PRINTMAKING COURSE SYLLABUS Springfield High School COURSE DESCRIPTION: A studio course designed produce works of art throughout the use of monotypes, relief, serigraphy and intaglio printmaking techniques. COURSE OBJECTIVES: After successful completion of this course, the student will be able to demonstrate/perform the following competencies: 1. Communicate ideas through artworks by selecting and applying media techniques and processes, subject matter and themes. 2. Demonstrate a verbal-working use of the art vocabulary relating to the printmaking arts. 3. Develop an understanding of the properties and the preparation of printmaking. 4. Communicate ideas through artworks by selecting and applying the elements of art and principles of design. 5. Respond aesthetically to artworks based upon their personal experience and cultural values. 6. Analyze, interpret, and evaluate the quality of artwork through art criticism 7. Understand the role and functions of art in history and culture 8. Students will produce a portfolio of art using relief, serigraphy, and intaglio printmaking techniques. Attendance: If you miss a class, you will inevitably and quickly fall behind. Attendance of both lectures and labs is critical. Obviously, the success of this class relies a great deal upon the sustained exchange of ideas between participants. If you cannot make it to a class for whatever reason it is your responsibility to find out what went on and to make up any missed assignments. Be aware that you must be on time to class each and every day. Tardiness may forfeit your valuable lab time. Class Procedure: Due to limits on time, it is very important that you show up for class promptly and that you are prepared to work when you arrive. Class will concentrate alternately upon supervised lab time, critiques of work, and demonstrations. On your lab days you will be expected to show me your work in progress. Since most work is
done in class, I expect you to use the FULL class period to work. If you are not working on your assignment, or are being disruptive you will lose your daily participation points (5 points daily). You will receive either 5 points or 0 points, no exceptions. *unless teacher approved* This is not only my classroom but also your art studio! First off, we must clean up after ourselves everyday (you will receive 5 points if your work area is clean and supplies are returned to their designated places or 0 points if your workspace is messy, or supplies are out). I will give you 5 minutes (more or less time depending on the project) to clean up at the end of class. You are expected to work until I announce it is time to clean up. There will also be designated days for studio clean up, usually Fridays. We all have helped make the mess; therefore we are all responsible to help clean. The computers are for art research only! Any misuse of the computer will result in loss of computer privileges. After I introduce an assignment, you will complete a goal sheet that will be stored in your folder. When turning in artwork, o You will need to complete a self-critique sheet, using complete sentences. o Take a photo of your work, and put it in your drop box o Place your work in the designated spot to be graded. I will not search for your work. Your artwork is worth 80% of the project grade Your goal sheet/self critique is worth 10% of the project grade Photographing and placing artwork in your drop box is worth 10% of the project grade Originality and Copyrighted Work All work done in class must be solely yours. You may not use images directly from the internet, magazines, books, etc. If you are caught using images that are not your, you will receive a ZERO for the project. **Plagiarism can involve not only written work but also artwork. No one is allowed to use someone else s work to
complete an assignment. In short, your work is your property and visa versa. Late Work: I will accept late work once. I will give you feedback on late work, but the highest grade you will receive will be a C. Handing in work late deprives you of critical feedback from the class. It also robs your peers of the opportunity to develop their ability to talk about their prints. Therefore, it is imperative that work be ready for discussion at the specified time. If you know you will miss a discussion session, you must see me ahead of time to make some other arrangements. Grading: As noted above, grades are based on the projects you produce as well as upon your participation in class--which includes showing up, being attentive to your own and others work, and just generally being prepared to get things done when you arrive. The specific breakdown of your grade is as follows. Assignments 70% Daily Participation 10% Final Project 10% Quizzes 10% Evaluation of artwork is a tricky and often subjective business. However, you can expect the following objective criteria to be used in the grading of your work. 1) Technical. Do the prints show craftsmanship? Is the subject matter clear? Have materials been handled in a consistent, considered manner? 2) Formal. Do your prints employ visually effective strategies to convey the content? Characteristics such as texture, balance, form, etc. all figure in this level of evaluation. 3) Intentional. Assuming that you are attempting to convey something some idea do the above mentioned technical and formal strategies employed in your prints effectively together to communicate that intended meaning? Quizzes: Quizzes will be administered throughout the semester. These short tests will cover material you will have received in lecture and demonstrations. The quizzes will also allow me to gauge what sorts of problems you might be encountering in applying specific technical concepts to your printmaking. Typically, the quizzes will be given at the start of class so you will want to be sure to show up for class promptly.
