Printmaking: Relief
Art 250, Section 1, 3 credits
Tuesday, Thursday 9:00 a.m. – 11:50 a.m.
Fall 2007
Assistant Professor: Ms. Kelly Nelson
Office: Bedford 230
Office Phone: 395-2154
e-mail: nelsonkm@longwood.edu
Office Hours:
Tuesday, Thursday, 11:00 a.m. – 1:00 p.m.
and by appointment
Longwood University’s Art Program: “While a foundation in art techniques, theory and art history is
essential, creative expression and development of concepts, values and critical judgment are expected and
encouraged. Students choose a field of specialization or concentration, form their own concepts and
develop individual methods and directions. The department of Art emphasizes the humanities and
aesthetic judgment, the development of personal expression and the relationship of art in the nature of
learning and human development essential for a liberal arts education.
The Department encourages students to be creative with ideas, techniques and materials in every aspect of
their daily lives. We want our students to be knowledgeable about art history, current art activities,
techniques, media, design, the value of art and its role in society and their own personal artistic direction.
We expect our students to be productive, self-motivated and to develop discipline and responsibility
concerning professional obligations and expectations in the workplace. Finally, we expect our students to
be enlightened people, to be appreciative of life, to contribute to the well-being of others and society in
general.” P. 120, Longwood Undergraduate Catalog, Faculty Desk Reference, 2004-2005.
Catalog Description: Exploration of traditional and contemporary relief printmaking techniques,
processes and materials. Hand and press printing. 3 credits
Purpose and Rationale for the Course: Students will accumulate knowledge about printmaking
through production, criticism, history and aesthetics with emphasis on production.
Course Goals: The following are goals successful students will meet upon completion of this course:
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understand how to create and maintain a safe and clean print lab;
use proper conservation, documentation and presentation of prints;
Understand a basic history of relief printmaking;
develop strong craft by developing and honing relationships with printing instruments and
materials;
design images integrating relief properties with a strong relationship between form, content
and format;
use a systematic and critical approach to generate and develop ideas with purpose and
understanding;
evaluate art in the context of time and culture;
model successful dispositions as fundamental life skills;
hone literacy skills to include visual, verbal, auditory, psychomotor and written;
Text: Printmaking: History and Process, Donald Saff and Deli Sacilotto
This text is recommended and an excellent source for printmaking history and techniques.
Course Requirements: Students are invited and expected to participate wholeheartedly in class. Student
dispositions to include class participation and all assigned coursework must be completed satisfactorily.
Students are expected to spend an average of two hours outside of class for every hour in class. This
translates into eight hours of outside preparation for this course.
Course/University Attendance Policy: Attendance is crucial for learning, especially in a lab situation.
Regular attendance is indicative of ones dedication to this course. Students must assume full responsibility
for any loss incurred because of absence, whether excused or unexcused. Inclement weather is not an
excuse. When applicable, please notify the instructor in writing prior to the scheduled absence. YOU ARE
EXPECTED TO BE ON TIME AND WORK IN EVERY CLASS.
Failure to attend on a regular basis will result in a lowering of grade or failure as is commensurate with
University policy and written in the undergraduate handbook.
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Any student who misses more than 25% of the course, (7classes) including excused absences,
will fail.
Students who have an unexcused absence may not make up work. Students who have an
excused absence via proper paperwork may make up work and will have one class period to do
so except critiques, for you can not duplicate a critique.
After earning 3 unexcused absences, your grade will be lowered one letter.
Assessment: Assessment is weighted as follows: portfolios (75%), critiques and art events (10%), research
project (15%), Below is a breakdown of grades:
A
B
C
D
F
90% – 100% Superior work
80% - 89%
Above average work
70% - 79%
Average work
60% - 69%
Below average work
0% - 59%
Failure
Portfolios: Portfolios are collected two times a semester and consist of professionally presented prints.
Prints: The course encompasses relief printing in wood, linoleum, and letterpress. Your prints will
be thematic and answer a visual question or incorporate a visual concept/formal property. Your prints will
be critiqued throughout the semester and you will have the opportunity to improve your prints after
critique. One print per edition will be kept by the art department as is typical with multiple image
making.
Critiques: Critiques will be held for most print assignments. Attendance during critique and meaningful
participation is mandatory.
Art Events: You are required to attend one or more art events. See syllabus for more information.
