by Penny Richards 

In this project, students create an original work on black scratchboard with a stylus (scratching instrument), in the Art Nouveau style of Hannah  Frankʼs 1930s prints. Students are encouraged to think of nightscapes,  outdoor scenes that include the moon, trees, birds, bats, vines, people; or  indoor scenes of nighttime, which might include a candle, fireplace,  sleeping person, open book, a mouse, a window showing the moon and  branches outside…. 

Students discover the possibilities of creating texture and contrast in a  strictly black-and-white composition–much as printmakers have done for  centuries. We look at Hannah Frankʼs work for clues about how to make  different shades in a monochrome medium, using parallel lines and  crosshatching among other techniques. 

The novel materials mean this project is a new challenge for most students  and docents–no experts! Itʼs also a chance to experiment with lines,  patterns, and positive/negative space in a new format.

Biographical background: Artist and illustrator Hannah Frank was born to Jewish  immigrant parents in Glasgow, Scotland, in 1908. Her father ran a camera shop. Hannah studied  art at university as a young woman, and developed a distinctive black-and-white “Art Nouveau”  style that was well-suited to publication in newsletters and magazines. She signed her works  “Al-Aaraaf,” after an Edgar Allan Poe poem, in part to hide that the artist was a woman. 

Hannah Frank married Lionel Levy, a math teacher, in 1939. She continued to contribute her  work to community publications and posters for many decades, but in the 1950s she turned her  attention to bronze and stone sculpture. Nonetheless, her earlier graphic works are highly  prized by collectors today. 

Frank lived to enjoy her 100th birthday, and a great celebration of her life and work in Glasgow.  Her illustrations and sculptures appear in galleries and museums around the world. 

Historical context: Before she died in 2008, Hannah Frank was known as “the last living  link to the Art Nouveau movement.” A little more than a century ago in Europe, the Art  Nouveau approach to art, achitecture, fashion, and even typography emphasized: 

*Organic shapes (leaves, vines, trees) 

*Long curves (not jagged or blobby) 

*Stylized forms (not realistic or detailed) 

Artists you may already know about that are considered to be part of the Art Nouveau  movement include Gustav Klimt, Aubrey Beardsley, and Louis Comfort Tiffany. You may have  seen posters or buildings that reflect the Art Nouveau period. 

Glasgow was one of the centers of the Art Nouveau movement in Great Britain. Charles  Rennie Mackintosh (1868-1928) was a Glasgow artist and architect who gathered around  himself a circle of like-minded artists, including his wife Margaret McDonald and her sister,  Frances. Hannah Frank was born too late to be part of that group, but she studied at the  Glasgow School of Art with artists who were connected with the Mackintoshes. She took the  

Art Nouveau style and made it very much her own. 

THE LESSON 

Vocabulary words:

Art Nouveau 

    Scotland  

    stylus 

    stylized  

    fluid 

Supplies: 1 Scratch-Art scratchboard, 8.5×11, per student 

  A class set of styluses 

  Scratch paper (I per student) 

  Pencils (1 per student) 

  Examples of Hannah Frank art, and/or books of Art Nouveau illustrations  

Preparation:  

The styluses we use in this project are very sharp. Docents may want to start the lesson with a  discussion about safe stylus use and safe behavior. If there is a concern about styluses leaving  the art room or lesson space, styluses can be numbered before use. 

Process: 

1. Introduce the Art Nouveau aesthetic, and tell Hannah Frank’s story. Show examples of her  work, and of other Art Nouveau illustrations. 
2. Brainstorm about “night”–what might students want to include in an illustration about night?  What did Hannah Frank include? Make a list of ideas. Some students may know about  nocturnal animals, or astronomy. Think also about sources of light at night: the moon,  candles, fireplaces, light bulbs, etc.  
3. Students should sketch their ideas on scrap paper with pencil. Monitor for overly  complicated compositions, troubleshoot ideas about how to make certain textures, etc. 
4. When students are happy with their sketches, they can redraw them very lightly with pencil  on the scratchboard. Point out to students that they shouldn’t spent too much time on the  sketching part–the scratching part takes much longer. 
5. Students may now begin to use the styli to create the final black-and-white design.  Encourage them to try different effects, and creative solutions to the challenges presented by  the materials. Point out the ways Hannah Frank used parallel lines to indicate different  shapes and textures. 
6. Don’t forget to have students sign their work. 
7. The completed scratchboards can be displayed on small easels, or mounted with heavy-duty  mounting squares.

