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Click here for a .pdf version. PRINTMAKING-
Introduction to Printmaking (ARTS160) and Intaglio and Relief (ARTS262) Spring 2002
Stephen Fox steve.fox@earthlink.net Objectives and GoalsThis 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:
Course Calendar
PORTFOLIO REQUIREMENTS
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. Expected OutcomeTechnical Skills 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. Conceptual Skills 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. Analytical Skills Develop skill in evaluating his/her own
work and the work of others. Technological Skills Understand the possibilities and
limitations of computer technology as a tool for research and creative work. Shop PolicyEvery 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 EvaluationEvidence and extent of the following characteristics will determine
grades: Creativity: design qualities content presentation aesthetic qualities time invested to create an innovative
piece. Attendance (as explained below) Quality of work: technical control 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 AttendanceAttendance 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. Grading 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 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. Contacting Me
If you need to reach me outside of class hours, contact me through the office at (215) 968-8425 or steve.fox@earthlink.net to make arrangements. MaterialsSketch 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. MonotypeSharpie Marker. Brushes. Thin, soft found objects to create pattern and texture: leaves, lace,
foil, etc., use your imagination. CollagraphChipboard, 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. Relief PrintLinoleum or wood block (unmounted) Carving tools (speedball carving set) and brayers wooden spoon. IntaglioIntaglio 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. OPTIONAL Papers: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 For Relief: Okawara, 19''x 22" Mulberry (Asian Style Paper) student hosho, kozo, chiri, nittigen, etc. Kinwashi Cream Japanese paper TextbooksThere are no required texts for this class, although I would recommend purchasing the following: The Complete Printmaker : Techniques, Traditions, Innovations Reading ListRelief 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 Supply SourcesRembrandt Graphics, Rosemont, NJ 1-800-622-1887 Websiteswww.sil.si.edu/exhibitions/science-and-the-artists-book
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