1, separate printing

(1) Tool materials: blow-molded paper, ballpoint pen, electric soldering iron, gouache paint (or concentrated advertising paint), rubber bottle (made of rubber tube, wooden stick, etc. ), oil pastels, writing brushes, etc.

Blow paper is very soft. When a ballpoint pen is used to draw on blow-molded paper, dots, lines and surfaces with different sizes and widths can be left on the surface, which can produce colorful printmaking effects. Gouache pigment (or concentrated advertising package) can replace ink for children to operate independently and clean after class.

(2) Basic production methods:

Step 1: Draw a draft:

Under the guidance of the teacher, students draw manuscripts (such as campus life, rural customs, etc. ) according to your own life feelings (or sketching). When drawing a manuscript, the teacher should talk about the density relationship of the lines that make up the picture: in the picture, where the lines are densest, where the lines are thinnest and where the lines are not dense (that is, the relationship between black, white and gray that make up the picture). In the middle and lower grades of primary school, we don't directly talk about the "black", "it" and "gray" that make up the picture.

Step 2: Carving:

Draw the manuscript directly on the blow-molded paper with a foam watercolor pen, and wipe off the dissatisfied parts with a wet cloth. After painting, use a ballpoint pen (bamboo sticks, nails, etc. ) It's hard to describe. Because the blow-molded paper is soft, the ballpoint pen marks it as a dent. Dense lines will be forced to sag to form concave blocks, and sparse lines will form gray.

Step 3: Print:

Roll gouache pigment (or concentrated poster color) back and forth on the flat plate with glue gel, so that the surface of the glue gel is evenly inked (it is not advisable to add too much water to the pigment, so that it should have a high concentration), and then rub it on the rigid plate (various colors can be adjusted as needed), so that the printed matter on the blow-molded paper can be evenly colored (the color on the blow-molded paper should not be too small). There is also a printing method: use colored cardboard to imprint on blow-molded paper, fill in one color to print one color, and print the pictures one by one. The printed matter printed by this method is called powder printing, and this method has basically been widely used. The above production methods use blow-molded paper instead of wooden boards, ballpoint pens instead of wood carving knives, and concentrated advertising paint instead of ink, which reduces the production difficulty, shortens the production time of children's maps, and enables students to create printed matter in class, after class and at home.

(3) The expression techniques of several printmaking special effects.

There is no fixed method for children to draw, but teachers should have certain methods to guide children to draw. In the teaching process, various methods are used to show the effects of various prints made by blow-molded paper plates, which effectively improves the expressive force of children's blow-molded paper plates and their interest in prints.

First, the expression methods of rock paintings, murals and batik effects

(1) Carve the plate according to the expression method of blow-molded paper prints, and tear the plate into irregular shapes by hand according to the needs of the picture.

(2) Rub the prepared blow-molded paper probe into a ball (which can be rubbed locally according to the needs of the picture), and stick the torn part on the back of the blow-molded paper with adhesive tape.

(3) According to the basic expression method of blow-molded paper, printed matter can be printed in monochrome, or partially filled with oil painting rules to form colors (when painting oil painting rules, the force is slightly light, and the original engraved lines cannot be drawn). (Figure 1) The version printed by this method is arbitrary and can achieve unexpected results. Very chronological, with a strong local flavor. When instructing students to create such works, murals and batiks can be provided. For students to appreciate, so as to achieve more ideal results.

(Photo 1) Li Ming is 8 years old.

Performance of woodcut effect

① Draw the manuscript on blow-molded paper with foam watercolor pen.

② Use a ballpoint pen or other hard pen to carve a small number of slender lines on the blow-molded cardboard of the good draft.

(3) According to the characteristics of blown paper being melted by heat, there are large areas of blank and dense points and lines in the picture. When the electric soldering iron is heated locally on the blown cardboard picture, the tip of the electric soldering iron can be polished into different shapes in advance. ) The tip of the electric soldering iron is square and round, and the produced layout has a strong knife flavor. If the picture needs a natural border, you can help me with a knife.

(4) the printing method is the same as before, which can be monochrome printing or color printing. The work has a strong knife flavor and woodcut effect. (Figure 2)

(Figure 2) Yan Shu 10 years old (Figure 3) Li Hao 10 years old.

The prints made by this method have exquisite artifacts and strong woodcut effect, which overcomes the difficulty of primary school students carving boards with woodcut knives and is suitable for popularization among primary school students, high school students and middle school students. When making plate with electric soldering iron, we should pay attention to controlling the contact time between electric soldering iron and blow-molded paper. This method is suitable for popularization in art extracurricular activities.

C, brick carving, stone rubbings painting effect performance

① Draw the objects to be represented on blow-molded paper (or a piece of paper with rough surface) and summarize them as much as possible when drawing.