SUPPLY LIST with prices

About the author

Penny L. Richards 

[email protected] 

310-371-7706 

2118A Warfield Ave. Redondo Beach CA 90278 

PhD in Education, University of North Carolina-Chapel Hill, 1996 Teaching Certificate, Secondary Social Studies 

Research Scholar, UCLA Center for the Study of Women 

By Ann Marie Foster 
From Hannah Frank A 100th Birthday Gallimaufry 

Introductions and Workshop Programme (5mins)

Reading the Work.

What to look for to interpret the work. Question and answer session.

(10 mins) Key work – Fairies In A Wood 1925

Artists’ Sources

Where do the artists’ ideas come from?

Influence of other artists – for example, see other monochrome artists Aubrey Beardsley and Paul Morrison.

How does the work relate to contemporary art and culture?

Narrative skills

Activity

In twos or threes study the works and choose one to create a story from.

Group feedback. (15 mins)

Drawing Skills

Pupils  have a chance to practise their own drawing skills by making an inventory of the marks Hannah Frank used, showing how she used line to vary density and tone.

Activity

Students will make an inventory of the marks the artist used.

Show how she used line to vary density and tone. (20 mins)

Activity

Choose a work to make a study from.

Tutor-led discussion on composition – arrangement, measurement, proportion, space, line, and tone. (20 mins)  Group Feedback (10 mins)

Observational Skills

Activity

Working in twos students are given a part of an image of one of the artists’ works. The aim is to identify the work the piece comes from. To check they are right students fit their piece to make a complete image. Continue until all works are matched. (10 mins)

Communication skills

Activity

Work in twos. One student alone, chooses a work to study for two minutes and remember. Make a list in front of the work to help with memory. Student returns to their partner who makes a drawing from the description. Swap roles. (15 mins)

Group feedback. (10 minutes)

End of session. Students give feedback on a new skill they have learned or reveal what they have enjoyed most in the workshop. (10mins)

FILLERS

Alternatively in twos sit on the floor back to back with one student facing a Hannah Frank picture, the other facing away. The student facing the picture describes the picture to their partner who makes a drawing from the description. Swap roles. (20 mins)

Group feedback. (10 mins)

Autobiographical Cloak

In some of her art works the artist has drawn figures wearing cloaks. Find these works and note the designs on the cloaks. Look at motifs and symbols the artist uses, for example, birds, chalices, skulls. Now make a design for your own cloak. You could invent your own symbols and signs that represent a memory or experience. Or you could draw objects that have a special significance for you, for instance a special book. The artist Anthony Tapies drew spectacles in his paintings to signify the presence of his wife. In Amanda Faulkner’s work there are the shoes and dresses she wore as a child. Louise Bourgeois, a sculptor, made a giant metal spider. Tucked safely under its legs were her precious things which the spider was guarding.  Harry Potter’s ‘invisibility cloak’ turns out to be linked to his relationship with his father.

Teachers Resource:  Follow on activities based on themes in the work of Hannah Frank

Drawing and Digital Imagery

Frank’s pictures explore different emotions and moods, ranging from sadness in the forlorn figure of ‘Melancholy’ (see page lll) to the joyous feeling conveyed in ‘Sun’(see page xx). In ‘Flight’ (see page yy) she captures a sense of loss, and the furtiveness of the fleeing figures of Adam and Eve, an image which echoes the persecution of the Jews and their exodus from Europe.

With students examine works which show particular emotions. Discuss how the artist conveys emotion through her use of facial expression, body language and use of line, and contrast between white and black areas.     

Ask the students to think of examples when they would express similar feelings and demonstrate how they would look, and what gestures they would use. In twos ask them to express a feeling or emotion. Then ask them to take a photograph with a digital camera. Enlarge the printed image on a photocopier. This can be used to develop a drawing, either by copying or tracing the outline and creating line and texture in the style of the artist.

Exploring Scale Using the OHP

Students can trace the drawing they have made onto acetate and using the O7HP project the outline directly onto the wall or if preferred onto a large sheet of paper.

Draw over the projected image onto the wall or paper. Using thin black sticky tape students cover the lines they have drawn with the tape until the “tape drawing” is complete. The combination of increased scale and the use of a different drawing medium will challenge ideas about drawing and representation.

