Tree of Life: Gustav with Gusto - Arts & Activities Magazine

LEARNING OBJECTIVES
Upper-elementary students will …
• use wet-on-wet watercolor techniques.
• incise a printing block, ink it and
make prints.
• sign and number an edition.
MATERIALS
• Gustav Klimt prints, especially Tree of Life
• 6" x 8" white copy paper
• 6" x 8" polystyrene foam trays
• 8" x 10" heavy (90-lb.) drawing
or watercolor paper
• Large brushes and water
• Paper towels
• Pencils and erasers
• Black water-soluble printing ink or tempera
• Brayers
• Newspapers
• Transparent tape and masking tape
very talented fellow art teacher of
A mine, Phil Miller, shared a great
lesson using the wet-on-wet watercolor
technique as a base for block printing.
He had fourth-graders etch line designs
on polystyrene foam and use them to
print over their watercolor papers.
The results were very striking and
impressive for such a simple printmaking
project. I began thinking of other
possibilities. What else could we print
over beautifully hand-painted papers?
Inspired by Gustav Klimt’s Tree of Life
painting, I experimented with the technique
and the results were spectacular!
Gustav Klimt was born in Vienna
in 1862. His father was a goldsmith,
which had a lasting influence on his
art, as did a visit to Italy, where he saw
beautiful mosaics in the churches. At
age 14, he received a scholarship to the
Vienna Public Art School. After graduating,
he painted realistic portraits and
later began to paint landscapes.
Gustav Klimt was best known for
creating a style known as Art Nouveau,
in answer to the Industrial Revolution
of the early 20th century. Cities were
growing and factories were expanding.
Art Nouveau was a reaction to technology,
using curving shapes, flat, decorative
patterns and handmade materials.
The Art Nouveau artists extended art
into all parts of people’s lives: buildings,
furniture, dishes and clothing.
Klimt’s art is full of detailed patterns
and beautiful metallic colors, especially
gold. Two of his best-known paintings
are The Kiss and Tree of Life, which
exemplified the Art Nouveau style.
To introduce the lesson, I shared
various prints by Klimt. Students were
enthralled with the bright colors,
detailed patterns, realistic faces and his
striking use of gold. We compared his
Go to artsandactivities.com and click
on this button to download the rubric
and reproducible vocabulary worksheet
mentioned in this article. see GUSTAV on page 40
by Joan Sterling
Ivory
Ajla
Sam
Lauren
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GUSTAV
continued from page 37
paintings and students
noticed that
although the faces
were very three-dimensional and realistic,
everything else was rather flat and
stylized. I showed students how his artwork
progressed from his early years
into this Art Nouveau style, and shared
biographical information to support this
progression. We then focused on Tree of
Life, discussing the stylized quality with
the lovely patterns and gold overtones.
I explained to students that our
project would include both printmaking
and painting, while asking them
if they could explain the difference.
We decided that prints are a way of
making more than one copy with various
methods, including stamping,
block printing, silkscreens, printers,
I explained to students
that our project would
include printmaking
and painting ...
etc., whereas paintings are single,
original works made by applying
paints with a tool, such as a brush or
palette knife.
The first session we focused on creating
our wet-on-wet watercolor backgrounds.
We used heavy (90-lb.) drawing
paper cut into 8" x 10" sheets. This
would accommodate our polystyrene
plates, which were made from lunch
trays. After cutting off the edges, our
plates ended up being 6" x 8".
I demonstrated the wet-on-wet technique,
explaining that the paper needs
to be very wet so the colors will bleed
together. I show students how to place
one color next to another and let them
bleed together for exciting results. If
they stay in the white spaces and don’t
paint one color over another, the colors
will stay vibrant.
It is important that students get
a good amount of color on their
brushes so the colors will be vivid.
Also, I discuss warm and cool colors,
asking students to choose one
color group, although they may
introduce one accent color from the
other group. This guarantees that
see GUSTAV on page 41
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GUSTAV
continued from page 40
the colors will be
bright and not get
muddy. I had each
student paint two papers, with the
choice of doing more.
When students are done painting,
they get a 6" x 8" piece of paper and
pencils to draw a tree Klimt-style. I
demonstrate drawing the tree with a
strong trunk and branches that turn
into spirals at the ends. We use a variety
of lines and shapes to create patterns
on the trunk and branches. If
time allows, they can outline the tree
in extra-fine black marker. This will be
used to etch on the polystyrene foam
during the next session.
The next class, students use their
drawing to etch on the polystyrene
plate. First, I have students make a
Students enjoyed
every aspect of this
project and completed it
with “mucho gusto.”
little tab for a handle using a one and
half inch–long piece of masking tape.
Put the end of the masking tape on the
middle of the back of the polystyrene.
Pinch the middle of the tape, and then
put the other end down. This creates a
small tab that can be used for lifting up
the plate.
Then, tape the picture to the polystyrene
on top and bottom with a small
amount of tape. Using a sharp pencil,
draw over all the lines and patterns,
pressing lightly into the foam. Remove
the paper and etch deeper into the
foam, being sure to break the surface,
but not go all the way through. A stylus
with a metal tip or ballpoint pen
may be used.
The following session we complete
the project by printing. I use a very
controlled method that ensures good
results with a minimum of mess. On
each table of four, I have two printing
stations. I lay out several sections of
newspaper on each station, with the
open edges of the newspaper at the
edge of the table. I put a tray with ink
and a brayer in the middle of the table,
with another clean brayer alongside.
see GUSTAV on page 42
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GUSTAV
continued from page 41
Students will
have one of their
watercolor papers
ready to print on one side of the
newspaper. The other side will be
used for inking. I show students how
to roll the brayer just up to the ink
to touch it, but not over it like a bulldozer.
Too much ink is just as bad as
not enough ink.
Students first ink the plate with an
even layer of black ink. Then they place
the plate over the watercolor paper
using their fingers to hold it up, making
sure it’s straight before dropping it
down on the paper. They press it into
the paper, and they turn both the plate
and paper over. It’s easier and more
effective to rub it on the paper side.
The clean brayer is used to roll the
paper onto the foam plate with firm
pressure. Students can take a peek at
a corner, but once they lift the whole
plate off, it cannot go back on. The tape
handles make it very easy to lift the
plates. Place the print over to the side
of the table and out of the way.
Before printing another, fold one
piece of newspaper up from the edge
of the table to create a clean work
surface. I also have paper towels available
for students to wipe their fingers.
Because of this, we had almost no fingerprints
spoiling our prints.
I show students how to sign and
number their edition in pencil. They
found this part very exciting, especially
deciding how they should sign
their names.
Since we introduced so many new
terms, I gave students a fill-in-theblank
vocabulary worksheet. We also
assessed this project using a rubric.
The black ink emphasized the vivid
watercolors, and the results were stunning.
Students enjoyed every aspect
of this project and completed it with
“mucho gusto.” Thanks, Gustav! n
Joan Sterling teaches art at Hickory
Woods Elementary School in Walled
Lake, Mich., and is coauthor of “Art by
the Book” (www.piecesoflearning.com).
VOCABULARY
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(Circle No. 204 on A&A Reader Service Card)
Brayer
Edition
Etching
Plate
Print
Sign and number
Stylus
42
november 2010 x www.artsandactivities.com