(2) Cut out the drawn pattern and paste it on the paper block (or blow-molded paper) with latex.

(3) After coating latex, print the work (the printing method is the same as before) (Figure 3).

The production method of this effect is mainly based on the difference of ink absorption performance of blow-molded paper and paper blocks. The paper block has poor ink absorption, and the printed ink (color) is light, resulting in mottled texture effect. Blow-molded paper has strong ink absorption, printed ink (color) is deep, and the contrast between reality and reality is strong, which has strong brick carving and stone carving rubbing effect.

(Figure 4) Wang Wei 1 1 year (Figure 5)

Children's prints are linear. It needs to be done in a relaxed and pleasant environment. In the process of guiding children to learn printmaking, don't do it in strict accordance with the details like adults do printmaking. It is particularly important to teach students according to their aptitude according to local conditions. The tools and materials in the production process of the above prints are simple, and the production method is simple, which is suitable for children's age and psychological characteristics. The expression of several special effects also greatly satisfies children's curiosity, active personality and strong thirst for knowledge. Unique works enhance the artistic appeal of children's prints and maintain children's lasting interest in prints.

2. In addition, you can make paper printed matter. Printmaking is to use a slightly thick piece of smooth or rough cardboard and a pair of small scissors to cut and paste at will. As long as you have some ideas or plans, you can start.

3. Woodcarving is also very easy and enjoyable. Because only the common laminated board is used, it is easy to carve, especially when the ink roller rolls on the wooden net, it will have a special texture pattern and a special knife smell. When the ink is clearly displayed in the scroll, that feeling is pride, self-confidence, expectation and joy of success. It's unspeakable joy and happiness. Only a small author can taste and experience. And the happiness of production will in turn form the motive force of creation, making it a happy production that pursues happiness.

(C), the expansion of imagination

Einstein said that imagination is more important than knowledge. Because knowledge is limited, and imagination sums up everything in the world, promotes progress and is the source of all knowledge evolution. A small children's painting is a small soul's exploration of the world. Its peculiar imagination, bold conception, free technique and unrestrained color are the most touching and wonderful values of children's painting.

In the process of guiding children's printmaking, we try our best to lead students into life, nature and experience in life. Through experience, let children discover the joy of life, pay attention to interesting people in life, show local characteristics and customs, strengthen the organic connection between children's artistic creation and life experience, and strengthen the humanistic factors in artistic creation, so that children can become the main body of painting and draw what they want to paint most. Teachers can only do some heuristic guidance in advance and let children imagine for themselves. We should fully respect the children's own will and imagination, and don't let them feel that they have accepted the will imposed by the teacher. Printmaking is different from other paintings. It can print multiple pictures. Therefore, in the process of making children, we can constantly revise, adjust and improve children's aesthetic ability.

This kind of children's printmaking education, which is used in the regular art education in schools, has better effect than the simple painting education form. Because it not only has the law of fine art painting, but also has the self-discipline of printmaking art, it has more connotation and skill development space in children's artistic quality.

Knowledge and skills, process and method, emotion, attitude and values are three aspects of the curriculum objectives of basic education, which are a whole. In the whole creative process, students constantly construct new knowledge and skills of exploratory printmaking, and the pleasure of success constantly enhances children's learning consciousness, which leads children to consciously think about the creative process in constant collision. Emotion, attitude and values can be formed and developed harmoniously in the whole process of printmaking knowledge development. In terms of aesthetic language, we should guide students to discover the beauty of texture, shape and color in life, stimulate children's love for life, and enhance children's aesthetic interest and personality emotion in happy creation. In the way of learning, the traditional single student accepts learning as "autonomy and cooperation". Inquiry learning fully provides students with opportunities for aesthetic creation and perception, guides students to learn through inquiry, fully respects children's unique visual language form in plastic language, and protects children's artistic originality and children's way of thinking. Publicize each child's unique personality, express the straightforwardness of children's inner life, let printmaking teaching really return to children's life, pay attention to children's life world and inner feelings, and explore the value of children's printmaking, thus enhancing the educational significance of children's printmaking. The effective integration of three-dimensional goals can maximize the artistic potential of children and lay a good quality foundation for their lifelong development.

Third, the experience of printmaking teaching in primary schools

In the current primary school art textbooks, the content of printmaking only requires students to have a general understanding, and the practical operation training of printmaking is far from enough. My alternative is to set up the teaching content of printmaking separately in the second class, so that students can have more time to understand and master the production process of two or three kinds of printmaking and have a more systematic and comprehensive understanding of printmaking.

Take printmaking as the initial teaching content, give priority to hands-on operation, appreciate printmaking works and create independently without imitation.

