Collograph plate by Anna Nicholson 2011 PRINTMAKING 1. ART cr. Summer I 2015 M-F 9:25-12:35 p.m. Art Department VAB (June 8 - July 10th)

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1 Collograph plate by Anna Nicholson 2011 PRINTMAKING 1 ART cr. Summer I 2015 M-F 9:25-12:35 p.m. Art Department VAB (June 8 - July 10th) Instructor: Phone: Office Hours: Reynaldo Santiago MFA Studio, ( Art Office) 12:35-1:15 PM reynaldo@utpa.edu Reference Text: The Printmaking Bible, by Ann D Arcy Hughes and Hebe Vernon-Morris (2008) ISBN Recommended Reading: Complete Printmaker (Paperback), by John Ross (1990) ISBN A Printshop Handbook, by Beth Grabowski (1988) ISBN The Contemporary Printmaker: Intaglio-Type and Acrylic Resist Etching, by Keith Howard (2003) ISBN The Woodcut Artist s Handbook : Techniques and Tools for Relief Printmaking by George A. Walker (2005) ISBN

2 Screenprinting : The Complete Water-based System by Robert Adam and Carol Robertson (2005) ISBN 10: Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials by Karin Schminke, Dorothy Simpson Krause & Bonny Pierce Lhotka (2004) ISBN Creative Digital Printmaking: A Photofrapher s Guide to Professional desktop Printing by Theresa Airey (2001) ISBN Digital Printmaking by George Whale & Naren Barfield (2003) ISBN Printmaking: History and Process, by Donald Seff, (1997) ISBN The Tamarind Book of Lithography Art & Techniques by Gorzo Z. Antreasian with Clinton Adams (1971) Library of Congress Course Description: This course is an introduction to printmaking as a means of personal expression and aesthetic communication. Relief printing in several forms as well as monoprinting, and screenprinting will be emphasized. Other printmaking processes will be discussed including more recent hybrid and digital printmaking techniques. Course Requirements: Four editions with five good prints each, among the seven printing processes covered, will be required for final evaluation. All prints attempted shall be kept in a portfolio which will also include the images produced in limited edition format, continuing edition, or artist proof series depending on the type of print process employed. Course Objectives: The goals for this course include: The encouragement of self-expression through the exploration of a variety of printing techniques. The development of critical skills and the ability to evaluate one s own work as well as the work of others. The establishment of a basic knowledge of the history of prints in both Eastern and Western cultures. The development of craftsmanship in the area of plate, block, and stencil making and fine printing. The development of basic familiarity with a wide range of printing processes Evaluation: There are a total of 5 separate grades. There will be 1 grade for 4 printing techniques worth 20 points each and one final portfolio worth 20 more points for class work (including online research), critiques, attendance and quizzes. The total possible points are 100. Additional credit will be given for participation in art exhibits or attending art exhibits outside the University such as local museums and McAllen Art Walk (proof needed like pictures of you at location).

3 4 Editions with 5 prints required from the following: 12 Woodcut 14 minimum size paper* 12 Multi-color woodcut 14 minimum size paper* 12 Linoleum reduction relief cut 14 minimum size paper* Dry-point Intaglio on Plexiglas or metal 8x10 minimum size paper* One color direct liquid stencil screenprint 8x10 minimum size paper* Two color minimum photo screenprint 8x10 minimum size paper* Waterless Lithography 8x10 minimum size paper* Monotype print 8x10 minimum size paper* Collograph 8 x 10 minimum size paper* Plus Final portfolio*, research USB or CD Supplies:* wood spoon 10 cotton rags bench hook 1 masking tape newspaper white gloss spray paint exacto and blades 4 black matte boards 30 x40 2 brown tape old newspapers white glue matte knife sketchbook drawing pencils eraser 2 x2 x8 wood for screen printing linoleum cutters toolbox (tackle box) #2 paintbrush newsprint pad 18 x24 sketch pad 18 x24 (2)12 x12 x1 pine blocks metal ruler gallon odorless mineral spirits registration board transparent spray paint printing papers memory stick with at least 1/2 gigabytes for electronic files *Other materials may be needed. For more important information on dates and changes at UTPA that you probably do not know about, visit the following link: Documented Disability: If you have a documented disability which will make it difficult for you to carry out the work as I have outlined and/or if you need special accommodations/assistance due to a disability, please contact the Office of Services for Persons with Disabilities (OSPD), Emilia Schunior-Ramirez Hall, Room immediately. You will need to contact Maureen McClain, Associate Director either by at MAUREEN@UTPA.EDU or by phone at (956) so that the appropriate arrangements/accommodations can be arranged. Drops: Except in specific circumstances, students cannot be dropped from this course. If a specific circumstance should occur causing the student to have to drop the course or withdraw from the University, he/she must meet with me BEFORE dropping the course, to discuss their options. There is a specific