Motifs and Pattern

In Frank’s work the influence of the Arts and Crafts movement and Art Nouveau, is expressed in her organic lines and use of fantasy, and in the decorative designs derived from plant forms. Students could research the work of the artist and poet, William Morris, born in 1861 and a key figure in the founding of the Arts and Crafts movement. Scotland developed its own distinct style in relation to the Arts and Crafts Movement, and students could compare Frank’s drawing style with that of the Scottish artists, Jesse King and Margaret and Frances Macdonald.

Ask students to identify and draw motifs in Frank’s work, for example flowers, birds, and more sinisterly skulls. Ask them to find examples of the decorative designs that feature in Art Nouveau for instance, in ‘Woman With Book’ there is a floral panel, in ‘To Her Chamber Gone’ (see page xx) there are floor tile designs and intricate floral and geometric designs on clothing and curtains throughout the works.

Drawing and Abstraction  

Ask students to choose a natural object such as a leaf, flower, or shell and make a detailed observational drawing of it. From their drawing get them to design a simple motif, gaining an understanding of the process of abstraction.

Activities:

1. Make several photocopies and glue together to create a repeat pattern, as in the decorative borders in Franks work.
2. Scan the image into a computer and create repeat patterns – try re-colouring the whole image or parts of it.
3. Scan the image into a computer and open it into any graphics programme and use this to distort or alter the image to produce different effects. If the programme will produce an image made up of squares, students can reproduce a mosaic pattern.

Printmaking: Polystyrene Tile Prints

As well as drawing, Hannah Frank explored other expressive processes such as printmaking and wood cut. Students can make expressive prints inspired by Frank’s use of line, from polystyrene tiles or from a polystyrene pizza base.

Materials Needed

Polystyrene tiles cut to size. A5 is a good starting point. A number of inexpensive rubber rollers for inking. Keep aside a clean roller for making the final print. Black water based printing ink. A suitable waterproof surface for rolling out the ink, for example, formica, or perspex.  A scraper or pallet knife to spread ink onto the surface. Good quality cartridge paper to print on. When cutting to size remember to cut paper larger than the tile so as to leave a border all round the print.

Preparing the Tile

Use the smooth side of the tile as the grainy side will produce a textured print.

Prepare a drawing on paper. Copy or trace the drawing onto tile. With a sharp pencil lightly sketch in the outline of the drawing onto the tile. Then go over the lines forcing the pencil into the tile. Pattern and texture can be built up pressing the pencil to make vertical, horizontal, and diagonal lines and cross hatching. Use broken lines, dots etc. Let students experiment with mark making.

Inking Up

Use a pallet knife to spread the ink on the waterproof surface in a line about the   width of your roller. Using the roller, roll the ink backwards and forwards until you have made an even, rectangle shape and your roller is covered in ink. Now ink up your tile with your roller, working backwards and forwards, until the whole tile is evenly covered.

Printing

Place the inked tile face-up on a clean, level surface. Carefully place the cartridge paper over the tile and try to keep the tile underneath as centred as possible. Using a  clean roller now roll over the paper. Make sure the tile does not slip.

Peel back a corner of the paper carefully to see if the image has been transferred to the paper. If the image is too pale put the paper back and continue to roll over the paper and apply more pressure. When you are satisfied with the image carefully remove the paper and let it dry. If the image is off-centre the borders can be evened off later.

Creating Borders

Students can draw a design into the tile and make multiple prints to form a row or a mosaic. Rows can be printed in a horizontal or diagonal arrangement or in a brick formation.

Lettering

Hannah Frank produced book plates with decoratively written poems and stories. Students could investigate Celtic Art and its decorative lettering which influenced Art Nouveau. From their research ask students to design a letter for a tile print.

Card Prints

The card that goes into packaging many household items comes in different thicknesses and can be used to make card prints. Other paper such as sandpaper, tissue paper, paper doilies and textured wallpaper when inked up and printed will produce interesting surface textures. A card print is made by building up layers of card and gluing them onto a cardboard base. Even a material as thin as paper stuck onto cardboard will be raised and when printed will stand out from the base or background. When the completed card design is inked up with a roller only the raised surface receives the ink and this will make a print on paper. This is known as a relief print.

Materials Needed

Cardboard base.  Assorted card for cutting.  Papers to make different textures. Scissors; craft knife; PVA glue; water-based ink; rollers; cartridge paper.

Preparation

Prepare a drawing of your design.

Measure and cut out a base from card. Draw your design onto the base.

