SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING 2018 TR 2:20-5:15PM , Room # 101 Associate Professor Xenia Fedorchenko Office hours by appointment and: TR 10AM-11AM Office Room # 101A; Ext. 8914 e-mail: [email protected]

COURSE DESCRIPTION This course is a continuation of Printmaking II with a focus in combining new and previously learnt techniques with individually selected content. COURSE CONTENT Students will continue to learn about Printmaking through assigned readings, demonstrations of techniques, hands-on experience, and self-directed research. Students will work on plates or stones incorporating both hand-drawn and basic photographic imagery. This course is designed to encourage experimentation with the processes covered. Understanding of presenting ones work to a group, writing a statement, safe studio practices, press characteristics and operation, various ink traits (water-based, intaglio and lithographic inks), comparative qualities of diverse papers and studio equipment (rollers, brayers, etc) as they relate to ones oeuvre will be gained. Further study will occur through a series of incrementally challenging projects outside of class. Students should allow for customization of the semester’s assignments to their own artistic inquiries. Further study will also occur in the form of time spent in the library or through gallery visits. At the end of the semester, students will have the skills and visual vocabulary necessary to create unique and editioned prints that coherently combine technique and content. STUDENT LEARNING OUTCOMES At the end of this course students should be able to: −Understand and utilize various intaglio, monoprinting and planographic matrix-producing techniques. −Gain an in-depth understanding of a chosen process within printmaking −Understand color mixing and color interactions in printmaking and apply these to various printing processes. −Understand and utilize safe studio practices. −Understand and practice both traditional and contemporary printing and presentation methods. −Grasp and apply printmaking terminology to their own works of art and the works of others. −Understand some of the many ways in which the Print functions in art from personal, historical and cultural perspectives. COURSE REQUIREMENTS 1. Assignments are to be completed on time. Late or incomplete assignments will be graded appropriately. 2. Full, active participation in critiques is required 3. NO TEXTING IN CLASS! NO LEAVING EARLY! 4. A sketchbook should be kept for notes and development of ideas. Sketchbooks will be collected and graded. 5. Students are expected to complement their class time with time spent in the studio during evenings and weekends. 6. Final Portfolio- a portfolio of all work completed during the course of the workshop will be turned in for review. 7. STUDENTS MUST COMPLETE PRESENTATION, STATEMENT, FINAL ASSESMENT. 8. Failure to clean up after a work session will result in a lowered grade. 9. Students are required to fully participate in additional demonstrations and presentations by visiting artists. GRADES WILL BE BASED ON 10. Visual/ Conceptual quality of work other than the final portfolio 50% 11. Participation in critiques and discussions 20% 12. Final Portfolio 10% 13. Other assignments ( Presentations/ writing/ readings) 20% *note- all assignments can be modified pending approval of a written proposal. These are often the most successful projects in a critique, so please consider this option! Assignments for Printmaking III: Below are some expectations of students in Printmaking III in addition to the minimum of four editioned images and the final project. The content of each assignment is “ YOU AND YOUR WORK”

PROPOSAL The proposal is a contract between yourself and the instructor. It will be used to determine your grade. It also serves as a course of study for the student as she/he embarks on an in-depth investigation of a particular area of printmaking. The proposal is to be one full page. It must clearly explain your objectives for the semester both in terms of techniques and ideas that you will be investigating. BE SPECIFIC. NUMBER, EDITION SIZE, COLOR, THEME.

ARTIST STATEMENT The artist statement serves many purposes. Solidifying your thoughts now will help you in writing your thesis, and in facilitating ideation (think through your ideas and practice writing about them). This practice will help you apply for grants, shows and jobs that relate to your work as an artist. The statement is a one page document that discusses the artist’s current work or research. You might discuss what your interests are, where they where, where they are going. You might mention methodology or formal analysis. You must mention other artists who are relevant to your work (influences). Your classmates will be asked to write a brief comment and return it to you. DUE ONE WEEK BEFORE PRESENTATION (PLEASE BE ON TIME!)