4 process for dropping a course and that process needs to be followed. Please Note: You only have until?(check dates with the dean of Students Office), to drop a course in order for it NOT TO COUNT as one of your 6 drops based on the 6 Drop Rule (See Ruling below). Deadline to withdraw from the University or drop a course and still receive a DR on your transcript is (check dates with the Dean od Students Office). This drop WILL COUNT as one of your 6 drops. The Texas Higher Education Coordinating Board passed this ruling that stated beginning in the Fall 2007, any undergraduate students who enroll in higher education for the first time during the Fall 2007 academic term or any term after the Fall 2007 term, may not be permitted to drop a total of more than six courses, including any course a transfer student has dropped at another institution of higher education. (See Item 4.10, under Subchapter A: General Provisions). In accordance with Texas Education Code, , students may not drop more than a total of six courses during their undergraduate career. Courses dropped at other Texas public higher education institutions will count toward the six course drop limit. A student may appeal a drop if he/she shows good cause. Contact the Office of the Registrar for details concerning the appeals process. (This quote was taken from the UTPA catalog). TSI Information: In response to a new state law, The University of Texas-Pan American has made significant changes to our educational development plan. What was once called TASP is now the Texas Success Initiative (TSI). If you are TSI-affected, you must enroll in, attend, and complete the course or face severe consequences, such as withdrawal from the university. If you have any questions regarding this policy, contact the Advisement Center, located in the University Center (UC) Room 215 or call (956) For exhibits and other art related activities visit:

5 Amie Roman kinsol II 2006 Canada Relief print Printmaking 1 Outcomes A. PRINTMAKING I (ART 2361) Course Description This course is an introduction to printmaking as a means of personal expression and aesthetic communication. Relief printing in several forms as well as monoprinting, monotype, embossing, collograph, and screenprinting will be emphasized. Other printmaking processes will be discussed. 3 credits B. FOCUS, PURPOSE AND GOALS OF COURSE: 1. COURSE PURPOSE: The purpose of Printmaking 1 is to introduce students to the history and techniques of a variety of print processes used in making unique and limited edition fine art prints. 2. COURSE GOALS: Printmaking I is designed to help students adapt the many methods of printmaking into their working vocabulary. Expression is to be supported by mastery of means. Problem solving, critical thinking skills, aesthetic judgment, and self-confidence that come from accomplishment are a few of the desired outcomes. By the end of the semester, each student will: a. Have demonstrated an ability to translate concept into tangible printed results. b. Have participated in individual and group critiques. c. Have demonstrated safe and effective studio practices. d. Have demonstrated confidence in personal creativity. e. Have demonstrated specific knowledge of contemporary & historic prints and printmakers. C. PERFORMANCE OBJECTIVES - Expected student outcomes by domain: 1. COGNITIVE: (Development of critical thinking skills, conceptual constructs, specialized vocabulary and art history.)

