Children’s Art Studio Inc.

Monoprint Printmaking Lesson Plan

Ages: 5–9 Years

Project: Line Drawing Monoprint on a 5 × 7 Inch Plexiglass Plate

Lesson Overview

Students will explore the exciting process of monoprinting by creating a one-of-a-kind print from a painted plexiglass plate. They will learn how to use simple line drawings to create an image by removing paint with a cotton swab before transferring it onto paper. Each print is unique, making every artwork a special surprise!

Learning Goals

• Learn the basic process of monoprint printmaking.

• Explore positive and negative space.

• Practice simple line drawing.

• Develop brush control and fine motor skills.

• Discover how a single image can be transferred to paper.

Materials

• 5 × 7 inch plexiglass printing plate

• Washable tempera or acrylic printing paint

• Wide, soft paintbrush (1–2 inches)

• Cotton swabs (Q-tips)

• White or coloured cardstock (5 × 7 inches)

• Clear tape

• Drying wall or drying rack

• Baby wipes or paper towels for cleanup

Step-by-Step Instructions

1. Paint the Plate

• Using a wide brush, paint the entire plexiglass with a thin, even layer of paint.

• The paint should completely cover the plate but should not be too thick, or the print will lose detail.

Tip: If you can still see a little bit of the plexiglass underneath, your paint is probably the perfect thickness.

2. Draw Your Picture

• Use the cotton swab to gently draw into the wet paint.

• Remove the paint to create your line drawing.

Ideas include:

• Animals

• Flowers

• Butterflies

• Fish

• Houses

• Trees

• Faces

• Simple landscapes

Important: Avoid writing words or letters because they will print backwards!

Keep your drawing simple with bold lines.

3. Make Your Print

• Carefully place a piece of cardstock on top of the painted plate.

• Gently press all over the paper using the palms of your hands.

• Rub lightly from the centre toward the edges without moving the paper.

4. Reveal the Print

• Carefully peel one corner of the paper away from the plate.

• Lift the paper completely to reveal your monoprint!

Every print is unique—no two are exactly alike.

5. Dry Your Artwork

• Hang your print on the classroom wall using clear tape.

• Allow it to dry completely before taking it home.

Tips for Success

✔ Paint a thin, even layer.

✔ Draw with clear, simple lines.

✔ Leave some painted areas untouched to create contrast.

✔ Do not move the paper once it touches the plate.

✔ Press gently and evenly over the whole surface.

✔ Lift the paper slowly for the best reveal.

What Students Learn

• Printmaking is different from drawing because the image is transferred from one surface to another.

• Lines created by removing paint become the printed image.

• The untouched painted areas create the background.

• Every monoprint is an original work of art.

Vocabulary

• Monoprint: A one-of-a-kind print.

• Plate: The plexiglass surface used to make the print.

• Transfer: Moving the image from the plate onto paper.

• Positive Space: The printed shapes and lines.

• Negative Space: The empty background around the drawing.

Remember!

🎨 Keep your paint thin.
🖌 Draw simple, bold lines.
✍ Avoid writing words—they print backwards!
👐 Press gently and evenly.
✨ Every print is a unique surprise!

Lesson by Children’s Art Studio Inc.

Age Group: 5–9 Years
Duration: 1.5–2 Hours
Project: Build a Colourful Stacked Sculpture

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Age Group: 5–10 years (adaptable)
Duration: 75–90 minutes
Project: Decorating a pre-built miniature house interior
Theme: Home, Comfort, Identity, and Self-Expression

Learning Objectives

Students will:

• Reflect on what makes a home feel safe, welcoming, and special.

• Express their personality through colour, decoration, and miniature objects.

• Develop fine motor s…

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Two-Pinch-Pot Self-Portrait Bust

Ages: 5–10 Years
Duration: 60–90 minutes (plus glazing sessions)
Materials: Earthenware clay, clay tools, slip, water containers, underglazes, brushes, clear glaze, work boards.

