PRINTMAKING- Introduction to Printmaking (ARTS160) and Intaglio and Relief (ARTS262) Spring 2002
Stephen Fox firstname.lastname@example.org
Objectives and Goals
This semester of printmaking will be devoted to Intaglio and Relief. This course will be taught as a beginning course (arts160), and no previous background in printing processes is required. The student, should, however, have design and/or drawing or painting skills. Students with previous experience (arts262) will be pushed to accomplish more technically difficult and artistically rich work while given the freedom to explore their own interests.
Through studio work, emphasis will be placed on the craftsmanship of technique used and on the image produced. Visual concerns and self expression as the main activity in art are important no matter what process or technique is used. In short, an image should first be worth looking at before the time is spent to put into multiples. Through presentation, discussions, and critiques, the student will become more articulate in communicating their own ideas.
This course is designed give the student in depth experimentation in creating single and multi-color relief prints and intaglio prints while encouraging creative exploration of ideas and content in projects which are tailored, to an extent, to the individual student's major area of interest. Technical areas to be addressed include color registration, edition printing, presentation, image origination, and paper selection. Aesthetic areas covered will include critiques and general classroom discussion as pertaining to the generation and evolution of ideas and images.
Planned Topics And Learning Activities:
The prints for the final critique must be presented in a good condition, properly labeled, and neatly presented in the portfolio. One or two of your prints may be collected to my own collection of students prints. If collected, they will be used solely for teaching and educational purposes.
Possess a technical knowledge of inks, tools, materials and techniques specific to the discipline of printmaking.
Demonstrate by studio work produced the ability to manipulate the tools and techniques of the printmaker.
Identify and describe the four basic printmaking processes: stencil, relief, intaglio and planographic.
Execute prints using a variety of processes that demonstrate knowledge and understanding of color theory, design principles and spatial illusion as they apply to printmaking.
Develop skill in evaluating his/her own work and the work of others.
Understand the possibilities and limitations of computer technology as a tool for research and creative work.
Every student has a responsibility to each other to keep the shop clean and safe. This means each student will thoroughly clean up after themselves and follow safety guidelines. The means to accomplish this will be included in technical demonstrations during class. Ignoring these responsibilities will be reflected in the final evaluation.
Method of Evaluation
Evidence and extent of the following characteristics will determine grades:
time invested to create an innovative piece.
Attendance (as explained below)
Quality of work:
consistency of prints/editions
cleanliness of prints and studio usage.
Spirit of cooperation:
interaction with others in the studio
participation in discussions/critiques/demonstrations, etc.
exhibit desire to learn and persevere when challenged.
Grading And Attendance
Attendance is mandatory. Instruction and lectures are critical since printmaking is highly technical. Three absences or more constitutes lowering of entire session grade by one whole point - that is A to B. Each additional absence will continue to lower the semester grades. No excuses will be considered for absenteeism, but REASONS will be considered. Entering class late or leaving early will be counted as half absence. Five absences or more will constitute an F grade.
In addition to class attendance, the student will be expected to be present and working in the studio as needed to complete projects. The studio will have posted hours and evening studio sessions with the graduate assistant, present, to accommodate these needs.
Prints are usually in editions. Each edition will be geared to introduce a new technique within the given process. Themes may also be introduced to stimulate imagery. Editions not submitted by due date will receive a lower grade. Editions will be handed in as follows:
Participation and attitude are very important. How effectively class time is used by the student will also be observed.
All preparation sketches for prints should be discussed first before the student initiates it on a plate. All work is to be original by the student. No working from direct sources such as other printed material or photographs without permission of the instructor. The student should challenge themselves technically and conceptually.
Your grade will be determined by attendance, participation and, most importantly, the assignments and projects completed, which will constitute the bulk of you grade. Your work will be evaluated on how well the instructions for each assignment or project were followed, technical proficiency, understanding of the material presented, creativity and effort, and your overall success and accomplishment in this class.