Research Project: You will have the opportunity to research contemporary relief print artists, processes
and/or movements of your choice. As part of your in depth research, you will complete two class
presentations with an accompanying power point to educate your peers about your research. Your second
presentation will accompany a relief print that was influenced by your research. This is an ideal time to
visit libraries, museums and galleries to discover contemporary relief artists, movements, processes and so
forth, you find motivational and want to study throughout the semester.
Late Work: Late work is not accepted. If you miss a deadline you earn a zero out of however many points
the assignment is worth. Do not miss deadlines. Missing deadlines is detrimental to your success in the
class. If necessary, find a friend to deliver your work if you are unable to attend class. Punctuality is a life
skill.
Course Fee: A $70.00 lab fee covers some supply expense for this course. Students will need to
furnish additional supplies.
Materials List
Portfolio
Sketchbook
Sharpie marker
Black India ink
Linoleum
Oil based block printing inks OR
Water based block printing inks, acrylic based
Printmaking papers, especially tableau, eastern style smooth paper (Thai Kozo) and
Rives
BFK paper, all white or off white (for 1st project)
Wood block
Transfer paper
Brayer
X-Acto knife, x-acto #5 heavy duty knife is preferred
Ruler
Drawing supplies – charcoal and/or graphite
glue/adhesive
Nontoxic solvent
Solvent resistant gloves
Polymer acrylic gesso or another equivalent sealant
Aluminum foil
Sand paper and various tools to create textures on wood – nails, hammer, etc.
For sandragraphs - a collection of scrap matt board/card board/particle board and various found
textures. (Nothing thicker than two and a half cross section or thickness of 4 ply matt board.)
4 ply mat board that is neutral/white and matches your paper (a number of sheets, 4+ depending
on the size of your prints.)
plywood
muslin
white crayon or paint marker
black paper
Backing for matted prints
Suggestions
Gloves:
Solvent resistant gloves will protect your hands when cleaning. These gloves are often available
at hardware stores. The strongest acid and solvent housed in the print lab is nitric acid and
lacquer thinner. Purchase gloves to resist the above, such as neoprene.
Inks:
Our first prints will be black. I would wait to purchase oil based ink, for some will be provided
but you may choose to share colored inks with another student to increase your color choices.
You may also want to work with water based, eastern style inks, NOT ACRYLIC INKS! The
unfortunate aspect of sharing lab inks is that when one or more students do not take care of the
lab, the inks are quickly ruined…Regardless, you may spend some money on oil based block
printing ink. You may also use water based block printing ink. This ensures easy clean up and
quick drying. The lab will not be equipped with water based block printing ink.
Paper:
I suggest you purchase Thai Kozo or BFK paper in bulk. You could always share/split the cost
with another student for it is much cheaper to purchase the paper in bulk and you may not use
all the paper in this class. The bookstore will carry white BKF paper and Thai Kozo paper. Wait
until you pull your first print before purchasing bulk paper so you are familiar with paper
differences and will make a wise choice. You will choose your paper substrate or what paper to
use when printing.
Mat board:
Purchase 4 ply white/neutral matt board in bulk. The color of the mat board should match your
paper. As with paper, you could share the cost with another student. You will always need matt
board.
Brayer:
The lab is equipped with some brayers, but they are not well cared for. I recommend purchasing your
own brayer.
Students with Special Needs: If you are a student with a disability you must notify your instructor and
register with the Office of Disability Support Services at least two weeks prior to requesting a reasonable
accommodation.
Honor Code Statement: A strong tradition of honor is fundamental to the quality of living and learning
in the Longwood community. The Honor System was founded in 1910, and its purpose is to create and
sustain a community in which all persons are treated with trust, respect, and dignity. Longwood affirms
the value and necessity of integrity in all intellectual and community endeavors. Students are expected to
assume full responsibility for their actions and to refrain from lying, cheating, stealing, and plagiarism.
