Art 104
PRINTMAKING
Spring 2009
3 Credits
M/W 12:30 – 3:00 pm
Zurn 221
_________________________________________
Instructor
Camille Nischal, Assistant Professor
Office: Zurn 219A, telephone: 824-3656
Email: cnischal@mercyhurst.edu
Office Hours by Appointment:
M/W 3:10 – 4:10pm
T/TH 2:30 – 3:30pm
COURSE DESCRIPTION:
This course has been designed to introduce you to the history and current practice of
printmaking and challenge you to develop basic knowledge of and proficiency in printmaking
techniques and methodologies. The class explores the traditional graphic disciplines and its’ role
in the development of the traditional and contemporary green environmental art media. You will
have a chance to learn about printmaking materials and techniques, their inherent properties and
the associated handling and safety considerations.
We will explore the elements of art and principles of design through the studio work. Class
work will include studio projects involving woodcut, linocut, basic intaglio (etching and drypoint),
eraser stamp, silkscreen, monotype and collagraph prints. Through the evolution of the print
projects, we will explore mark making while developing an individual personal style through a
series of projects. You will take active role in studio maintenance and cleaning which is a less
discussed, but important part of artistic practice, the one that can affect our health, our safety and
the quality of our work experience. You will learn about environmental responsibilities associated
with handling and disposal of solvents and other materials used in the printmaking process. Each
project will include demonstrations of techniques and processes. Most of classroom time will be
devoted to project time. 1 print from each of your editions will become part of the collection of
Mercyhurst College’s Print Archive.
COURSE OBJECTIVES:
Students will:
1. Identify different approaches to methods, processes and materials through the creation of
prints.
2. Develop an appreciation of printmaking history and cultural/social contexts.
3. Develop skills in creating and judging the effectiveness of prints in express specific
concepts.
4. Create prints that emphasize the specific technical processes of the media explored.
PRINTMAKING RESOURCES AND RESEARCH PAPER:
There is no required textbook for this course. There are, however, many excellent books on the
history and techniques of printmaking if you would like to have them. They are listed below. There
will be one research paper assigned during the term. It will involve an investigation of a theme
through a series of prints through an awareness of historical and contemporary works in
printmaking. The following books (some are technical manuals, the others are exhibition catalogs,
monographs or histories) will be helpful to you as you work on the research project and get
acquainted with the medium.
Howard, Keith, Non-Toxic Intaglio Printmaker
Brown, Kathan. Ink, Paper, Metal, Wood: Painters and Sculptors at Crown Point Press
Cunningham, E.. Printmaking—a Primary Form of Expression
Ayres, Julia S.. Monotype: Mediums and Methods for Painterly Printmaking
Hansen, Trudy. Printmaking in America: collaborative prints and presses 1960-1990
Grabowski, Beth. The Printshop Handbook
Leaf, Ruth. Etching, Engraving and Other Intaglio Printmaking Techniques
Ross/ Romano. The Complete Printmaker
Saff/ Sacilloto. Printmaking
Shure, Brian. Chin Colle
Wax, Carol. The Mezzotint
Stobart, Jane. Printmaking for Beginners
Weldon, Dan. Printmaking in the Sun
Diehn, Gwen. Simple Printmaking: A Beginner’s Guide to Making Relief Prints with Rubber
Stamps, Linoleum Blocks, Wood Blocks, Found Objects and More
Tallman, Susan. The Contemporary Print—from Pre-Pop to Postmodern
Westley, Ann. Relief Printmaking
Bodman, Sarah. Creating Artists’ Books
Byrne, Chris. The Original Print: Understanding Technique in Contemporary Fine
Printmaking
CLASS POLICIES
Care of the Facility, Safety Concerns and Conduct:
Everyone enrolled in this class will participate in cleaning and maintenance of the equipment,
tools and working surfaces in the printmaking classroom (“the shop”). This is not only the
necessary chore that we must share, it is also the important part of the artist’s education. By
participating directly in the care and upkeep of the shop, you will learn about practical aspects of
the medium. It is imperative that everyone in the printmaking studio understand and practice the
safe use of materials and equipment. Do everything you can to protect yourself and others from
health hazards associated with the medium and to avoid accidents. Here is a partial list of health
and safety principles:
· Be alert when you are working with tools, inks and presses. Do not wear loose-fitting clothing in
the operation of the press. Long hair must be tied back. It is recommended that jewelry be
removed.
· Always wear the shoes that cover your toes, as you can drop heavy and sharp objects.
· Do not leave your belongings on the floor where someone may trip over them.
· Do not eat in the shop (it is not healthy).
· Always be considerate toward your classmates and aim to leave your working area in a
shape better than you have found it.
· Dress down. Wear the kind of clothes that you would wear to work on a car. Wear the shoes
that will protect your toes and support you and the clothes that you will not mind staining with inks
and solvents.
