Art 410 INTAGLIO PRINTMAKING
San Diego State University / Fall 2015
M & W 12 – 2:40pm Schedule # 20245
Prereq: Art 210 or consent of the instructor
Michele Burgess
Office hours in 461A by appointment
e-mail: mburgess@mail.sdsu.edu
“I listen carefully to what I can leave out.”
—Miles Davis, jazz musician
COURSE OBJECTIVES:
To expand on the techniques learned in Art 210 in the expression of forms and ideas presented
as prompts. New etching and printing methods with be explored with the expectation that
students can work conceptually at an intermediate level. Students will create a portfolio of 6
prints, including a reduction block, two multi-plate intaglio etchings, an etching in the manner of
another artist, and two techniques of choice.
LEARNING OUTCOMES:
Students will implement these techniques in the expression of forms and ideas including single
images, juxtaposed images and overlapping images. Previously acquired skills in drawing, design,
painting, and other mediums will be expanded so that images will exploit the unique graphic
vocabulary of each printmaking technique and with the possibility of exploring interdisciplinary
ideas and approaches.
During the semester, students will learn and practice printmaking techniques within the areas of
intaglio and relief. Their expression of ideas should advance to or beyond the intermediate level.
Students will learn and practice various printing techniques such as hand, paper, and Tarleton
wiping; chine colle’; relief roll; and woodcut printing in the Japanese manner.
At the end of the semester, students will turn in a portfolio of prints containing TWO identical
examples of each print made, including all labeled and dated proofs. This will be turned in on the
last day of class.
OTHER REQUIREMENTS:
Participation in critiques is required. They are designed to assist you in developing your prints in
progress and are mandatory. Missed critique will result in a one-grade deduction on the final
grade for that print. Participation also means being generously attentive to the work of your
fellow artists.
A three-page research paper will be assigned as part of an etching project. This paper will
examine and comment on the prints of another artist chosen from a list. 410 students will
create a print to accompany this paper.
Another 3-page paper turned in with the final portfolio will be a self-critique of the work done
over the semester.
Expect to spend an average of THREE additional hours per week in the studio, in addition to the
class time, in order to maintain an average performance. Excellent students will need even more
time.
CRITIQUES:
Missed critiques will result in a deduction of one letter from your final grade for that print.
GRADING:
Your final grade will be assessed according to the following criteria:
Individual prints: 50%
How the following elements have been used to support your theme:
Expressive Composition and Form - Line quality, mark making, use of tools, value
range...
Achievement of the stated goals of the assignment
Fine Craftsmanship - Paper tearing, borders, ink quality, plate making
Unique image development, Creativity, Effort, and Quality of Thought - Evidence that
you have taken the time to think through your ideas and that you have personalized the
forms you are using. Are you really trying to take some risks in order to grow
artistically? Are you pushing yourself and the techniques in order to be more
expressive?
Portfolio as a whole: 30% At the end of the semester, you will be asked to turn in a portfolio of
prints containing TWO identical examples of each print made, including all labeled proofs. This
grade will be based on Craftsmanship.
Papers: 20%
Attendance: More than three absences will knock your final grade down by one letter. Projects
may evolve in unexpected ways, day-to-day. If you miss any information, assignments, or
demonstrations, it is your responsibility to get it from someone else in the class. DO NOT
EMAIL ME FOR THAT PURPOSE.
OTHER FACTORS THAT WILL AFFECT YOUR GRADE:
Deadlines - Late work will not be given full credit. Missed critiques will result in one grade
deduction for that project.
Outside preparation – research, trial and error, quality of thought in preparation for image work
in class.
Proper use of the lab and equipment - you will be expected clean up after yourself and help with
the collaborative maintenance of the studio. The person responsible for any damage must
replace damaged equipment, including press felts. It is almost always accidental, so be careful.
EACH GRADE TYPICALLY REFLECTS:
A - both the work and the class participation are excellent. Someone who pushes her/himself,
makes many proofs, and demonstrates a high quality of thought and consideration.
B - a praiseworthy performance, all course work completed, attendance requirements met.
C - a satisfactory completion of required course work, an average performance and effort.
D - reflects work that is generally late, done at the last minute, poorly thought out, etc.
F - Failure to meet project/course requirements.