Student Generated Supplies: - $20 lab fee - Set of paintbrushes (recommended- Hobby Lobby Value Brush Set Canister) - Slop Shirt - Folder - Small Glass Jar or Plastic Container with Lid (example baby food jar) - Hand towel or Rag - Textural scraps...string, aluminum foil, sand paper etc. You also must be aware that misuse of equipment or use of damaged equipment can create the risk of serious injury, and expensive damage. You may be liable for damage or injury resulting from such use. Failure to be alert to safety problems, or to report them, may have serious consequences for you or others. COURSE OUTLINE: Week 1 A. Orientation to course content B. Laboratory equipment and facilities C. Course policies and requirements D. History of Printmaking E. Historic techniques Week 2 Achromatic Monotype Week 3 Achromatic Monotype
Week 4 Chromatic Monotype Week 5 Chromatic Monotype Week 6 Monotype Quiz...Tools/Techniques/Vocabulary how works of art are produced. B. Apply skills and knowledge necessary to create and perform in one or more of the arts. 26.B.4d Visual Arts: Demonstrate knowledge and skills that communicate clear and focused Student Critique/Introduction/Demonstration of Collograph STATE GOAL 25: Know the language of the arts. A. Understand the sensory elements, organizational principles and expressive qualities of the arts. 25.B.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or meaning. 25.B.5 Understand how different art forms combine to create
an interdisciplinary work (e.g., musical theater, opera or cinematography). A. Understand the sensory elements, organizational principles and expressive qualities of the arts. 25.B.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or meaning. Week 7 Collograph Week 8 Collograph Student Critique/Relief Printmaking...Achromatic Introduction/Demonstration Week 9 Relief Printmaking...Achromatic
Week 10 Reductive Relief Printmaking...Introduction/Demonstration Week 11 Reductive Relief Printmaking Week 12 Reductive Relief Printmaking create 2- and 3- dimensional works and time arts (e.g. film, animation, video) that are realistic, abstract, functional and Week 13 Collograph/Traditional Relief/Reductive Relief Quiz/Student Critiques of Relief Printmaking/Introduction and Demonstration of Acidless Intaglio
Week 14 Acidless Intaglio Week 15 Acidless Intaglio Week 16 Intaglio Student Critique/Introduction and Demonstration to Serigraphy Week 17 Serigraphy/Photograph Work/Create CD/Slide Show/Portfolio STATE GOAL 25: Know the language of the arts. A. Understand the sensory elements, organizational principles and expressive qualities of the arts. 25.B.4 Analyze and evaluate similar and evaluate the effective
use of elements, principles and expressive qualities a composition/performance in dance, drama, music and visual arts. 25.B.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or meaning. B. Understand the similarities, distinctions and connections in and among the arts. 25.B.4 Analyze and evaluate similar and distinctive characteristics of works in two or more of the arts that share the same historical period or societal context. 25.B.5 Understand how different art forms combine to create an interdisciplinary work (e.g., musical theater, opera or cinematography). A. Understand the sensory elements, organizational principles and expressive qualities of the arts. 25.B.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or meaning. Week 18...Clean/Review/Finals PRINTMAKING
PRINTMAKING VOCABULARY WORDS RELIEF PRINTING - the original flat surface of a linoleum or wood block is the printing surface. Any parts of the design not to be printed are cut out, leading the major raised (in relief). The surface is inked with a roller, then transferred to paper by direct pressure. Examples on this method are linocut, woodcut and wood engraving. INTAGLIO PRINTING - This method is the opposite of relief printing. Done on metal or Plexiglas plates, the design is incised or etched into the surface. It is the applying heavy pressure to press the paper into the inked marks; the original surface level of the Intaglio plate represents the white in a black and white image. Examples of this method are dry-point, mezzotint and etching. STENCIL PRINTING/SERIGRAPHY/SILKSCREEN -printing is basically a stenciling process. To create