I mainly teach middle-aged printmaking in primary schools. According to the characteristics of students this year, my printmaking teaching has taken the following corresponding measures.

Students in grade three and four can already perceive the basic shape of objects in art class. In the production of paper prints, the basic form of the object is the main language of the picture. In the process of drawing, I ask students to draw the basic shape of an object according to the basic practice methods in art class, and express the combination line of the basic shape (including the cutting shape) clearly. During the transition from the draft to the paper version, I give full play to the students' imagination and don't stick to intaglio and letterpress. On the paper version, where to paste it, where to cut it, and what kind of effect you want to express, ask students to choose their own methods purposefully after thinking.

Specific materials and production require students to combine their hands and brains and find ways. My printmaking appreciation class naturally penetrates into the printmaking class, that is, appreciation is to guide creation. I show a large number of Japanese children's prints and modern and ancient prints from Japan and China to students, and also bring my own prints to the classroom, so that students can intuitively perceive the relationship between the effect and materials and techniques through specific works. Of course, the appreciation at this stage is mainly black and white printing.

In the production process, ordinary glue can't stick the cardboard firmly. We use white latex, which should be left for more than one day after pasting the cardboard, so that the cardboard can be pasted firmly. In particular, some small dotted lines are not firmly adhered, which will destroy the effect and even lead to failure after being picked up by the oil roller.

The control of the thickness of pen and ink, the grasp of the reality and the impression after covering rice paper can make the picture interesting, but the stable diversity of printmaking is one of the essential characteristics of this art, and this relationship should be clearly explained to students.

Based on the production of black-and-white mimeographed concave-convex paper prints, students can make a single water-pink print, which combines free imagination with rigorous production to further exercise and cultivate students' aesthetic consciousness.

Limited by the conditions and students' practical ability, the requirements for our overprinted printed materials have been reduced. In the choice of plate, detours, such as blow-molded paper, are uneven in coloring and fuzzy in texture, and the effect is not good, while plywood is easier to obtain. The expression of wood grain also helps students to understand the beauty of texture and imprint.

Middle-aged students can't carve boards with wood carving knives. What we do is copy the board on the back of the painting, and then draw the copied line marks with a black marker. The image of the picture is represented by the thick line of the marker, which is also the dividing line of gouache pigment.

The teacher's demonstration is very important in the specific operation of gouache. In teaching, I ask students to carefully understand the teacher's actions, never let go of every detail, and give hands-on guidance to students who lack practical ability from the beginning. From the color blending, the ratio of water to pigment, the posture and weight of painting pigment on the board, etc. All the details that affect the picture effect need students' attention.

At the beginning of students' production, there will naturally be some failed works, and these works are the valuable experience of students. Teachers must not ignore the teaching value of failed works in teaching, especially for printmaking works. The teacher will analyze the failed works one by one, so that students can understand which mistakes will lead to which failures in the production process. This analysis of mistakes is a supplement to my study of manufacturing technology in gouache.

It should be said that color printmaking is more conducive to cultivating students' sensitivity and expressiveness to beauty, and it is more difficult than black and white printmaking. Considering the acceptance ability of middle-aged students, I pay attention to arranging courses step by step in actual teaching, so that students can enter the world of printmaking in stages.

Students can draw some familiar plants first, and can draw some flowers and plant branches and leaves with relatively simple outlines in a simple composition. Students can easily handle the color relationship and get a sense of accomplishment when coloring, which also lays the foundation for further handling complex objects and colors. The purpose of this stage is to familiarize students with the production method of gouache color-matching prints and understand the difference between color-matching prints and black-and-white mimeographs. The image of the picture should be large, the composition relationship should be relatively simple, and the steps and skills of students' coloring should be relatively easy.

After five to eight hours of study, students have mastered the skills of woodcut gouache color printing, and their relative level is far from perfect. At this time, the teacher should take the students to do some outdoor sketches to enrich the students' performance materials. In sketch, teachers should handle gouache color printing well, let students learn to choose painting materials consciously in sketch, and let sketch serve printmaking.

After such training and operation, students' general attempt at printmaking has changed from art class (only three to five class hours) to a gradual in-depth understanding of different versions of printmaking, and everyone is more interested in such classes as a constantly changing supplement to painting, handcraft and appreciation in art class. For a long time, this vivid and diverse form has enabled students to learn a painting form systematically. On the one hand, it trains students' hands-on and brain-thinking abilities, on the other hand, it enables students to go deep into an unknown field and make long-term exploration. The comprehensive ability of students in the teaching class has improved, and the development space of individual outstanding students has also increased invisibly. The benefits and continuous improvement of instructional design need further in-depth study.