Learning Goals

Students will:

• Learn how to create and join two pinch pots using proper clay-building techniques.

• Develop an understanding of basic faci…

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Art Images Created by Students at our Queen West Location in 2026

Ages: 6+ (adaptable for teens and adults)
Time: 60–90 minutes
Materials:

• Large white drawing paper (18” x 24” or larger)

• Vine charcoal or compressed charcoal sticks

• Black charcoal blocks (optional)

• Kneaded erasers

• Paper towels or soft cloths

• Masking tape

• Fixative (optional, teacher use only)

Inspiration: Fluxus & Looking Closely

Begin by introducing the Fluxus idea that art can come from simple actions and everyday experiences. Rather than drawing a hand from memory, students become investigators, performers, and observers.

Ask:

• Have you ever really looked at your hand?

• What strange shapes do your fingers make?

• What happens when your hand gets very close to your eyes?

• What if your hand became a landscape, a building, or a creature?

Explain that today’s artwork is not about making a “perfect hand.” It is about noticing, exploring, and transforming an ordinary object into something extraordinary.

Fluxus Warm-Up: Hand Performance Score (10 minutes)

Read these instructions aloud slowly:

Hand Score #1

1. Look at your hand for 30 seconds.

2. Turn it upside down.

3. Spread your fingers as wide as possible.

4. Make your hand into the strangest shape you can.

5. Pretend your hand is a tree.

6. Pretend your hand is a mountain.

7. Pretend your hand is a monster.

8. Freeze.

Students observe the shapes created by their fingers.

Discuss:

• Which finger looked biggest?

• Which spaces between fingers were most interesting?

• Did your hand stop looking like a hand?

Step 1: Create a Giant Hand (10 minutes)

Tape paper vertically to tables or walls.

Students place one hand on the paper and draw it much larger than life.

Encourage them to:

• Let fingers stretch almost to the edge of the paper.

• Exaggerate length and shape.

• Draw slowly while looking carefully.

Tell them:

“Today your hand is the main character.”

Step 2: Add Observation Details (10 minutes)

Students look closely and draw:

• Knuckles

• Wrinkles

• Fingernails

• Creases

• Shadows

Encourage large marks rather than tiny details.

Ask:

• Which areas are bumpy?

• Which parts bend?

• Where do you see unexpected lines?

Step 3: The Fluxus Transformation (10 minutes)

Invite students to imagine:

• Their hand is becoming a forest

• Their hand is a machine

• Their hand is a creature

• Their hand is a memory

They may add:

• Repeated marks

• Symbolic lines

• Strange textures

• Abstract patterns

The goal is to blur the line between observation and imagination.

Step 4: Make the Background Disappear (20 minutes)

This is the dramatic stage that creates the powerful contrast seen in your example.

Using the side of charcoal sticks:

Students fill the entire background with rich black charcoal.

Work around the hand shape carefully.

Encourage:

• Large sweeping movements

• Layering charcoal until it becomes velvety black

• Smudging with cloths or fingers

The hand remains mostly light while the space around it becomes dark.

Ask:

“What happens when the darkness grows around the hand?”

Students will notice the hand begins to glow and emerge from the page.

Step 5: Bring the Hand Forward (10 minutes)

Use kneaded erasers to pull out highlights.

Students can:

• Lighten fingernails

• Create glowing edges

• Add shine to knuckles

• Emphasize wrinkles and textures

This creates a sculptural, almost ghostly appearance.

Reflection Circle (Fluxus Style)

Place artworks on the floor.

Ask students:

• Which hand looks most surprising?

• Which hand no longer feels like a hand?

• What new thing did you notice about your own hand?

Finish with a simple Fluxus-inspired statement:

“Today we turned an ordinary hand into an extraordinary artwork simply by looking carefully.”

Extensions

• Draw both hands overlapping.

• Draw a hand holding an unusual object.

• Create a collaborative mural where all hands connect.

• Add a small symbolic object (such as the heart in your example) that tells a story about the person.