an image, parts of the mesh must be block so that they do not allow the ink through. Silk-screening is an example of this method. MONO PRINTING - in method of printing that involves creating a unique impression by applying ink to a flat surface and transferring it to paper. Can be combined with other printing methods listed above. DRY POINT- a type of engraving. An essentially linear medium that derives its image and expressiveness from the artist's drawing skills. Usually combined with some other type of process to incorporate larger areas of shadowing and color. ETCHING - a method of intaglio printing in which the lines or tones of image are drawn into a prepared ground on the surface of a metal plate and then bitten in acid before being printed. ROLLER PRESS - a device used to produce intaglio prints. A flat, heavy metal bed is suspended between two rollers. The space between the rollers is adjustable to vary the pressure as required. The intaglio plate, with paper laid over it, position on the bed and passed between the rollers. PROOFS - prints made at various stages during the creative process to act as guidelines for further stages to change, correct or improve the image.
DRY POINT NEEDLE - a hard steel needle with a smooth, unfaceted point. Used to a grave and in it into the surface of a plate. BURR - the spiral of metal or plastic thrown up by an engraving tool. HATCHING - a method of tonal shading using crisscross lines. STIPPLING - a method of shading using short, stabbing strokes. TARLATAN - a special cloth-like material designed to absorb and remove ink from a plate. COLLOGRAPHY - printing the upper AND lower levels of the plate. EDITION- a series of prints made form the same plate PLATE- a flat surface used for printing - the image will be backwards on it INK- a pigmented matter that prints an image BRAYER- a small roller used to apply the ink to the plate BAREN- an instrument used to create pressure between the plate, ink and paper BLOCK-Linoleum or wood pieced used for printing. PRINT- Image taken from a plate and transferred to another surface. REGISTRATION- Lining-up one color on top of another on the same print and or lining up the paper on top of the plate. PRINTER S EDITION- Order in which prints were Printed (top # = # of that print / bottom # = total # of prints) ARTIST PROOF- The test print an artist creates in order to view their cuts. LINOLEUM CUTTERS- Tools used for cutting in which the smallest is a #1 and the largest is a #6. BENCH HOOK-Is used to hold the block into place while carving. RELIEF- Inking the raised surface of the prepared plate. The oldest and most direct form of printmaking. SUBTRACTIVE- Removing linoleum from the plate leaving the image you intend to relief print. BLEED PRINT - A print having an image that extends to the edges of the paper. COMPOSITE PRINT- A print made from a number of individual plates combining different techniques or images in the same print. DECKLE- The untrimmed feathery edge of a handmade sheet of paper. EMBOSSING- Print of a relief element on a dampened paper
without ink. GHOST- The remaining ink on a printing matrix after a print has been pulled. This may be printed, or in the case of mono print or mono type, may provide the basis for working up a subsequent image. PULL- To make a print by transferring the ink onto paper either by hand or with a press. WOODCUT- A relief print made from the plank grain woodblock cut with gouges and knives. SURFACE ROLL- Ink applied to the relief surface of an intaglio plate. MULTIPLE- A work of art that exists in duplicated examples that are all considered original. MIXED MEDIA- In printmaking, prints made by combining two or more processes. CHINE COLLE- A technique for gluing smaller pieces of paper onto a print while you are printing it. BITE- Action of acid as it attacks exposed areas of the metal plate. BEVEL- Angled or rounded edge of metal plate. SQUEEGEE- Used in screen printing: A rubber blade with wooden handle to force ink through fabric. TACK- The quality of stickiness in printing ink. BLANKET- Woven felt used on press to push paper into inked lines of metal plate. CANCELLATION- Defaced plate, block or stone after an edition is pulled. DAUBER- Inking pad made of rolled felt, leather or cloth. GAUGE- The thickness of a sheet of copper