Fourth, the significance of children's printmaking education:

Children's printmaking education is of great significance in primary school art education, which has its own advantages and cannot be replaced by other art forms.

One is to use various forms of media to express children's thoughts and feelings. The second is: the diversity of printing, more than one printing in a version. This is a number of photos. Because of this feature, it is convenient to participate in various forms of exchanges, and at the same time participate in exhibitions in different places, send friends, relatives and classmates, and hang them at home and in public places. These works all appear in the form of original works. Thirdly, the production of printmaking must be completed through three processes: self-drawing, self-engraving and self-printing, so that students can be interested easily. In the production process, it is necessary to cultivate the coordination of students' eyes, hands and brains, and at the same time inspire students' thinking, promote brain development and improve students' ability to use their hands and brains.

Fourthly, printmaking is a combination of painting and operation, which is manual and students are more willing to participate. Through the production of printmaking works, the young authors' labor wisdom and indomitable spirit of not practicing skills are displayed and run through the whole creative process.

The fifth is: unexpected printing effect, students have a kind of fun when carving, once printed, students will be more excited, have a great sense of satisfaction, enhance their creative confidence and have a stronger interest in creating prints.

The sixth is: the combination of printmaking and life. Good printing can be printed directly on the vest to show the fruits of one's labor. Students will have a sense of pride and honor, bind everyone's prints into a collection of prints, and enjoy each other. They will also organize students to make new year cards and give them to each other to show their concern.

It is not only a means to establish a characteristic school of printmaking education, but more importantly, it is a breakthrough point to fully implement children's quality education, creating a creative scene and atmosphere for campus printmaking and letting children experience it in printmaking practice. Understand and realize the harmonious development of three-dimensional goals.

4. Are there any students studying printmaking? What courses do printmaking majors have? Thank you.

Printmaking is one of the limited elective courses for students majoring in painting, and it is also one of the four traditional pillar courses of painting (namely printmaking, Chinese painting, oil painting and sculpture). The teaching content of printmaking course mainly includes: classroom teaching: appreciating the representative works of famous printmakers at home and abroad, explaining the origin of printmaking, the history of China printmaking, the history of foreign printmaking, and introducing the types of printmaking. Prints vary from plate to plate and can be divided into: copper plate, stone plate, screen plate and wood plate. The characteristics of printmaking are directly related to printing, and each printmaking is realized through various techniques of making pictures. The basic courses of printmaking include the practice of black-and-white painting and the practice of black-and-white woodcut techniques.

Printmaking teaching is very different from other types of professional teaching, because first of all, printmaking is related to the production process. It not only depends on hand drawing to complete a painting, but also depends on plate making and printing to complete a work. Printmaking requires different types of professional studios according to different types, such as copperplate studio and screen printing studio. When students do classroom exercises, they need to operate all kinds of printmaking equipment in the studio to complete their homework.

Printmaking teaching pays attention to both classroom teaching and practical teaching. Teachers must personally operate the machine to demonstrate to students, explaining the principle of printmaking, the modulation of ink, the preparation of corrosive chemicals and all matters related to plate making. Let students not only have a theoretical understanding of the characteristics of printmaking art, but also be proficient in hands-on ability and be able to independently complete the classroom assignments assigned by teachers.

5. What is the help for students to miss printing?

Printmaking is one of the limited elective courses for students majoring in painting, and it is also one of the traditional pillar courses of four colleges (namely printmaking, Chinese painting, oil painting and sculpture). The teaching content of printmaking course mainly includes: classroom teaching: appreciating the representative works of famous printmakers at home and abroad, explaining the origin of printmaking, the history of China printmaking, the history of foreign printmaking, and introducing the types of printmaking. Prints vary from plate to plate and can be divided into: copper plate, stone plate, screen plate and wood plate. The characteristics of printmaking are directly related to printing, and each printmaking is realized through various techniques of making pictures. The basic courses of printmaking include the practice of black-and-white painting and the practice of black-and-white woodcut techniques.

Printmaking teaching is very different from other types of professional teaching, because first of all, printmaking is related to the production process. It not only depends on hand drawing to complete a painting, but also depends on plate making and printing to complete a work. Printmaking requires different types of professional studios according to different types, such as copperplate studio and screen printing studio. When students do classroom exercises, they need to operate all kinds of printmaking equipment in the studio to complete their homework.

Printmaking teaching pays attention to both classroom teaching and practical teaching. Teachers must personally operate the machine to demonstrate to students, explaining the principle of printmaking, the modulation of ink, the preparation of corrosive chemicals and all matters related to plate making. Let students not only have a theoretical understanding of the characteristics of printmaking art, but also be proficient in hands-on ability and be able to independently complete the classroom assignments assigned by teachers.