PRESENTATION You are required to do a presentation about some aspect of your research. The goal is to get you comfortable in speaking about your work and to promote a dialogue about your work, printmaking and presentation. Your presentation will be a full ten minutes (PLEASE, NO LONGER than 15 min.). This may be a basic presentation about you and your work, or it may include a certain artist or field which interests you. YOU MUST USE SLIDES/ POWERPOINT or other supporting materials. Students are expected to have a professional attitude about their presentations. Professionalism and preparation will be considered part of the grade. DUE: AS SET FINAL PROJECT

FINAL REPORT Write a report on what you actually ended up doing and how you feel about it.

DUE: FINAL PORTFOLIO EXECUTE SPECIAL AND FINAL ASSIGNMENTS OF PRINT I, II Assignments for RELIEF/:

1. IMAGE LIBRARY: Build a vocabulary of imagery for relief printing. Learn ink/ color handling and figure-ground interactions. CARVE -Two all-over backgrounds, patterned. Keep these rectangular or square and around 18”*24” (these may symbolic and incorporate symbols for money/ power, life/death, etc.) - A minimum of three figures (these have to fit into the backgrounds and do not have to be human or animal; one must reflect the idea of philanthropy) DUE in two weeks: BY START OF CLASS, THURSDAY, FEB. 5

THEN: PRINT A SERIES OF AT LEAST TWELVE UNIQUE IMPRESSIONS COMBINING SAID ELEMENTS IN VARIOUS WAYS. YOU MAY COLLAGE INDIVIDUAL ELEMENTS ON TOP OF “FAILED” IMPRESSIONS. ALTER COLOR AND OPACITY CHOICES. DUE TUESDAY, FEB. 10

TRACE “PERFECT” IMPRESSION ON MYLAR FOR REGISTRATION AND PRINT AN EDITION OF FIVE IMPRESSIONS IN A COLOR HARMONY OF CHOICE. DUE TUESDAY, FEB. 16, CRITIQUE

1a.) AS A PRACTICE for the main assignment, you are to carve and edition a valentines day postcard. Edition of six, one color. Blocks will be provided.

2. Crayon Lithographs (2 images drawn displaying full value range on one stone/diptych; 2 editions of 6 impressions in each edition find theme, select paper and ink) FIRST EDITION IS BLACK AND WHITE, SECOND IN COLOR! SCRAPE/DELETE, COUNTERETCH, ADD DRAWING, EDITION IN COLOR; rework at least 50% of the stone SECOND EDITION DUE DUE 03/10

3 Book! Litho on a theme. Read and research past art related to literature. DUE 04/07 Final project begun

3-4. FINAL PROJECT TWO MATRICES, THREE COLORS Litho transfer techniques+PRONTO and letterpress+TONER WASHES incorporate text May not use relief as one of the matrices -Must use at least 3 colors. -Edition image to 5+ 2Aps.

DUE FINAL CRIT., Tuesday, May 8th, 2018

Shop Care and Courtesy It cannot be stressed enough how important it is to exercise courtesy and self-discipline in the printmaking facilities to make this class a positive experience for all. Repeated abuse of, or disregard for, the shop will be considered intentional and will result in a lowered grade. Deliberate or overtly careless damage to felts, presses, or tools may result in replacement at the perpetrators expense. Cleaning demonstrations will be given throughout the semester. You are expected to leave your working space cleaner than when you found it.

ATTENDANCE POLICY Because of the collaborative nature of printmaking, and the fact that demos will only be given once each, attendance and participation are essential. Absence, lateness and arriving unprepared will be penalized. If you can’t attend class, follow the requirements, etc. IT IS YOUR RESPONSIBILITY TO DROP THE CLASS. In addition to the parameters set by the art department in the attendance sheet attached to this syllabus, students who do have an officially excused absence and miss one of the demonstrations are expected to catch up through self-directed research. Regular attendance plays a key role in the successful completion of this course. Students are expected to attend all class meetings. However, students are allowed excused absences either in the case of a university-sponsored activity or by seeking the prior approval of the instructor. The latter excused absence is given at the discretion of the instructor ONLY in cases of personal emergency. As per university policy, approved absences call for the privilege to make up examinations and assignments without penalty; this privilege does not extend to unapproved absences. Therefore, a student's unapproved absences may interfere seriously with classroom performance. OVERVIEW: SB 1231 was passed by the 80th State Legislature and signed into law effective on the 12th class day of the fall 2007 semester. The law only applies to students who began matriculation with, or subsequent to, this semester. The law limits such students to a maximum of six dropped courses attempted at any Texas public college/university. Exceptions may be granted only under the documented circumstances listed below. For definitions and additional information, contact the Registrar’s Office (409) 880-8362

The following Department of Art policies apply to missed classes. Three unexcused absences will automatically result in a lowered letter grade. After that, the course letter grade will be lowered half a letter grade for each additional absence.