Cut out the shapes of your design from card and stick onto the base. You can create texture by sticking on sandpaper, cellophane, crumpled tissue paper, string and thread. You can also scratch, cut and indent into the card with a compass point to make lines and textures.

Inking up

See instructions for polystyrene prints.

Monoprint

A monoprint is a one-off impression made by applying printing ink to a flat surface and transferring it to paper. It is a painterly process and encourages experimentation. The marks and textures that monoprint produces are significantly different from those achieved from drawing directly onto paper.

Materials Needed

Water based printing ink, brushes, rags, sponges, sticks, cotton buds, rollers, palette knife, cartridge paper.

You need a clean, waterproof surface such as formica, metal, glass, or acetate on which to build up your design. The advantage of glass and acetate is that you can lay your design underneath as a guide and work over the top as though you were drawing or painting on paper.

Making the Monoprint

You can use brushes to paint the ink onto the surface plate. Dilute the ink with water to achieve washes. You can apply ink with a roller and draw into it with sticks, and rub out areas with rags and cotton buds. Pressing textured wallpaper, textiles etc into the ink will create textured marks.

Printing

Lay a sheet of paper over the plate and rub firmly and evenly over the back of the paper. When you peel off the paper the print will be printed in reverse.

Trace Drawing

Trace drawing has a directness and spontaneity and encourages experimentation in drawing and mark making.

Materials Needed

Clean waterproof surface, water based printing ink, rollers, rags, kebab sticks, paint brushes.

Preparation

A drawing or design on paper.

Inking the plate

Roll out the ink evenly onto a clean surface, such as a glass slab or acetate sheet. The area of the ink covering the surface should be the same area as your design.

Drawing

Lay a sheet of cartridge paper onto the ink then use a kebab stick, or end of a paintbrush, or a pencil to draw on the back of the paper. When drawing hold the pencil so your hand does not touch the paper. If you lean on the paper the ink underneath will stick to the paper. To create different thicknesses of marks draw with a pencil, and the end of a big paint brush. To create tone, rub the paper with your fingers, a rag or a cotton bud. Try to invent other marks, and textures. Lift off paper and you will see where you have drawn has picked up the ink onto the paper. The print has a strong line quality that gives an expressive character to the drawing.  

Workshop Activities

Reading the work  

In her drawings Hannah Frank has created a haunting, fanciful world inhabited by mysterious women with long tresses dressed in robes which remind us of medieval chivalry and romance. But there are sinister hooded figures in the garden landscapes which produce a sense of foreboding and unease. The hooded figures appear threatening. What do they represent?

Discuss how Frank’s parallel universe can be compared to J.R. Tolkein’s Lord of the Rings, and  J K Rowling’s books about Harry Potter, a world of muggles, witches and wizards.

Why do works about magic and fantasy appeal to us?    

Activity

Identifying Frank’s Visual Language.

Ask the students to look at Fairies In A Wood (but cover up the title) drawn in 1925 when Frank was 17 years old.

Get the group to notice how it has been drawn. To look at the different marks and strokes used to make the trees. What is the subject matter? What are the figures doing? How do we know they are fairies?  What is the mood of the drawing?

Then look at The Mocking Fairy 1931 (cover title) and compare. How is the drawing different? How does the figure differ in the way it has been drawn and in its character? The mood is different. How? Get them to notice the use of solid areas, and line. How do the trees differ from those in ‘Fairies In A Wood’? Notice stylised flowers.

Now look at Moon Ballet 1934. Ask students to identify the elements that make up Frank’s style. For instance the austere lines and use of suggestion. How she makes a reverse drawing with white lines and a black background. Discuss the meaning of organic and its expression in the figures which elongate to form a plant or tree shape. Use of stylisation, and examples of motifs. Use of elongated forms and tresses. 

Story telling. Examine the scene in ‘Moon Ballet’ and ask for suggestions that could lead into a story.

Activity

Creating a Narrative

Frank’s drawings are evocative and have a strong sense of narrative which can be used by students to develop narrative and story telling skills. Ask students to work in groups of 3 or 4 and choose a work which suggests an idea or theme for a story. Referring to the work the group has 10 – 15 minutes to produce a finished story.

The groups take turns to feed back their stories. (10mins) One student per group could act as scribe and stories written up and illustrated back in the classroom.

Sources and Influences

Where do her ideas come from?