Teacher Tip

The magic of this lesson comes from encouraging students to work much larger than they think they should. When the fingers stretch dramatically across the page and the background is pushed to a deep charcoal black, the drawings become bold, expressive, and surprisingly powerful. The contrast between the luminous hand and dark surrounding space naturally creates a striking contemporary look reminiscent of both observational drawing and Fluxus-inspired experimentation.

5–9 years

Duration:

75–90 minutes

Parts of a Flower

Learning Goals:

Students will:

• Understand basic parts of a flower (petals, stem, stamens, center)

• Explore observation + imagination together

• Practice light sketching and watercolor techniques

• Build confidence in creative decision-making

Visual Introduction: What Do Flowers Have in Common?

6

Discussion (10–15 mins):

Ask students:

• What shapes do you see in flowers? (circles, ovals, lines, spikes)

• What parts do most flowers have?

  • Petals

  • Stem

  • Center (where the stamens are)

• What colours can flowers be? (All colours—even imaginary ones!)

• When do flowers bloom? (Spring, summer—but imagination has no rules!)

• What happens when flowers get old? (They wilt, droop, change colour)

Keep it interactive—let them point, guess, and describe.

Step 1: Imagination Exercise (5–10 mins)

Have students sit quietly and close their eyes.

Guide them gently:

• Imagine the most beautiful flower you’ve ever seen…

• OR imagine the ugliest, strangest flower…

• OR imagine a flower just beginning to bloom…

• OR imagine a flower at the end of its life—wilting, drooping, turning brown…

Ask:

• What shape are the petals?

• Are they big, tiny, spiky, soft?

• What colours do you see?

• Is it standing tall or bending?

Step 2: Drawing (15–20 mins)

Instructions:

• Use pencil or crayon lightly

• Draw outlines only (no colouring yet)

• Fill the page with your imaginary flower (or garden of flowers!)

Encourage:

• Big shapes first (petals, stem)

• Then smaller details (lines, patterns, stamens)

Remind them:

“There is no right or wrong flower—this is your imagination.”

Step 3: Watercolour Painting (30–40 mins)

Paper should be taped down before painting.

Brush Size Guidance:

• Tiny areas (details, stamens, edges) → use a small brush

• Large areas (petals, background) → use a bigger brush

Watercolour Techniques (Demonstrate briefly first):

1. Wash (Big Areas)

• Use lots of water + paint

• Smooth, light colour for backgrounds or petals

2. Wet-on-Wet (Soft Blending)

• Wet the paper first, then add colour

• Colours will spread and blend softly

3. Dry Brush (Texture)

• Very little water

• Creates scratchy, textured marks (great for stems or wilted petals)

4. Dabbing / Stippling

• Tap the brush to make dots

• Great for pollen, centers, or texture

5. Layering (Glazing)

• Let one layer dry, then paint over it

• Builds deeper colour and detail

Creative Prompts During Painting:

• “What happens if your flower changes colour?”

• “Can your background show the time of day or season?”

• “Is your flower growing, blooming, or fading?”

Closing & Sharing (10 mins)

Have students share:

• What kind of flower they imagined

• What stage it’s in (blooming, full, or wilting)

• One thing they discovered while painting

Teaching Notes:

• Focus on process over perfection

• Celebrate unusual ideas (ugly flowers are often the best!)

• Encourage storytelling through their artwork

Optional Extension:

• Create a class “imaginary garden” wall

• Or have students name their flower species

Overview

This hands-on, exploratory session invites young children to experiment with a wide variety of materials to create their own sculptures. Children are encouraged to build freely—whether abstract, representational, or functional—while developing fine motor skills and creative confidence.