Finally, six unexcused absences will result in failing grade for the course.

Students will be marked present if present at time of attendance taking, marked tardy if attending the class late but within the first half of the class, and absent if arrival is after class midpoint or student is not present. Two tardies are the equivalent of an absence.

Students are required to participate in all critiques and have work completed and exhibited appropriately prior to each critique. Failure to attend critique will result in a failing grade for the project unless special arrangements are made with the instructor a week in advance of said critique. It is expected that student comments and statements be thoughtful, relevant, intellectual and sensitive, always adding to the academic rigor of the course. There will be handouts that the students are required to read. We will almost always discuss them, and many will correlate directly with projects or independent work. You are encouraged to bring in any relevant readings that you run across through your research. A good studio environment factors greatly into work quality. Students are required to turn off cell-phones, converse quietly and have general respect for their classmates and instructor.

ACADEMIC HONESTY All students are expected to familiarize themselves with all university policies pertaining to academic performance and conduct. As stated in the Lamar Student Handbook, all students should maintain complete honesty and integrity in their academic experiences. In this course, disciplinary action will be brought against any student found guilty of academic dishonesty including, but not limited to, cheating on an examination or other academic work to be submitted, plagiarism, collusion, and the abuse of resource materials. Cheating, plagiarism, collusion, and the abuse of resource materials are defined on page 82 of the Student Handbook. In addition, by University policy, a student cannot avoid any penalty for cheating set forth by the instructor in a course syllabus by dropping the course. Procedures for disciplinary action due to academic dishonesty shall be the same as in other violations of the Student Code of Conduct (see Student Handbook) except that all academic dishonesty cases shall first be considered and reviewed by the faculty member. The process of appeal is located in the Student Handbook available online. The course instructor will complete a thorough and impartial investigation of any instance of academic dishonesty. A student found guilty of academic dishonesty will be notified in writing by the instructor of the violation, the penalty, and the student’s right to appeal the determination of dishonesty and/or the sanction imposed. Penalties for academic dishonesty in this course will result in either a lowered letter grade or failure of the course as determined by the instructor. CAMPUS EMERGENCY PROCEDURES Instructions for specific emergencies, such as severe weather, chemical release, active shooter, or fire can be found at: http://www.lamar.edu/about-lu/administration/risk-management/index.html Following are procedures for the first two:

Severe Weather: • Follow the directions of the instructor or emergency personnel. • Seek shelter in an interior room or hallway on the lowest floor, putting as many walls as possible between you and the outside. • If you are in a multi-story building, and you cannot get to the lowest floor, pick a hallway in the center of the building. • Stay in the center of the room, away from exterior walls, windows, and doors.

Violence/Active Shooter (CADD): § CALL - 8-3-1-1 from a campus phone (880-8311 from a cell phone). Note: Calling 9-1-1 from either a campus phone or cell phone will contact Beaumont City Police Dispatch rather than University Police. § AVOID- If possible, self-evacuate to a safe area outside the building. Follow directions of police officers. § DENY- Barricade the door with desks, chairs, bookcases or any other items. Move to a place inside the room where you are not visible. Turn off the lights and remain quiet. Remain there until told by police it is safe. § DEFEND- Use chairs, desks, cell phones or whatever is immediately available to distract and/or defend yourself and others from attack.

STUDENTS WITH DISABILITIES The Office of Services for Students with Disabilities (SFSWD) offers a variety of services designed to provide students with disabilities (SWD) equal access to academic services. Some of the services include academic adjustments, physical access, assistive technology, priority registration, sign language interpreters, and note-takers. Documentation of disability is required to receive accommodations/academic adjustments/services. Persons with disabilities should notify the coordinator of SFSWD prior to registration in any university program. A meeting with the person and Coordinator will be arranged in order to assign appropriate accommodations, academic adjustments or services. The office of SFSWD is located in 101A of the Wimberly Building. Students also may write to P.O. Box 10087, Beaumont, Texas 77710, e-mail tra- [email protected] or call 880-8347.