Bibliography
Printmaking: History and Process, Donald Saff and Deli Sacilotto
A Printshop Handbook: A Technical Manual for Basic Intaglio, Relief, and Lithographic Processes, Beth
Grabowski
Experimental Drawing: Robert Kaupelis
The Art of Responsive Drawing, Nathan Goldstein
Legal Guide for the Visual Artist, Tad Crawford
Art on the Edge and Over, Linda Weintraub
Code of Ethics for Original Printmaking, Nicole Malenfant and Richard Ste-Marie, ISBN# 2-922018-05-9
How to Identify Prints: A Complete Guide to Manual and Mechanical
Processes from Woodcut to Ink-jet, ISBN# 0-500-23454-X
Walker, ISBN#0-8263-1574-7
Lithography, Photography, Intersections and the Traditions of Printmaking, Editor Kathleen Stewart Howe, ISBN #0-8263-1845-2
Second Impressions, Modern Prints and Printmakers Reconsidered, Edited by Clinton Adams, ISBN# 0-8263-1672-7
Tamarind: Forty Years, edited by Marjorie Devon, ISBN# 0-8263-2073-2
The Unfinished Print, Peter Parshall, Stacey Sell and Judith Brodie, ISBN # 0-85331-820-4
Course Calendar
The complete list of reading assignments as well as schedule changes and other materials are
available on Blackboard.
WEEK
Aug. 28
Sept. 4
Sept. 11
TOPIC
Intro to relief prints, print lab
orientation/hazardous
materials, black and white
woodcut
Black and white woodcut,
marks and tones,
troubleshooting cutting,
printing
Black and white woodcut,
presentation of prints,
research presentation
IMPORTANT DATES: DUE DATES
Aug. 30 – sketchbook assignment, Ch. 1, pg 7 – 36,
the History of Relief, sketchbook assignment
Sept. 4 - Read ch. 2 titled Relief Techniques, Basic
Woodcut Techniques, pg. 38 - 47, drawing for
woodcut, Sept. 6 - Printing: paper, Rollers and
ringing the Block, pg. 48 – 50, drawing for woodcut
and practice woodcut print due for critique
Sept. 12 – print research presentation guidelines,
Sept. 14 – Ch. 2, The Classic Japanese Woodcut
Technique (Ukiyo-e), pg. 53 – 67, sketchbook
Sept. 18
Sept. 25
Oct. 2
Oct. 9
Oct. 16
Oct. 23
Oct. 30
Nov. 6
Nov. 13
Nov. 20
Nov. 27
Dec. 4
Dec. 14
guidelines
Black and white woodcut due,
Reduction color linocut
Reduction color linocut,
mixing color ink, draw downs,
Sept. 27 – Art For Lunch
Series, LCVA, 12:30
Reduction color linocut
Oct. 8th -Visiting Artist Talk:
Megan Olsen, Reduction
color linocut due, critique,
presentations, portfolios due
Oct. 16 + 17 – No Classes, Fall
Break, Oct. 18 th – No
Classes, Fourth Art Dept.
Assessment and
Scholarships
Solarplates print
Solarplates print,
Solarplates
Solarplates due, critique, Nov.
15 – No Class, VAEA State
Conference
Sandragraphs and letterpress
words Nov. 22 – No Class,
Thanksgiving
Sandragraphs and letterpress
words
Sandragraphs and letterpress
words due, critique, research
project and presentation,
Examination, clean the print
lab, pick up portfolios
assignment,
Sept. 18 – critique – black and white woodcut due,
Sept. 20 – Read ch. 2 titled Relief Techniques, Color
Printing, pg. 50 – 52, linoleum prints, pg. 82-84,
Sept. 25 – Read ch. 2 titled Relief Techniques,
linoleum prints, pg. 82 – 83, color mixing, Sept. 27 –
Art For Lunch Series, LCVA, 12:30
Oct. 8th -Visiting Artist Talk: Megan Olsen, 6:00
p.m., Oct. 9 - research presentations, critique
reduction color linocut prints, Oct. 11 – portfolios
due, research presentations
No classes, sketchbook assignment
Oct. 23 – sketchbook assignment
Oct. 30 – Read ch. 10 titled Papers, Papermaking,
Curating of Prints, pg. 371- 405, sketchbook
assignment
Nov. 6 – sketchbook assignment,
Nov. 13 – Solarplate prints due, critique, sketchbook
assignment, Nov. 15 – No Class, VAEA State
Conference
Nov. 20 – Read ch. 2 of your text, pg. 79-85, Nov. 22 –
no class
Nov. 27 – Read ch. 2 of your text, pg. 69 – 74,
Dec. 4 – research presentations, Dec. 6 - research
presentations, Sandragraphs and letterpress words
critique, portfolio due (solarplate prints and
sandragraph and letterpress prints, research print,
research presentation evaluation)
Friday, Dec. 14, 11:30 a.m. – 2:00 p.m., pick up
portfolio, clean the lab