6 a. Each student will be able to research historical & contemporary aspects of printmaking. b. Each student will be able to assess and verbalize thoughts about own work and classmates. c. Each student will be able to use vocabulary specific to printmaking processes 2. PSYCHOMOTOR: (Development of manipulative, work-oriented skills; demonstration of specific process skills). By the end of the semester: a. Each student will demonstrate ability to conceive, develop, and complete visual ideas in printmaking media. b. Each student will demonstrate the ability to effectively deposit ink on paper in desired areas only. c. Each student will demonstrate the ability to effectively design, ink, and print a surface in relief.. d. Each student will design, ink, and print an image using an intaglio or screen stencil process. e. Each student will register paper on inked surfaces to produce multicolored images. f. Each student will demonstrate safe effective use of equipment & chemicals. g. Each student will demonstrate ability to identify historical influences in their own work. h. Each student will demonstrate ability to perform necessary curatorial clean-up steps on prints 3. AFFECTIVE: (Development of behavioral skills which help the student acquire a positive attitude toward self, other students, faculty, facilities and equipment, housekeeping in the work area, and the ability to carry out directions, meet deadlines, meet attendance requirements, etc.) a. Each student will maintain class attendance. b. Each student will observe safe studio practices. c. Each student will maintain clean working areas. d. Each student will demonstrate ability to follow task instructions. e. Each student will work cooperatively with others. f. Each student will demonstrate ability to complete tasks. g. Each student will demonstrate ability to focus on group objectives. h. Each student will demonstrate ability to focus on personal objectives. i. Each student will comply with due dates. j. Each student will participate in-group critiques. k. Each student will demonstrate the ability to tolerate diverse views. l. Each student will demonstrate the ability to communicate effectively. m. Each student will demonstrate the ability to offer and receive constructive criticism. ============================================================= Know the following terms and respective descriptions Aquatint -- An etching technique that creates areas of tone through the use of powdered resin that is sprinkled on the etching plate prior to being bitten by the etching acid. The result is a finely textured tonal area whose darkness is determined by how long the plate is bitten by the acid. Chiaroscuro woodcut -- A form of woodcut involving several blocks in which one or more of the blocks is used to print large areas of tone. Typically, a chiaroscuro woodcut will involve a line block to indicate the outlines of the composition and tone blocks with areas carved out to create highlights by allowing the white of the paper to show through. The final effect is similar to an ink wash drawing with highlights and line drawing. Chromolithograph -- a color lithograph usually involving a large number of lithographic stones to allow a complex color separation. The term is often used to describe late nineteenth-century color lithographs that emulate or reproduce paintings. Drypoint -- Similar to etching, but the lines are simply scratched into the plate manually, without the use of acid. The hallmark of a drypoint is a soft and often rather thick or bushy line somewhat like that of an ink pen on moist paper.

7 Engraving -- A form of intaglio printing in which lines are incised into a metal plate with a carving tool called a burin. The characteristics of burin engraving differ from that of etching in that engraving, requiring considerable force, is done from the strength of the arm and eliminates the quavering autographic qualities of etching, which is done more from the finger tips like fine drawing. The hallmarks of engraving are often elegantly swelling and tapering lines. Etching -- A means of incising lines in a metal plate with acid for printing in the intaglio technique. The plate is first covered with an acid resistant ground through which the artist scratches a design with a stylus or needle, revealing the bare metal below. This plate is then immersed in an acid bath that cuts the incised lines into the plate. Etched lines often betray the subtle motions of the artist s fingertips. Giclée -- An Iris print, the name derives from the French for spurt. Gillotage -- A relief process made by transferring a lithographic image to a metal plate that is then etched to produce a relief plate. The term is also used inaccurately to indicate varieties of photomechanical relief printing. Heliogravure -- A forerunner of photogravure in which the photographic image is projected directly onto the plate rather transferred to it on an emulsion. The term photogravure is often used indiscriminately for both techniques. Inkjet print -- a general designation for the large class of printers used to print computer images. Inkjet printers make us of extremely small nozzles to deliver exact amounts pigment to precise locations on the paper. Intaglio -- Any of the techniques in which an image or tonal area is printed from lines or textures scratched or etched into a metal plate (engraving, etching, drypoint, aquatint, lift ground, soft ground). The plate is covered with ink, then wiped clean leaving ink in the incised lines or textures of the image. This plate is then printed in a press on moistened paper. The paper is forced down into the area of the plate holding ink, and the image is transferred to the paper. Iris print -- A type of inkjet print printed from an Iris printer. Letterpress -- Typographic printing from movable type. Lift-ground aquatint -- A form of intaglio printing in which the artists draws with a specially formulated ink on a metal plate. The plate is then covered with an acid resistant ground and immersed in water. The characteristics of the drawing medium (which may be applied with a pen or brush) allow it to dissolve and work through the acid resistant ground. When bitten in acid, the final result resembles pen or brush work. Linoleum Cut -- A relief print carved into linoleum rather than wood. Lithograph -- A printing technique in which the image is drawn on a very flat slab of limestone (or a specially treated metal plate). This stone is treated chemically so that ink, when rolled on to the stone, adheres only where the drawing was done. This inked image can then be transferred to a piece of paper with the help of a high-pressure press. Metal Cut -- A form of relief printing from an intaglio plate. In the fifteenth century metal cuts often employed drill holes that printed as white dots. Engraved lines will print white rather than black in metal cut since the surface, rather than the marks in the plate, is inked.