Objectives

• Introduce the concept of sculpture as a 3D art form

• …

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Japan’s public art scene is renowned for its unique blend of tradition and innovation, captivating people with installations that seamlessly merge with natural landscapes, urban centers, and even the fashion industry. Prominent artists like Yayoi Kusama and Takashi Murakami have not only become icons in the art world but have also collaborated with luxury brands like Louis Vuitton, showcasing Japan’s ability to extend public art into new realms. But Japan’s public art success is also driven by forward-thinking policies and organizations dedicated to making art a core part of everyday life. Initiatives like the “1% for Art” program and The Japan Traffic Culture Association are pivotal in establishing Japan as a global leader in public art.

1. The “1% for Art” Program: Integrating Art into Urban Spaces

A cornerstone of Japan’s public art strategy is the “1% for Art” program, which allocates 1% of the cost of public buildings to art installations. This program ensures that public spaces are not only functional but also visually inspiring, enhancing the urban landscape with thoughtfully curated artworks. The initiative fosters community engagement by making art accessible to everyone, integrating beauty and culture into everyday settings, from government buildings to schools and hospitals.

By prioritizing art in public spaces, the program helps elevate the quality of life and potentially boosts local economies, as art installations attract visitors and create opportunities for community involvement. This forward-thinking approach sets Japan apart, demonstrating how public art can be an essential part of urban development and cultural identity.

2. The Japan Traffic Culture Association: Art and Culture in Transit Spaces

Another vital player in Japan’s public art scene is The Japan Traffic Culture Association. Founded to enrich public spaces associated with transportation, this organization has been instrumental in bringing art to places like train stations, airports, and highways. Murals, sculptures, and digital art installations transform transit hubs into spaces of cultural and aesthetic value, enhancing daily commutes and making art accessible to millions of people.

By weaving art into transportation networks, the Association not only beautifies transit spaces but also makes cultural enrichment part of everyday life. These installations often reflect local history and culture, offering a moment of reflection and enjoyment even in the busiest parts of the day.

3. Fashion Collaborations: Bringing Public Art into Everyday Life

Japan’s public art extends beyond traditional installations and into the fashion world. Yayoi Kusama and Takashi Murakami, for example, have collaborated with Louis Vuitton to bring their art to luxury fashion, transforming handbags, clothing, and accessories into canvases for their unique styles. Kusama’s iconic polka dots and Murakami’s vibrant superflat designs have introduced new audiences to their work, blurring the lines between fine art and consumer goods.

These collaborations are more than just stylish statements—they exemplify Japan’s ability to make art a ubiquitous part of daily life. By merging art with fashion, Kusama and Murakami have helped redefine public art, making it accessible to people in unexpected and personal ways.

4. Nature and Art: A Harmonious Relationship

Japan’s public art often resonates with its natural surroundings, a practice rooted in the country’s deep respect for nature. The Setouchi Triennale, for instance, transforms islands in the Seto Inland Sea into expansive art galleries. Kusama’s large, polka-dotted pumpkins on Naoshima Island perfectly illustrate this approach, blending modern art with the tranquil beauty of the landscape.

This integration of art and nature is also evident in urban green spaces, where sculptures and installations are strategically placed to enhance the environment. Such projects reflect a cultural belief that art should coexist with the natural world, providing moments of contemplation and connection.

5. Community Revitalization Through Art

Public art in Japan frequently serves as a catalyst for community revitalization. The Echigo-Tsumari Art Field in Niigata Prefecture, for example, brings artists and residents together to create works that engage with the area’s cultural heritage. This biennial festival has revitalized the local economy by drawing tourists to the region, creating jobs, and fostering a sense of community pride.

By investing in public art, Japan demonstrates how art can bring economic and social benefits to rural areas, transforming them into cultural destinations that attract visitors and strengthen local identity.

6. Embracing Innovation Across Mediums

Japan’s public art scene is also known for its willingness to experiment with new mediums and technologies. Digital installations, like those created by TeamLab, provide immersive experiences that respond to viewer movements, while Kusama’s Infinity Mirrored Rooms use light and reflections to captivate audiences. Murakami’s work, which often draws on anime and manga, incorporates elements of pop culture into large-scale sculptures and murals, making his art instantly recognizable.

