CCBC Essex School of Applied and Information Technology - Institute of Art, Design and Interactive Media

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1 CCBC Essex School of Applied and Information Technology - Institute of Art, Design and Interactive Media ARTD 193 Special Topics: Advanced Printmaking AHUM 146 Wednesdays 9:30AM-1:55PM Instructor: William Niebauer wniebauer@ccbcmd.edu Office phone / location: / AHUM 228 Administrative Assistant, Gaynelle Bess: (443) Purpose Advanced Printmaking is designed to build upon the basic principles and concepts learned in ARTD 135 Printmaking I. Students will use linoleum and wood as substrates for print blocks to further explore additive, reductive, multiple blocks, and color methods of printing. Advanced Printmaking will also explore the use of Plexiglas for dry-point etching and monoprinting. Students will learn to screen print producing photo positives from drawings on Mylar, and inkjet printed Mylar. Critical evaluation, and understanding the aesthetic quality of the artwork produced, will be as important as printing ability. Course Goals Learning Outcomes study a multitude of processes and techniques specific to relief printing learn and practice shop safety and the proper use of tools determine the capabilities of materials and be able to use them effectively examine the historical and contemporary significance of printmaking develop personal expression through form and material Overall Course Objectives Upon completion of this course students will be able to: 1. Use printmaking tools specific to wood block relief printing, dry-point etching, monoprinting and screen printing 2. Consistently edition prints using relief, dry-point, and screen printing 3. Create monoprint editions including a ghost image and counter print 4. Identify and explain a variety of printmaking processes Rationale Additionally, and perhaps more importantly than the purpose, studio courses provide an environment in which to explore. Despite the common goals and processes of each assignment, the path to achieving those goals is entirely individual. You will collectively, as a class, arrive at similar destinations but by unique means. More often than not, those means lead to alternative problem solving and can be more enlightening than the final 1

2 finished product. In the fast-paced world we live in today, it seems we're often forced to find answers (or arrive at a destination) before we've had an adequate opportunity to reflect on the questions, or enjoy the journey. This class, on the other hand, is as much about the means as it is about the end product. In no way am I minimizing the importance of the final product; after all, in a society that performs for the masses - mass production, mass media, mass consumption - what is the worth of an object made entirely by hand, to society or to you? Project Achievement The following six projects will be assigned during the semester: Dry-point etching (edition of 5) Monoprint (edition of 3, including monoprint, ghost image, and counter print) 1. Monoprint with blend run 2. Monoprint with stenciling 3. Monoprint of your choice Color Reductive MDF Block Print (Kento Registration) Color Additive Multiple Plate MDF or Plywood Print (Kento Registration) One-color screen print Three-color screen print Evaluation and Grading Grades are based on project achievement, attendance and overall participation. Critiques will be held throughout the semester. Critiques are a forum to collectively examine the artistic merit of the work done as well as to discuss the technical problems encountered. Critiques also serve as a means of closure for assigned problems. Letter grades will be used to evaluate the projects: A: Overall Excellence, to receive an A, you must consistently exceed the expectations of the assignment. Work must go beyond the scope of the assignment, both technically and conceptually; I will be looking for real technical exploration of the tools, and a strong sense of curiosity and experimentation regarding the requirements of the assignments. In short, you will have to make work that is strong in all ways, and develop a personal aesthetic that is inventive and compelling. Additionally, participation in critiques and in class discussion of the assignments will be required in order to receive and A. B: Above average: you will meet and exceed the requirements of the assignment. Work should be both conceptually and technically strong, but there will be room for improvement. C: Average: You have merely completed the requirements of the assignment. You have not been inventive or creative enough in your solution for the assignment. D: Below Average: You have only partially fulfilled the requirements of an assignment, by either not physically completing enough work, or by not addressing the requirements of the assignment. 2

