My Place, Your Place

Art-Reach Pre-Visit Activity: Art Talk

Please view the two reproductions with your class and lead a discussion using the following questions as guidelines. There are no “right” answers. The questions are meant to guide the group discussion. Students will re-visit and discuss these works as well as others during the ArtReach visit. The vocabulary in this packet will aid discussion.

Research and experience have shown that students feel more comfortable when they can connect with something familiar when the Museum educator conducts the program. The students enjoy sharing their insights from the pre-visit discussion with the educator.

My Place, Your Place

My Place, Your Place focuses on original prints in BAM’s Permanent Collection that depict a variety of places. Students create their own monotypes of places as part of the ArtReach experience

  • What do you see in this print?
  • Is the water calm or moving? How can you tell?
  • What’s the weather like?
  • Do you think this is a real or an imaginary place? Why?
  • Do you see evidence of people in this landscape?

Cie Goulet
Kayaks , 1991
32” x 23 1/8”
Gift of Steven and Susan Mann
Permanent Collection


Thiebaud, Wayne, Apartment Hill

  • How is this print different from the one we just discussed?
  • Does this look like a real or imaginary place? Why?
  • What do you think you would hear if you could step into this painting?
  • Is this a place you would like to live? Why or why not?



Wayne Thibaud,
Apartment Hill , 1985
Etching and Drypoint on Chine Coll é
23 ¾” x 17 ¾”
Promised Gift of Wilfred Davis Fletcher
Permanent Collection

My Place, Your Place

Print: A single print is an image surface resulting from the transfer of the image from a block, stone or other surface called a printing plate. A print can have multiple impressions.
Original Print
vs. Posters:
Prints can be separated into two general types; ‘Original’ prints, and posters. This is an easily misunderstood concept. ‘Original’ prints are images worked on by the artist or the artist’s apprentices, from beginning to end. This means that a person works directly on the printing plate whether it is metal, stone, wood, or other material. Each print is a work of art, one of a limited edition and signed by the artist. The photomechanical reproductions of paintings and drawings are known as posters. A poster is a photomechanical reproduction that is made into many multiple copies.
Monotype: An image created from a printing plate in which one unique print is made.
Etching: An etching is created by covering a metal plate with an acid-resistant layer of wax called a ground and drawing a design through the ground using an etching needle. The plate is then dipped in acid, which bites into the exposed lines, thus etching the design into the plate. After dipping the plate in acid, sections of the design can be stopped out with varnish and the plate immersed in the acid again. This creates a deeper bite, and thus darker lines, for those areas not stopped out. Etching is an intaglio process (printing from the recessed areas of the plate), so prints made in this manner will have a platemark. Etching allows for a freer artistic hand than does engraving. The etching process was invented around the 14th century as a method of making decorations on armor.
Edition: An edition of prints includes all of the impressions published at the same time or as part of the same publishing event. A limited edition is an edition in which a limit is placed on the number of impressions printed.
Medium: A specific kind of artistic technique or means of expression as determined by the materials used or the creative methods involved: the medium of lithography. The materials used in a specific artistic technique: oils as a medium.
Media: The plural of medium.

ArtReach Curricular Connections
My Place, Your Place

Teachers can adapt the following curricular connections to meet the needs of any grade level.
Science, History and Math
  • Before printing could begin, paper had to be invented. Paper was invented in China in the first century AD. Later came moveable type, ink and printing presses. Check out this sight about the invention of printing. Have students research past inventions and create their own inventions to solve their everyday problems.
    Collect data based on student invention research and graph where, worldwide, the inventions took place. Discuss the factors that may have resulted in the inventions having been invented in particular locations.
    Use printed money to explore math problems such as estimation, place value and monetary value. Compare and contrast currency from a variety of countries.

Social Studies and Language Arts

Print-making Related Web Sites

  • Allinson Gallery, Inc. American, British, Continental, and Japanese fine prints from 1880 to 1960. Many images posted at:
  • Art at home. Fine prints from Renaissance through modern to study and show your students:
  • The site of the International Print Center of New York, Hard Pressed: 600 Years of Prints and Process sponsor:
  • Middle Tennessee State University Printmaking Links, an online discussion area for printmakers:

Post-Visit Activity: MAKE IT!

To extend the ArtReach experience and connect the visit to your curriculum,
please consider using or adapting this suggested lesson.

My Place, Your Place
Cardboard Prints/Collagraphs


  • Corrugated cardboard
  • Scissors (or X-acto knife)
  • Acrylic paint and large paint brushes (ink and roller or brayer for more advanced students)
  • Paper

Optional Materials

  • Spoons


  • After discussing the students’ ideas of possible uses of cardboard in printmaking, suggest that students create an image of a place by working only with straight lines and simple, geometric forms.
  • Have each student design a simple composition using three layers of cardboard. (Straight lines are easiest for beginners.) Draw the design on a single piece of corrugated cardboard and have each student decide where there will be a solid color, lines and open areas.
  • Outline each line in the design with the point of open scissors, pressing firmly so that the lines are very well defined. X-acto knives may work more effectively, but stress safety. Be sure to have protective cardboard or magazines between the table surface and the blade.
  • When the cutting is complete, moderately thin acrylic paint can be apply with large paint brushes by younger students. Older students may want to use ink with a roller.
  • After the paint or ink is applied, paper is placed on the plate, followed by rubbing gently with the hand or spoon. If too much pressure is used when taking a print, the corrugations may be crushed. Just enough pressure should allow for the paint to transfer to paper.
  • Remove the paper to reveal the print.
  • Allow prints to dry.
  • The first print often does not turn out too well because the cardboard has not soaked up much ink or paint. After a few applications, the collagraph printing plate should create better prints.
  • Discuss the students’ results in class and compare this printing process with the prints they made during the ArtReach visit.

Variations and Hints:

  • Soft papers tend to work more effectively than stiffer papers.
  • Fabrics can be used instead of paper.
  • Changing color combinations while the surface is still covered with fresh pigment can offer unique color combinations.


My Place, Your Place


  • Bethmann, Laura Donne. Nature Printing with Herbs, Fruits, and Flowers. Pownal, VT: Storey, 1996.
  • Bolognese, Don. Printmaking. New York, NY: F. Watts, 1987.
  • Gasciogne, Bamber. How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink Jet. London: Thames and Hudson, 1986.
  • Saff, Donald. Printmaking: History and Process. New York, NY: Holt, Rinehart and Winston, 1978.
  • Martin, Judy. Encyclopedia of Printmaking Techniques. London: Quarto Publishing, 1998.
  • Platzker, David, and Wyckoff, Elizabeth. Hard Pressed: 600 Years of Prints and Process. New York, NY: Hudson Hills Press, 2000.


  • Beardsley, John. First Impressions-Pablo Picasso. NY: Henry N. Abrams, Inc., 1991.
  • Cross, Jeanne. Simple Printing Methods. NY: S.G. Phillips, 1972.
  • Daniels, Harvey, and Turner, Sylvie. Exploring Printmaking for Young People. NY: Van Nostrand Reinkold, 1972.
  • Geisert, Arthur. The Etcher’s Studio. NY: Walter Lorraine Books, 1997.
  • Solga, Kim. Make Prints! Danbury, CN: Grolier Educational Corporation, 1991.