For Students with Disabilities:
If you are a student with a disability and believe you will need accommodations for
this class, it is your responsibility to contact Student Disability Services at (619) 5946473. To avoid any delay in the receipt of your accommodations, you should contact
Student Disability Services as soon as possible. Please note that accommodations
are not retroactive, and that I cannot provide accommodations based upon
disability until I have received an accommodation letter from Student Disability
Services. Your cooperation is appreciated.
SUPPLY LIST:
drypoint scriber
Scraper
Burnisher
Etching needle
Small round brush
2” foam brush
Large rubber gloves
Dust mask
A small selection of colored pencils
10-15 sheets of printmaking paper as needed
5 or more sheets of Japanese paper (sekishu or mulberry)
Plates: birch plywood or basswood plank, 9” x 12” or larger
18g copper plates, as needed or 16g zinc plates 9” x 12” or larger
Sketchbook, fine point sharpie, and your favorite drawing tools, such as charcoal,
conte, pencil, watercolors, pen & ink
Power Grip woodcut tools : items # 12824 1/8” V-tool, #12825 3/16” V-tool, #12810
#8 Gouge (order online now at
http://www.dilegnosupply.com/Carving/power_grip_carving_tools.htm)
PROJECTS & DUE DATES
1.
REDUCTION WOODBLOCK
9’ x 12” or larger birch plywood or basswood
Create an image that is a Protest or Criticism
2 layers due on 9/2; final due on 9/14
2.
LARGE PLATE WITH SMALL PLATE
9” X 12” or larger zinc or copper
Pose a Question with your image
First critique on 9/23; final due on 9/28
3.
MULTI-PLATE ETCHING
3 or more plates of different colors
Focus on Mood
First critique on 10/7; final due on 10/14 (with research for project #4)
4.
IN THE MANNER OF…
Select one of the following artists (or suggest one to me) and research their printmaking work,
themes, techniques—particularly their etchings. Photocopy pages that you have consulted and
turn them in on 10/14
George Roualt
Rembrandt
Louise Bourgeois
Edward Munch
Kathe Kollwitz
Max Beckman
Susan Rothenberg
Richard Diebenkorn
Georgio Morandi
KiKi Smith
Jasper Johns
Fernando de Szyszlo
Mary Cassatt
Lucian Freud
Francisco de Goya
James Ensor
Joan Miro
Paul Klee
Max Ernst
Piranesi
Sue Coe
Pablo Picasso
Anselm Keifer
Jose Guadalupe Posada
Create a your own etching or drypoint imitating their style and techniques, while creating a new
image of your own. First critique on 10/21 and final due on 10/26
Write a 3-page paper on your artist using the following guidelines:
Due on 10/28
Three typed pages in response to the chosen artist’s use of the print medium (one of the
techniques we use in class, not litho or silkscreen)
This is not a biographical paper. You will be looking and reflecting on what you see. Discuss only
the topics as listed below:
Page 1: Discuss the ideas behind the work
Page 2: Respond to the way the artist has taken creative advantage of the unique qualities in
printmaking (rather than painting, sculpture, photography, etc.) Describe the techniques used.
Page 3: Describe your personal responses and reflect on your own work this semester.
Attach a bibliography and some visual examples from the books you consult.
5.
TECHNIQUE OF CHOICE #1
Show me something I may have overlooked
Critiques on 11/4 and 11/16
6.
TECHNIQUE OF CHOICE #2
Theme TBA
Critiques on 11/23 and 12/2
7.
FINAL PORTFOLIO
Due on 12/9 at12pm
Must include 2 copies of each of the prints listed above.
Also included, a 3-page paper discussing your work and discoveries this semester.
Sign all prints in pencil in the lower right corner outside the plate mark and interleave them with
glassine sheets (not newsprint).
Submit them to me in a portfolio envelope along with all of your test proofs in a separate
section of the envelope.
THE QUALITY OF THIS PORTFOLIO WILL COUNT AS 30% OF YOUR FINAL GRADE
I may elect to take a copy of one of your prints for the course portfolio. If there is one that you
don’t want me to take, please put a note on it.
We will have mandatory, collaborative shop cleanup that day (so dress appropriately).
PICK UP YOUR PORTFOLIOS AND EMPTY YOUR DRAWERS BY FRIDAY DEC. 18TH