3 F: Failure to fulfill the objectives of the assignment, unacceptable quality The following factors will be taken into consideration: Concept - originality, creativity and effectiveness of the solution Aesthetics / Craft - visual impact and refinement Completion - ability to follow instructions and to complete project Projects turned in late or not present at the critique will automatically be lowered one letter grade and will be accepted no later then seven days from the due date. After seven days, no credit will be given. Attendance Attendance is mandatory at all class sessions. Excused absences will only be permitted when prior permission is obtained from the professor, or in cases of extreme emergency (illness, death in the family, etc.) See the attendance policy below. Three unexcused, late arrivals (more than 15 minutes) will be counted as 1 unexcused absence. Students are expected to come to class on time and prepared to work. If the student has an extenuating circumstance that will cause him or her to be late on a regular basis, the situation should be discussed with the instructor at the beginning of the semester. The instructor will not repeat material missed by students arriving late (this includes quizzes and/or exams). If the student knows they will miss a class session, he or she should make a reasonable effort to contact the instructor in advance. If a student should miss the equivalent of two (2) weeks of class their final grade will be lowered by one letter and they must schedule a conference with the instructor to review their performance. If a student should miss the equivalent of three (3) weeks of class they will receive written notification by the instructor that they will not successfully complete the course. Note: After 10 weeks of class the course cannot be dropped without a final grade of F which will affect your cumulative GPA. Prior to 10 weeks, you may withdraw from the class with notation of W on your transcript. Withdrawing from class does not affect your GPA. Participation Participation in class critiques and discussions In-class work performance including attitude toward learning Arriving to class on time and working until the end of the class period Treating the studio, tools and machinery with respect. Care for it as if it were your own, but with the understanding that it is a shared environment including cleaning up your work area and restocking all tools Working during open studio hours. To complete most projects successfully, it is imperative to work outside of class time. However, all projects must be in progress during class and be completed by the student. 3

4 Course Procedures Shop Behavior and Safety: Respect others and their belongings. If it does not belong to you, ask before using. Your personal supplies are very important. You cannot participate in class without the required materials. Clean up after yourself. The shop will be clean and organized at the beginning and end of each class. The instructor supplies the majority of materials (printmaking tools and ink), but students are responsible for the following: Sketchbook Apron Ruler X-Acto or Utility knife, or single edge razor blades Pencils & Eraser Black Sharpie (thick & thin) 18 x24 Newsprint pad Printmaking Paper discussed in class (Plaza Artist Materials, Towson; Daniel Smith Artists Materials; McCain s Printmaking Supplies) Excuses Don t make excuses make good. Elbert Hubbard Community College of Baltimore County Institute of Art Design and Interactive Media (ADIM) Health and Safety Information ADIM is committed to encouraging the safe use of materials and processes within the studio environment. Students will be informed of hazards they may encounter in each studio and will be instructed in the safe us of materials and processes. Clear, legible signage and labeling has been developed for all studios. The department continues to look for ways to minimize the use of toxic materials, reduce the volume of waste, and dispose of wastes in and environmentally responsible manner. In its studio renovations, ADIM endeavors to gradually improve ventilation systems, with particular attention to finding low-cost, low-tech green solutions that can serve as models for students working responsibly at home. How Toxic Chemicals Enter the Body Chemicals can enter the body through skin contact, ingestion through the mouth, and through inhalation. Of the above, skin contact and inhalation are the most frequent methods. Our body has defensive barrier; but many art products contain acids, caustic 4

