Practice. the medium, while simultaneously exploring the contemporary digital technologies of the field.

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1 Copperplate Photogravure: Integrating 19 th Century Process into 21 st Century Photographic Practice Teaching photography as a fine art necessitates a rich foundation in the historical processes of the medium, while simultaneously exploring the contemporary digital technologies of the field. Many colleges and universities across the country are choosing to eliminate traditional wetdarkroom and replace them with computer labs; the photography area at Eastern Carolina University has chosen to strengthen and expand the practice of these antiquated techniques and amalgamate them with digitally based practice. Currently ART 5220: Advanced Photography/Alternative Processes provides students with a rudimental experience in historical methods used to create a photographic image. This project proposes that the integration of Copperplate Photogravure, a photomechanical print process, will provide a more sophisticated level of engaging with the roots of the medium while fostering inter-medium and collaborative art practices. 1

2 Objective Students will have hands on experience using advanced: darkroom methods, chemistry preparation and handling; plate preparation; and printmaking techniques including etching and printing. Students will create photogravure prints using their own images, while evaluating image qualities and how they will translate into the aesthetics of the copperplate photogravure process. Students will develop an understanding of the professional and historical relationships between photography and printmaking. Project Description The advent of photography brought about dozens of techniques to create a real and permanent image. Over time, many of these processes have been lost because there was no one left to teach them. Sharing the knowledge is what keeps it alive. Copperplate Photogravure is a highly valued and rare photographic process completed most often by a collaboration of the image-maker (photographer) and the plate/print maker (printmaker). This project will provide the photographer with the skill set to create the plate and become the printmaker. In addition, the advanced nature of the technical components used throughout the process will strengthen a wide range of skills including: image-capture and evaluation; creative problem solving; chemistry handling; print evaluation; collaborative working; and general studio practices. There are 5 overarching steps to making a copperplate photogravure: the positive, the resist, making the plate, etching the plate, and printing the plate. Each step utilizes a variety of materials and procedures that are all highly influenced by temperature, humidity, equipment sensitivity, human interaction, and good old-fashioned luck. Over the last several years, two of 2

3 the essential materials were discontinued. Alternatives to these items have been made available by a number of manufacturers. A significant amount of preliminary testing will be required to create a base of procedures compatible with Greenville climate and the equipment currently housed within the School of Art and Design. Following the testing periods, the process can readily be integrated into the ART 5220: Advanced Photography/Alternative Processes course in the spring. Need and Impact The Photography Area has one of the largest numbers of admitted majors (approximately 35) of the individual areas within the School of Art and Design. ART 5220: Advanced Photography/Alternative Processes (required course) is offered each spring and has approximately 15 junior level students per session. In addition, graduate students may elect to take the class at any time in their 3 years of study. Mastery of copperplate photogravure requires extensive knowledge in wet photographic processes and printmaking, as well as a fully operational darkroom facility and printmaking studio. Very few institutions are equipped with the facilities and the personnel to effectively offer the technique to their students. As we continue to hold strong to the traditions of the medium, while embracing the growth into new technologies, our reputation for offering students the opportunity to create and experience a wide range of techniques grows. Adding one of a handful of schools in the country that teaches copperplate photogravure to this list will advance the standing of the Program, School, and University; and most importantly contribute to preparing our students to be highly skilled and diverse creative producers. In addition to the 3

4 immediate benefits of learning a specialized technique, students will develop practical skills that are highly desired in professional print studios and ateliers around the country. The mediums of printmaking and photography cross over greatly; providing our graduates with a foundation that includes experience and understanding of this relationship gives them a professional alternative to commercial photography. This diversity of skill is beneficial to students wishing to attend graduate school and to our graduate students pursuing professional and/or academic careers. Future possibilities of creating an elective course open to photography and printmaking students and/or a weekend workshop series open to interested students and faculty have been discussed as desirable additions to the program. Schedule of Activities and Their Deadlines Purchase equipment June 1 st Preliminary tests (warm months) August 1 st Secondary tests (cooler months) December 1 st Integration of process into ART 5220 Spring semester Evaluation Plan Short-term evaluation of the successful integration of the process will include the production of copperplate photogravures by the students enrolled in ART A brief survey will be distributed to the students at the end of the spring semester. Sample questions include: Has your experience with the copperplate photogravure process influenced or changed your understanding and approach to image making? Please explain. 4

5 Do you consider this knowledge valuable? Please explain. Would you encourage peers to take a course or workshop, offered by the SOAD, to learn the process? Please explain. Do you see yourself utilizing and/or exploring this process further in the future? In addition to student evaluation, arrangements will be made to have peer observations from printmaking and photography faculty with follow-up discussions on the effectiveness of teaching and the synthesis of information by the students at the end of the term. 5