Frank found inspiration for her drawings in the poetry of Edgar Alan Poe, (American) Samuel Taylor Coleridge, Percy Shelley and the Romantic poet, John Keats. She also illustrated stories from the Bible and the Rubaiyat. She made a series of drawings illustrating  Keats’s poem ‘Isabella’ or ‘The Pot of Basil’ and Coleridge’s Poem ‘Christabel’. She illustrated biblical themes such as the story of Job and the Swineherd and the flight of Adam and Eve. Frank also wrote poetry and she signed her poems and some of her drawings under the name of Al Aaraaf. Al Aaraaf is taken from a poem by Edgar Allen Poe and was the name given by the Danish astronomer Tycho Brahe to a supernova in 1572 which shone brightly for a short time then disappeared. Al Aaraaf is also a term in Islam for a state between paradise and hell where people who had not been especially good or bad stayed until they were forgiven by God and let into paradise.

Influence of Other Artists

The innocence of medieval romanticism in Frank’s work can be compared to the sentimental, dream-like, romanticised style of  Edward Burne Jones 1883-98 whose paintings were inspired by medieval, classical and biblical themes.

Activity

Find works which show the influence of medieval romanticism.  Give reasons for your choice.

Look at Atra Cura, Thou Heart Most Dearly Beloved, and the Christabel and Pot of Basil drawings (Pot of Basil drawings are reproduced on pages xx to yy) which portray gentlewomen in medieval robes in rooms furnished with decorative drapes and panels.

Find out about the story told in the poem Isabella or the Pot of Basil by John Keats (see pp xx to yy). Why do you think Keats is known as a Romantic poet?

Frank’s use of line and  the flowing tresses and elongated forms of her figures has been compared to the work of the artists Jesse King and sisters Margaret and Frances Macdonald. These artists were influential in the development of the Arts and Crafts Movement or the “Glasgow Style” which brought art into all forms in everyday life in the creation of murals, carving, stained glass, metal work, embroidery, pottery, furniture and books.

Investigate the work of Jesse King and the Macdonald sisters. Make a list of the similarities and differences between their work and Frank’s work.

The garden is a recurrent metaphor in Frank’s works and shows the influence of the Scottish artist John Duncan. In the two works entitled Adam and Eve, two figures flee from the Garden of Eden; there are echoes of the expulsion of the Jews and their subsequent persecution, as there is in Flight (1939) (see page xx).

Activities

Choose examples to show how Frank uses gardens and landscape to create different moods in her drawings. Give examples of motifs and try to explain what they mean. Design your own garden.

Explore the view of the garden as a metaphor for an ideal state and look at the relationship between the rural and urban, and issues such as pollution and consumer waste.

More Workshop Activities

Drawing Activity

Identifying Density and Tone in the Work of Hannah Frank

Work in twos or threes. With sketchbooks and sketch pens study a number of drawings to find out how Frank used line to create texture and density, and produce tone varying from light tones, to mid tones and dark tones. Using your sketch pens make an inventory of the marks you find on a grid, together with notes and the title of the drawings you studied. These visual notations will be useful when you come to create your sketches based on the artist’s work.

Making a Grid

Make a grid from an A5 sheet of paper. Hold sheet widthways and fold in half, then fold in half again. Hold sheet lengthways and fold in half. Open to find a grid of eight boxes. Fill each with line formations found in the artist’s drawings. Number and record on another sheet the title of the work the lines come from.

Things to look for:

Tone achieved through areas with lines close together, far apart. Thin lines, thick lines. Broken lines, vertical, horizontal, overlapping, wavy, geometrical

Movement through lines in waves, multi-directional, curving, radiating.

White lines on a black area.

Line and texture, foliage, trees, flower patterns, hair, cloak designs, wall designs.

Drawing Activity 

Making an Observational  Study

Materials Needed

A4 Sketchbooks or A4 paper. Clipboards, pencils, sketch pens, rubber.

Choose a work that is special to you. Spend some time studying the composition. Observe how the figures are arranged, how the shapes fit together and the space in between. Look at the design of their dress and where the figures are located, inside or outside. Try to work out the main areas in the picture: background, mid-ground and foreground.

On an A4 sheet use a pencil to divide your sheet into four quarters. Begin to plot your drawing by looking at the work in its rectangle frame and visually divide it into four, just as you did on your paper. Find the points where the pencil lines touch the picture frame and copy that bit of the picture onto your paper in the matching place. Then work at copying each quarter of the picture into the same quarter on your paper. Work loosely, sketching in the main outlines. When you have completed the main outline of the composition start adding detail with your sketch pen.