or zinc used for etching and engraving. IMPRESSION NUMBER-: A number assigned to a print in edition. Also called serial number. GOUGE- Tool with "V" shape or "U" shape cutting edge. ORIGINAL PRINT- Original, creative art printed from original plates, blocks, etc. It differs from the reproduction of an earlier work of art which was created in a different medium. Illinois High School Visual Arts Learning Standards and Benchmarks STATE GOAL 25: Know the language of the arts. Why This Goal Is Important: Through observation, discussion, interpretation and analysis, students learn the language of the arts. They learn to understand how others express ideas in dance, drama, music and visual art forms. In addition to
acquiring knowledge essential to performance and production, students become arts consumers (e.g., attending live performances or movies, purchasing paintings or jewelry, or visiting museums) who understand the basic elements and principles underlying artworks and are able to critique them. A. Understand the sensory elements, organizational principles and expressive qualities of the arts. 25.B.4 Analyze and evaluate similar and evaluate the effective use of elements, principles and expressive qualities a composition/performance in dance, drama, music and visual arts. 25.B.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or meaning. B. Understand the similarities, distinctions and connections in and among the arts. 25.B.4 Analyze and evaluate similar and distinctive characteristics of works in two or more of the arts that share the same historical period or societal context. 25.B.5 Understand how different art forms combine to create an interdisciplinary work (e.g., musical theater,opera or cinematography). STATE GOAL 26: Through creating and performing, understand how works of art are produced. Why This Goal Is Important: Students acquire skills to produce and perform dance, drama, music and visual art. They learn to use media, tools and technologies. They learn to shape ideas and emotions into sounds, images and actions. As students create and perform their own artworks and review the works of others, they become more imaginative, strengthen their problem-solving skills and learn to respond to the creativity of others. Creating and performing are at the core of the fine arts. Students also learn about the role of the artist (e.g., dancer, painter, actor, director, scriptwriter, musician). A. Understand processes, traditional tools and modern technologies used in the arts. 26.A.4e Visual Arts: Analyze and evaluate how tools/technologies and processes combine to convey meaning. 26.A.5 Common for all four arts: Analyze and evaluate how the
choice of media, tools, technologies and processes support and influence the communication of ideas. B. Apply skills and knowledge necessary to create and perform in one or more of the arts. 26.B.4d Visual Arts: Demonstrate knowledge and skills that communicate clear and focused 26.B.5 Common for all four arts: Create and perform a complex work of art using a variety of techniques, technologies and resources and independent decision making. STATE GOAL 27: Understand the role of the arts in civilizations, past and present. Why This Goal Is Important: The arts are a record of civilizations, past and present. Artists are influenced by and influence the times and places in which they live and work. As students learn through the arts about people and civilizations, they learn about others and themselves. Also, students learn about careers related to this goal (e.g., animator, curator, art historian, sound technician). A. Analyze how the arts function in history, society and everyday life. 27.A.4a Evaluate how consumer trends in the arts affect the types and styles of art products. 27.A.4b Analyze how the arts are used to inform and persuade through traditional and contemporary art forms. 27.A.5 Analyze how careers in the arts are expanding based on new technologies and societal changes. B. Understand how the arts shape and reflect history, society and everyday life. 27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture. 27.B.4b Understand how the arts change in response to changes in society. 27.B.5 Analyze how the arts shape and reflect ideas, issues or
themes in a particular culture or historical period.