Japan’s embrace of innovation allows its public art to stay relevant and compelling, appealing to both local and international audiences.

Conclusion: Japan’s Visionary Approach to Public Art

By combining innovative programs like the “1% for Art” initiative with influential artists like Yayoi Kusama and Takashi Murakami, Japan has created a public art scene that is vibrant, accessible, and deeply integrated into everyday life. The efforts of The Japan Traffic Culture Association further extend art into transit spaces, making cultural enrichment part of the daily routine.

Through these initiatives and collaborations, Japan has established itself as a leader in public art, offering a model for how art can be woven into the fabric of society. For those seeking a unique and immersive experience, Japan’s public art offers a dynamic journey that bridges art, culture, and community in remarkable ways.

Examples:

Kokusai-Tenjijō Station, Rinkai Line [Osamu Tezuka, Characters on Parade]
Original drawing by TEZUKA Osamu, Supervision: Tezuka Productions Co., Ltd. (Ceramic relief)

Yayoi Kusama’s Collaboration with Louis Vuitton

Overview
In this lesson, young artists explore watercolour wash techniques to create a soft, atmospheric tree line. Using a single colour, students will learn how to build depth, experiment with water control, and express seasonal moods—making this project adaptable for any time of year.

Materials

• Watercolour paper

• Waterc…

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Age Group:
Ages 6+

Materials:
Canvas or heavy paper
Acrylic paint (variety of colours + white)
Gesso (optional for texture)
Brushes (various sizes)
Water containers
Cardstock or construction paper
Scissors
Green painter’s tape
Pencils
Paper towels

Learning Focus:

• Understanding resist techniques

• Exploring colour layering and transparency

• Developing composition (foreground/background)

• Building confidence in expressive painting

• Introduction to historical still life subject matter

Step-by-Step Process:

Step 1: Base Colour
Paint the entire canvas one solid colour. This colour will later become the vase. Allow to dry fully.

Step 2: Vase Shape (Resist)
Design and cut out a vase shape from cardstock or construction paper. Position it on the canvas and tape it securely in place using green painter’s tape.

Step 3: Background Wash
Paint the background using a white wash. Allow hints of the base colour to show through. Use gesso or thicker white paint in areas to create texture.
Tip: Work only with white to explore tone and subtle variation. The background colour underneath will determine how warm or cool the overall painting feels.
Let dry completely.

Step 4: Table / Horizon Line
Draw a horizontal line to establish the table. Paint the lower section as a table surface, adding pattern or “tablecloth” design.
Allow all paint to dry fully before the next step.

Step 5: Reveal the Vase
Carefully peel off the paper vase shape to reveal the original base colour underneath.

Step 6: Paint Flowers
Practise drawing flowers first. Paint from real-life flowers or create your own imaginative designs. Focus on bold shapes, layering, and expressive brushwork rather than realism.

Teaching Tips:

• Encourage students to embrace imperfections—this is a process-based activity.

• Demonstrate how little water creates thicker, more textured paint.

• Show examples of loose, expressive florals to reduce pressure for realism.

• Remind students to let layers dry to keep edges crisp.

Extension Ideas:

• Add oil pastel details on top once dry

• Introduce pattern inside the vase instead of flat colour

• Explore complementary colour schemes

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Focus

Using watercolour crayons to explore drawing and painting while connecting to storytelling.

Age Group

3–6 years

Duration

60 minutes

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Age Group:

9–12 years

Duration:

75–90 minutes

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4–9 years

Duration:

60–75 minutes

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Age Group:

4–9 years

Duration:

60–75 minutes

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Age Group: 8–12
Length: 75–90 minutes
Mediums: Pencil and charcoal

Focus Areas:

• Basic skull structure

• Facial proportion guidelines

• Observational drawing

• Appreciating diverse features

• Working from small sketches to large drawings

Learning Goals

By the end of the class, students will:

• Understand how the skull influences face shape

• Use simple guidelines to place facial features

• Notice and celebrate differences between faces

• Sketch lightly in pencil

• Create expressive larger drawings using charcoal

Materials

• Drawing paper (small and large sheets)

• Pencils (HB and 2B)

• Vine or compressed charcoal

• Kneaded erasers

• Blending stumps or tissues

• Reference images of skulls and faces

• Drawing boards or clipboards

Warm-Up Discussion (5–10 minutes)

Begin with a short group conversation:

• What makes every face different?