5 alkalizes, peroxides, bleaches and organic solvents, which may cause deterioration of these body defenses. Constant exposure can cause sever long and short-term damage. The breakdown of these defenses can occur suddenly and immediately or slowly over an extended period of time. Disruptions to the digestive system can occur when your hands, contaminated with art chemicals, come in contact with you mouth. This often occurs when food, cigarettes, or beverages are exposed to these chemicals. While most people have the common sense not to drink toxic substances directly, people have ben know to accidentally consume toxic substances that have been placed in common eating or drinking utensils. Do not put paint thinner in a coffee cup. Inhaling materials contribute significantly to the disruption of you digestive system. Once inhale, materials travel through your lungs and into your bloodstream. It should be self-evident: therefore, that one of the first steps to take as an individual to protect your health is to avoid eating and drinking in the studio. ADIM encourages you to take short breaks and leave the studio should you need a snack or drink. Remember to wash your hands first. Breathing vapors or dust is a very common method by which materials enter the body. Some of these, e.g. glacial acid (a stop bath on photography), welding fumes, wood dust, and other noxious materials can cause damage to your lungs and sensitive airway linings. Studio procedures and rules have been developed to allow you to work safety in the studios. When working in the studio, follow all use-of-equipment rules carefully. Students should not operate any studio equipment without having first been trained and cleared by their instructor. If you wish to use any art materials not provided by ADIM, or required I the list of course materials, please check with your instructor about its safe use before proceeding. Because of overall health and safety considerations and certain studio limitations, certain materials and processes are prohibited entirely at CCBC. These guidelines reflect the commitment of ADIM to you, the students, to provide a safe environment in which to practice and learn. General Guidelines for Studio Use Food and drink should be kept separate for art materials. ADIM discourages eating or drinking in the studios. Studios are to be kept in good order. Solvents and flammable corrosive material containers are to be kept covered at all times and stored in cabinets and lockers when not in use. All waste solvents and other waste chemicals are to be poured into the disposal cans provided by ADIM for this purpose. Disposal cans are located under the sinks in each studio. Ordinary trash is not to be accumulated, but must be thrown out in the trashcans. Clothing, Safety Gear and Precautions for all Studios Clothing Specific clothes should be used to prevent the spread of chemical residue. In some cases, aprons will be necessary. 5

6 Gloves Gloves should be worn during all chemical processing. They should e kept clean and uncontaminated. If not, the gloves may provide more harm than if not worn at all. Be sure hands are clean before putting on gloves. Check for leaks. Discard defective gloves. Be sure glove material is compatible with the chemical being used. Solvents and corrosives may cause gloves to deteriorate. Don not use latex gloves, except as liners to rubber gloves. Contact Lenses Contact lenses should not be worn where hazardous debris or liquids may cause harm. Chemicals can accumulate under lenses resulting in potentially serious injury. If possible, do not wear contact lenses in the studio, but if you must, wear safety glasses in addition. Respirators Respirators may be necessary if you have a pre-existing allergy. They may not be recommended if you have a reparatory or cardiovascular disease. It is highly recommended that you consult your personal physician before using a respirator. When doing so, be sure to bring the list of materials with which you will be working for the doctor to consult. Safety Glasses Safety (impact) glasses are required where the danger of flying debris exists. They must have side shields to prevent material from entering from the sides. They must have special plastic lenses to resist impact. Ordinary glasses are not an adequate substitute for approved safety glasses. Splash Goggles Unvented, or indirectly vented, approved splash goggles should be worn during the handling of all dangerous chemicals. Splash goggles of this type completely enclose the eyes so as to prevent the entry of liquids. All types of goggles can serve as a substitute for impact type safety glasses. Prescription glasses and (sometimes) contact lenses may be worn under approved goggles. Ingestion is a major cause of bodily contamination. Avoid eating or drinking in the studios, and wash your hands thoroughly before leaving the studio. Be sure to check with your instructor if you are unsure of any procedure prior to beginning. Aerosol Sprays Aerosol sprays are very popular with artists. They are used for a variety of purposes including, retouching, fixatives, adhesive sprays, painting, etc. Fine mists containing possible toxic materials can travel long distances or be suspended for extended periods before settling. In addition to the dangers that may exist from the active ingredients, propellants are commonly flammable or toxic as well. Find an outdoor location where air currents carry fumes away from people and be sure to direct spray away from anyone s breathing space. Empty cans should be disposed of in the trash promptly, as these containers can rupture if punctured or excessively heated. Use non-aerosol products if available. If you unsure about where to use aerosol sprays, ask your instructor to recommend an appropriate area. Solvents 6

7 As an art student you handle and are continually exposed to solvents. Solvents are used for many purposes; to dissolve and mix oils, resins, varnishes; to clean brushes and silk screens. Almost all solvents are poisonous if swallowed or inhaled in sufficient quantity. Similar properties exist in many solvents. If one member of a class or solvents is toxic, usually another safer solvent can be used. Remember, water is the preferred universal solvent. Prior to using any solvent, read the precautions and warning labels on the container. Familiarize yourself with the side effects that could result from long-term and overexposure to the properties of that solvent. Dizziness, intoxication, and skin irritations are common ailments that result from abuse of solvents. 7