8 Mezzotint -- An intaglio process invented around 1650 that allows the printing of rich tonal areas of black and gray. The mezzotint process begins by texturing a metal plate in such a way that it will hold a great deal of ink and print a solid black field. This is done with a tool called a rocker. A rocker is essentially a large curved blade with very fine teeth along its edge. This blade is rocked back and forth, putting courses of fine dots into the metal plate. After this has been done repeatedly the plate will be covered with fine stipples that can hold ink. The next step is to scrape away the stippled texture where lighter passages are needed. The more vigorously the plate is scraped the less ink it will hold and the whiter it will print. Mezzotint differs conceptually from other intaglio methods because the artist works from black to white rather than white to black. For this reason mezzotint lends itself to scenes with many dark passages. Monotype -- A form of printmaking in which the artist draws or paints on some material, such as glass, and then prints the image onto paper, usually with a press. The remaining pigment can then be reworked, but the subsequent print will not be an exact version of the previous print. Monotypes may be unique prints or variations on a theme. Photogravure -- A means of printing a photographic image by the intaglio process. The photographic negative (which may be of an artist s drawing) is projected onto a sensitized gelatin emulsion or carbon tissue that is transferred to a copper plate. After washing the plate areas that correspond to the image on the negative are dissolved and the plate can be bitten by acid as in routine etching. In hand photogravure, which is most commonly used in printmaking, the copper plate is first prepared for aquatint etching. The end result can closely resemble a traditional linear etching or soft ground etching. Photomechanical relief print -- There were many means available by the 1880s that allowed a black line drawing to be transferred to a relief printing block by photographic means. These are generically known as line blocks and the images printed from them typically share many of the qualities of woodcut. The means of transferring the image are often complex, and can involve such techniques as etching photosensitized plates or electrotyping light sensitive gelatin plates. Photomechanical reproduction -- This term is used to describe a variety of processes involving the transfer of a photographic image to a printing matrix, such as an etching plate, relief block, or a lithographic stone. The term is used here whenever it is not certain exactly what photomechanical process is involved. Pochoir -- A stencil print that does not involve a screen. Usually pigment is brushed across the openings of the template. Often the brush marks are discernable. Proofs -- Impressions of a print. In the case of an incomplete print they are referred to as working proofs. Relief print -- Any print in which the image is printed from the raised portions of a carved, etched, or cast block. A simple example would be a rubber stamp. The most common relief prints are woodcuts. The term relief print is used when it is not clear which kind of relief printing has been used (photomechanical or hand carved, for example). Screen Print -- A form of stencil printing in which the stencil is adhered to a fine screen for support. Ink can be squeegee through the screen onto paper. Screen-printing can have a hard-edged quality caused by the crisp edges of the stencil. Also referred to as silk screen and serigraphy. Serigraph -- Another term for Screen Print. Silver print -- A photographic print utilizing paper impregnated with silver nitrate (distinct from a platinum print, for example).

9 Soft ground -- An etching technique in which the plate is covered with malleable ground through which a variety textures can be pressed, allowing them to be etched into the plate. For example, a piece of paper laid on top of a soft grounded plate can be drawn upon with a pencil, and the resulting etched image will resemble a pencil line drawn on paper. To be distinguished from hard ground used for simple line etching. Sulfur ground -- A technique in which a caustic sulfur compound is painted directly on an etching plate, or in which sulfur dust is otherwise applied to a plate. The resulting marks will hold ink and can be printed like an etching. The technique typically creates blotchy expanses of gray tones. This might be compared to printing rust marks on a steel or iron plate. Wood engraving -- A relief print carved in the end grain of a block of wood whose thickness is the same as the height as a piece of movable type ( type high ). This was traditionally a commercial technique practiced by specialists and used in magazines and book illustrations. Woodcut -- A relief print usually carved in the plank grain of a piece of wood. After the relief image has been carved in the plank with knives or gouges it is inked with a dauber or roller. It can then be printed by hand (in which case a sheet of paper is laid down on the inked plank and rubbed from the back with a smooth surface such as the palm of the hand or a wooden spoon) or with the help of a mechanical press. Zincograph -- A lithograph done on a zinc plate instead of on a stone. The term is also used to designate a photo-etched relief print For more extensive definitions of printmaking terms see: Gascoigne, Bamber. How to Identify Prints. A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink Jet (New York: Thames & Hudson), Griffiths, Antony. Prints and Printmaking. An Introduction to the History and Techniques (London: British Museum), Nadeau, Luis. Encyclopedia of Printing, Photographic, and Photomechanical Processes (Fredericton, N.B., Canada: Atelier Luis Nadeau),