• Do two people ever have exactly the same nose or eyes?

• What do you think is under our skin that gives our face its shape?

Explain:

Artists study bones not to be spooky, but because bones help us understand why cheeks are round, jaws are wide, or foreheads are tall.

Emphasize:

• There is no perfect face

• Differences are interesting and beautiful

• We are observing, not copying one ideal look

Part 1: Looking at the Skull (Anatomy Basics)

Key Ideas to Teach

Use simple language:

• The large oval shape holds the brain

• Eye sockets are hollow areas where eyes sit inside

• The nasal opening is where the nose grows outward

• The jaw affects how wide the face appears

• Cheekbones create the cheeks

Quick Sketch Activity (5 minutes)

Students lightly draw:

• A large oval

• Two circles for eye sockets

• A triangle for the nose opening

• A rectangle or block shape for the jaw

Stress that lines should be very light and simple.

Part 2: Facial Proportion Guidelines (Frontal View)

Core Guidelines

Demonstrate on the board while explaining:

1. Start with an oval head shape

2. Draw a line halfway down for the eyes

3. The width of the face fits about five eyes across

4. The bottom of the nose sits halfway between eyes and chin

5. The mouth sits between the nose and chin

6. Ears usually line up from eye level to nose level

7. The neck connects behind the jaw, not under the chin

Remind students:

These are starting rules, not laws of nature. Real faces bend them in interesting ways.

Diversity in Faces Mini-Talk (5 minutes)

Discuss variations such as:

• Wide or narrow noses

• Large or small eyes

• High cheekbones

• Square or rounded jaws

• Full or thin lips

• Tall or short foreheads

Ask:

• What shapes do you notice?

• How could two faces follow the same rules but still look completely different?

Reinforce that difference gives faces personality and character.

Part 3: Pencil Portrait Practice (15–20 minutes)

Steps

Students draw:

• An oval head

• A vertical center line

• An eye line halfway down

• Nose and mouth placement

• Jaw shape

• Ear position

Encourage:

• Light sketching

• Trying multiple versions

• Adjusting shapes

• Drawing through mistakes instead of erasing everything

Circulate and prompt:

• What shape is that jaw?

• Are the eyes near the halfway line?

• What makes this face unique?

Part 4: Large Charcoal Faces (20–25 minutes)

Switch to large paper and charcoal.

Explain:

Charcoal is perfect for bold shapes and confident lines.

Demonstration Points

• Hold charcoal sideways for wide marks

• Block in shadow areas

• Smudge with fingers or tissue

• Lift highlights with an eraser

• Darken eye sockets and areas beneath cheekbones

Student Task

Create one large frontal face using:

• Proportion guidelines first

• Big shapes

• Strong shadows

• Chosen facial features that feel individual

Encourage expressive marks and working at scale.

Reflection and Sharing (5 minutes)

Finish with a short gallery walk.

Ask:

• What feature are you most proud of?

• What makes this face different?

• What surprised you about drawing bigger?

Normalize all styles, from careful and realistic to loose and expressive.

Extension Ideas

• Draw classmates from life

• Self-portraits using mirrors

• Exaggerated features

• Emotional expressions

• Adding chalk pastel or color in a later class

Portrait of Clementine Hunter Example Demo For Our Fine Drawing Class at the Wychwood Barns

Age Group: 4–7 years
Duration: 60–75 minutes
Focus: Illustration, observation, contour lines, colour filling
Artist Inspiration: Piatti’s use of strong black outlines and simplified animal forms.

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