6 East Carolina University TEACHING GRANTS COMMITTEE Budget for a 2013/2014 Teaching Grant (Complete if applicable) Item Funding Requested *Funds from Other Sources a) Honoraria $ $ b) Educational/Research Supplies $ $ c) Travel Expenses - Registration fees $ $ Travel Expenses - other $ $ d) Communication - Telephone $ $ Communication - Postage/mail $ $ e) Printing $ $ f) Other Services $ $ (engraving, ads, food, services) g) Equipment - under $ $ 2, $ Equipment - over $ TOTAL $ 4, $ $ 7, $ Student wages are not an allowable expense. Projects expenses are subject to funding availability. *Identify Other Funding Sources:

7 East Carolina University TEACHING GRANTS COMMITTEE Budget Justification for a 2013/2014 Teaching Grant (Complete if applicable) (Please refer to Item 6 of the Information sheet for further information.) Item Funding Requested *Funds from Other Sources a) Honoraria $ $ b) Educational/Research Supplies $ $ c) Travel Expenses - Registration fees $ $ Travel Expenses - other $ $ d) Communication - Telephone $ $ Communication - Postage/mail $ $ e) Printing $ $ f) Other Services $ $ (engraving, ads, food, services) g) Equipment - under $ $ $ Equipment - over $ $ $

8 East Carolina University TEACHING GRANTS COMMITTEE Budget Justification for a 2012/2013 Teaching Grant g) Equipment under $ Photo Trays ($250) Processing trays ranging in size from 8 x10 to 16 x20 will be needed for film processing, preparation of the plate, and etching. 2. Ferric Chloride ($175) Photo grade etchant 3. Darkroom Chemistry ($350) Potassium dichromate, photo flo, Kodak HC-110, fix hardener, etc. 4. Printing Papers ($400) Proofing paper, newsprint, and a variety of rag papers for printing. 5. Films ($400) Traditional orthochromatic darkroom films (Efke and Arista brands) and Pictorico Digital OHP Transparency film. Films are used to create the positive image for the end plate. 6. Plexi-glass/Acrylic Sheets ($225) ¼ inch thick flawless acrylic sheets (8x 10 and other standard photo sizes) for drying the gelatin tissue/resist as it sensitizes. 7. Miscellaneous preparation materials ($450) 91% Isopropyl alcohol, cotton balls, magic tape, vinyl gloves, Tri-sodium Phosphate, metal polish, contact paper/shelving paper, newsprint, light resistant storage containers, etc. 8. Masking film ($100) Ruby or Amber masking film to mask the film positives during exposure. 9. Printing Inks ($250) Graphical Chemical and Charbonnel Etching Inks in a variety of shades. 10. Total Equipment-Under $ = $2,600.00

9 h) Equipment over $ Stochastic Screens ($725) Precision Digital random dot screens used for plate creation. Screens in fine, medium, and coarse varieties and to accommodate small to medium sized plates (8 x 10 and 18 x 22 ). 2. Copper ($2,200) Mirror polish 16-gauge copper sheets bulk ordered from CG Metals (3 96 x36 ). 3. Refrigerator ($600) Approximately 18.2 cubic refrigerator for cooling chemistry and storage of sensitized tissues. 4. Pigment paper/phoenix Gravure ($875) Pigmented gelatin coated paper used to create the image resist on the copperplate (2 rolls of 2 x65 ). Total Equipment over $ = $4,400.00

10 Appendices (a) List of Courses and Scholarly Interests relevant to this proposal ART 5220: Advanced Photo/Alternative Processes ART 6222: Problems in Photography (Graduate seminar) *This is my second year teaching at ECU; in the last few years I have taught the following courses which are extremely relevant to this proposal: Introduction to Alternative Processes; Advanced Alternative Processes; and Special Topic: Copperplate Photogravure. I have spent the last 9+ years studying and mastering the Copperplate Photogravure process. In addition to using the process with my own creative activities, I have been teaching the process at the undergraduate and graduate levels to photography and printmaking students for several years. Teaching students to have the knowledge and confidence to explore historical processes and rediscover the magic of early photography is a life long adventure for me. In addition to my academic pursuits, I worked for Segura Publishing Company for 4 years as the Assistant Director. I obtained the position due largely to my experience with Copperplate Photogravure. I have had the honor of turning photographic images of several well-established photographers (ex: Mark Klett and Graciela Iturbide) into copperplate photogravures; the photographer became the printmaker for the photographer.