Download Activity pack below:

Working with young pupils on poetry inspired by Hannah Frank

An interview conducted by Fiona Frank with Mrs Wood, the teacher at Pollokshields Primary School, after she’d worked with six top primary children to come up with some poetry inspired by Hannah Frank’s drawings. 

18th December 2009

Fiona Frank: I am in Pollokshields primary school and Mrs Wood has been working with six children on Hannah Frank drawings. So tell us about that.

Mrs Wood: Well, we looked at various drawings and we talked about how they were very related to the art nouveau theme, and they were monochrome. And we looked at the brush strokes and the lines. And then we decided to choose one, and interestingly they all chose different ones. And then we had to look and say what does this picture tell us, what story is this picture telling us, how does it make us feel, what are the emotions and what is the mood of the picture. And they had a couple of minutes to write that down personally, and then they paperclipped the picture to what they had written and passed it to the person next to them, and it went round the group, it was a wee carousel. After so many minutes passing it round, they read what the previous person had written and added to it, they took the picture and added their thoughts and then it went back to the original person, who then took all of what was written on the A4 sheet, sometimes two sides. And they did a sketch of a poem, and then we looked at them and then all six of us then condensed that further down. They started off with a wee bit of a story and condensed it down into how poems are more phrases and words and lines to make it more punchy and catchy, and we wrote the final result from that. It was very exciting.

Fiona Frank: And you did it just in two afternoons?

Mrs Wood: Two afternoons

Fiona Frank: With just the six children?

Mrs Wood: With just the six children, and we had three computers on the second afternoon, so some were on the computers and some were handwriting them so we had a display as well for the school and the typed ones are going into the competition in March and they just did it as a wee kind of swapping back and forth. So that was good.

Fiona Frank: And then the written poems have been illustrated in a Hannah Frank sort of way, haven’t they.

Mrs Wood: That’s right, when they were writing them they took their inspiration for the borders through the different lines that she was using, the geometric shapes, the thickness and the thinness of the lines, the waviness, how you could add texture just from using a pen to put marks down on a page. Some are more successful than others but I think they all turned out really well

Fiona Frank: Are you an art teacher or an English teacher?

Mrs Wood: Just a primary teacher – jack of all trades as they say in primary school

Fiona Frank: It’s good doing it in Primary as you have to know everything about art and everything about writing…and children…. And how old are these children?

Mrs Wood: Eleven – primary seven age, coming on twelve, so they’re going to secondary school in August. It’s been a very exciting experience for them. They really enjoyed it. I would actually have quite liked to – and maybe next year I will – do it with a whole class. I think it’s been so successful. At first I thought this was quite a tall order, this was quite difficult – and I was actually amazed at what the children came up with. And I think sometimes we underestimate children, that they can see and come up with things deeper than what we think, what we expect of them, I definitely think it could be a project to do with a whole class. Even if you had less able children you could do them in groups so that they had a chance to put something towards a poem that maybe they were working in groups of two or three, each putting a few lines or something into the poem, to give them a sense of success as well from having taken part in it.

Fiona Frank: And then some people who aren’t brilliant poets are artists aren’t they?

Mrs Wood: Well that’s right. They could maybe even try to do their own picture using black pen, in the same style. They could even research other artists that use that style, that work in a monochrome technique, other art nouveau, that would be interesting. I think it would be a great thing. We actually, in primary seven, do, for part of the art programme, it’s called ‘Headlines’, you look at hair, and you try to create textures and movement with your pencil line to show the waves in the hair, the thickness and thinness and bits of hair, I thought that marries that, as well, and it puts it more in a context, rather than doing this art thing that’s not related to anything. That can tie it in to a person and paintings – a person who actually came to this school as well.

Fiona Frank: Fantastic! My hope for this competition is that primary children all across Glasgow and Scotland and internationally start looking at this work, and that Hannah Frank becomes as well known as whoever else you look at all the time

Mrs Wood: …as well known as Rennie Mackintosh

Fiona Frank: And by closely looking at these drawings it’s making them really know the artist as well, isn’t it.

Mrs Wood: That’s right. And I didn’t know about her either beforehand either, so I’ve learned something. I’m quite arty and quite like her art. It’s been a revelation to me as well. So…

Fiona Frank: Fantastic. Thank you so much.