ATTENDANCE:
Attendance in class is required and nonattendance can result in a failing grade. Attendance is
taken in the beginning of class. Students are expected to be on time and points will be deducted
for tardies. 3 tardies are considered an unexcused absence. If the student is late, it is the
student’s responsibility to see the professor at the end of the class to make sure they are marked
as a tardy and not as an unexcused absence. You have one permissible absence. Each
additional unexcused absence will result in a half-step final letter grade deduction for each day
that is missed. Leaving school early before break, or your alarm not going off are not examples of
absences that will be excused. If you are sick enough to require treatment, have a family
emergency, or have a scheduled Mercyhurst sporting event (limited), you may be excused if you
notify the professor before the day of the class and you provide proper documentation of
absence. Demonstrations and critiques are mandatory. There will be grade deductions for
missed mandatory demonstrations and assignment due dates as well as studio classes. You will
receive credit/deductions for your participation in critiques, an expected part of the class.
TOOLS:
Some of the tools may be signed out to students. It is expected that tools are returned in the
condition in which they were received prior to the last day of class. Students are expected to treat
the communal shop tools with utmost care. Detailed instructions on the use of tools will be given
in the technical demonstrations. Pay attention and feel free to ask for additional instruction, if
necessary. A student is fully responsible for the repair or replacement of tools that he/she has lost
or damaged due to negligence or oversight. A student may not, under any circumstances, take
the printmaking tools out of the shop (some may be signed out and agreed upon). Unauthorized
removal of the tool from the shop, deliberate damage, failure to report damage to the instructor,
attempts to conceal the damage to the tool or equipment are all violations of the Honor Code.
GRADING:
Projects will be graded on their overall design/composition, evidence of the development of
ideas through a visual print language, development and reworking the plates as evidenced by the
multiple states of prints, originality, quality of the finished project, evidence of concepts and
aesthetic applied, technical proficiency, sense of visual completeness, willingness to experiment
with technique and revise images, and craftsmanship. Participation is required in critiques,
projects and in other course assignments. Teacher and student self-evaluations of individual
projects will be conducted throughout the course based on the criteria for each project. During the
portfolio review at the end of the course, points are awarded based on the completion of the
project, attainment of objectives and craftsmanship. Additional extra credit points may be
awarded for work that demonstrates extra effort, innovation, or skill. The only competition in
studio projects is with yourself. Class preparedness is a must. It is expected that researching
and creating ideas for drawings and designs are done outside of class.
Work must be completed on schedule. NO LATE WORK WILL BE ACCEPTED… If a student
is unable to meet an assignment date, it is the student’s responsibility to contact the professor at
least three days prior to that date to request an extension. The professor will determine if the
reason for an extension is reasonable. Failure to do so will result in a letter grade reduction for
each day the assignment is overdue and failing critique grade.
Woodcut/Woodblock Prints
Reduction Linocut Prints
Eraser Stamp Prints
Solar Plate Prints
Monotype Prints
Drypoint Etchings
= 200 points
= 200 points
= 200 points
= 200 points
= 200 points
= 200 points
Wiki Printmaking Research + Presentation = 200 points
Final Portfolio Review
Final Portfolio
Final Etching Prints
= 200 points
= 200 points
= 300 points
Total
= 2100
GRADE SCALE:
95-100 A
90-94 B+
85-89 B
78-84 C+
70-77 C
65-69 D+
60-64 D
Below 60 F
DEFINITIONS OF GRADES:
A: Exemplary work. Projects reflect not only the thorough grasp of the concepts and
methods studied in the class: they also carry such concepts and employ strategies
imaginatively, intelligently and with the effort and attention to the quality of the execution.
Student is consistently engaged in class discussions and critiques and demonstrates leadership
and exemplary professional attitude toward their classmates, their work and the classroom
equipment. Printing quality is impeccably professional.
B: Very good work. Projects reflect the thorough grasp of concepts and methods studied
in the class. They are conceived thoughtfully and effort is evident, through sketches and quality
of execution of the final drawings. Student is frequently engaged in critiques and discussions in
the class and demonstrates professionalism and respect toward their classmates, their work
and the classroom equipment. Portfolios are presented professionally. Printing quality is very
high.
C: Adequate work. Projects reflect basic understanding of the concepts and methods
studied in the class. Works are submitted finished, they clearly address the problems assigned
and there is evidence of sketching and conceptualizing the assignment before working on the
final drawing. Student participates in the class discussions and critiques occasionally and is
respectful of their classmates, their work and classroom equipment. Portfolios are complete
and comply with minimum presentation requirements. Printing quality is good.
D: Barely adequate work. Projects reflect some understanding of the concepts and
method studied in the class. Portfolios are 75% complete when submitted and comply with the
minimum presentation requirements. Student participates in the critiques some and observes
minimum standards of classroom behavior. Printing quality is poor.
F: Unacceptable work. The instructor cannot, in the good conscience, attest that student
has accomplished the goals set in the class to any reasonable degree. A student can also earn
the grade “F” for violation of the Honor Code OR excessive absences (over five).
HONOR CODE:
The honor code will be observed and supported in this class. The pledge as follows “I pledge
that I have neither given nor received unauthorized assistance during the completion of this
work.” Also copied or derivative work will not be accepted unless part of an assignment (ie.
Creating a print interpretation of a famous work of art, etc.). Academic honesty is expected under
the honor code. An ‘F’ for course will be given for plagiarized work.