A(91-100) = All assignments completed, consistent superior quality
technically, visually and conceptually. Participation in class discussions. No Absences
Participation and Critiques
Critiques are mandatory regardless whether you have completed your project or not. Critiques are a time to evaluate the work someone has done, not to criticize the person. Everyone in this class will be learning a lot of new technical information. Be supportive, and help each other out. If you have something that you want to share with the class related to the topics we are covering, please do so. I welcome all new input and dialogue.
Work done by someone other than yourself will be considered plagiarism and will result in a failing grade.
Be on time and prepared with proper materials to begin the work. You are expected to be working while class is in session.
Late work will not be accepted unless prior arrangements have been made, and clear reasons for turning the work in late have been stated. In any instance, the late assignment may be downgraded.
If you need to reach me outside of class hours, contact me through the office at (215) 968-8425 or email@example.com to make arrangements.
Sketch book and assorted media (all not necessary but you will need an assortment to develop images):
DRY MEDIA: pencils: 2B, 4B, 6B, ebony, white, charcoal: compressed square sticks, vine charcoal, conte pencils: assorted colors, graphite sticks (square) erasers: kneaded, gum, and plastic.
WET MEDIA: India ink: black waterproof, dip pen, , poster tempera paints, and 4 Inexpensive Oil Painting Brushes: i.e.: 2 Flats, 2 Rounds, Small and medium brushes
MISCELLANEOUS: pencil sharpener, utility or mat knife, masking tape, pushpins, ruler (24" or 36"), one medium bastard file, one quart of mineral spirits (low odor paint thinner), one quart of cheap cooking oil, waterless hand cleaner, and protective rubber gloves (if desired).
Miscellaneous supplies and props as needed.
The student will be expected to supply all mat board necessary to present their work, and most of the paper required to print (some will be supplied by the department).
When supplies run out each student will be responsible for obtaining his own. There will be no reduction in required output due to shortages in supplies. Be wise in your use of available materials.
Rolls of paper towels as necessary (start with 4).
Optional apron or work clothes, this class will get messy, dont wear anything that you would regret getting ink on.
Optional protective hand cream or gloves as required due to individual sensitivities or allergies.
Thin, soft found objects to create pattern and texture: leaves, lace, foil, etc., use your imagination.
Chipboard, mat board or similar product.
Acrylic medium, Matte or gloss (both are good, only one is necessary)
Fabrics and papers in assorted textures. (small quantities)
Assorted found objects as above.
Linoleum or wood block (unmounted)
Carving tools (speedball carving set) and brayers
Intaglio plates - Zinc etching plates (6, size is optional, 4 for work, 2 for test (2x3). More may be required, depending on the student's ambitions).
3" bent burnisher
3' hollow scraper
etching needle or equivalent
2 or 3 small natural hair brushes (small)
4 sponge brushes for grounds.
6 sheets for blotting paper
(approximately 10-15 sheets, get some now, some as you get a feeling for what you like)
For Monotype, Collagraph and Intaglio:
Stonehenge, 22" x 30"
Rives BFK, 22" x 30", white or gray
Arches Cover, 22" x 30", white or buff
Okawara, 19''x 22"
Mulberry (Asian Style Paper)
student hosho, kozo, chiri, nittigen, etc.
Kinwashi Cream Japanese paper
There are no required texts for this class, although I would recommend purchasing the following:
The Complete Printmaker : Techniques, Traditions, Innovations
Relief Printmaking - Clemson; Collagraph Printmaking-Wenninger; The Art of the Print - Eichenberg; Printmaking: History&Process - Saff and Saccilotto; Monotype: Mediums and Methods for Painterly Printmaking - Julia Ayres, Structure of the Visual Book- Smith, Hand Bookbinding, A Manual of Instruction Aldren Watson, Japanese Bookbinding, Instructions from a Master Craftsman - Kojiro Ikegami; Etching, Engraving and other Intaglio Techniques Leaf; The Complete Manual of Relief Printmaking Clemson and Simmons
Rembrandt Graphics, Rosemont, NJ 1-800-622-1887