Except for in dire circumstances, I do not give incomplete grades. This syllabus is subject to change at the discretion of the instructor to accommodate course, instructional, institutional, or student needs. It is the student’s responsibility to keep abreast of such changes.

SUPPLY LIST MDF block Woodcutting set Korns or/and Stones Litho Crayons/pencils in a variety (5,3,1) Denatured Alcohol (to be shared) Odorless Mineral Spirits Sketchbook Razor Scraper Masking Tape Black Sharpie Markers (Chisel Point and Fine Point) HB Artists Pencil Single Edged Razor Blades Mylar for key and registration 2” Foam Brush 2-4 Ink Knives Varied Grades of Sand Paper Old tooth brush Bamboo pen for line drawing 2 Lithography Sponges Scraping tools: x-acto blades, etching stylus, pin tool for ceramics or dental needle Polyester Laser Printing Plates/ Aluminum Ball Grained Plates or/and Polycarbonate Plate Brushes (2-3 soft bristle or synthetic for washes) Nitrile Gloves Apron Paper Towels Cork Backed Ruler/metal ruler Archival Rag Paper (Hahnemuhle Ingres Antique, Pescia Paper Light Blue, Arches Text Wove Sheets, Legion Coventry Rag, Canson Johannot Rag, Magnani Revere Papers, Fabriano Tiepolo Printmaking Paper, Arches Cover, Rives BFK, Zerkall, etc.) Asian Paper (Hosho Paper, Mulberry Paper Unbleached, Sekishu Natural, Kozo) Large Pad of Newsprint from ULine (www.uline.com) Cotton Cheesecloth (Lowes, Home Depot…Etc.) AT LEAST 4 yards GLASS OR METAL BOWLS

Art Supply Stores in the Area Hobby Lobby, Michael’s- all on Dowlen Road near the mall, Beaumont Utrecht Art Supply, www.utrecht.com, Dick Blick (recently added more printmaking supplies) Texas Art Supply (best in area), Montrose, Houston, Texas, 1-800-445-8865 or www.texasart.com Jerry’s Artorama, Houston, Texas

On-line search: Renaissance Graphics, Graphic Chemical, Takach Press Corp., Rembrandt Graphic Arts, Stones Crayons

Paper resource: Takach Paper; Hiromi Paper International; Dolphin Papers; Paper Connection International, LLC; The Japanese Paper Place; Frenches Paper; Legion Paper

Note: Please come prepared. Arriving unprepared for class is considered an absence

Week Date THESE DATES MAY CHANGE Week Date Introductions, syllabus, materials list, shop tour DEMO: woodcut/ Materials due, sketches due BUY WOOD, SHELLAC BLOCKS, BEGIN 1 01/16-01/18 Demo: print presentation, DEMO 2 01/23 PRINTING DEMO basic registration 2 01/25 work 3 01/30 PROOFS DUE drying print demo, in class work time 3 02/01 6 PRINTS DONE, progress crit 4 02/06 Drawing, sketches due, brief discussion of sketches, start working,( materials due) selection of stones, start graining for project 2 NOW! 4 02/08 Valentines day 5 02/13 CRITIQUE OF EDITIONS 5 02/15 Gum out, Drawing on Stone/processing the stone demo In class work time Printing. In class work time In class work time DEMO: roll up/second etch/editioning 6 02/20 DEMO: roll up/second etch/editioning 6 02/22 DRAWING DUE ROLLED UP 7 02/27 Demo COUNTERETCH 7 03/01 In class work time 8 03/06 CRITIQUE LITHO BOTH EDITIONS 8 03/08 CRITIQUE LITHO BOTH EDITIONS! 9 03/20 Work Demo and Letterpress assign sketches, 10 03/22 Demo Philanthropy 10 03/27 In class work time 11 04/03-04/05 In class work time. SGCI 12 04/10 In class work time 12 04/12 DEMO: Asphaltum and acid tinting techniques 13 04/17 DEMO: Pronto Roll Up, transfer methods(gum transfer), toner, Asphaltum and acid tinting techniques 13 04/19 Color printing demo: Multi stone, rainbow roll, progressive proofing 14 04/24 DEMO: CHINE COLLE+ STENCIL In class work time 14 04/26- LAST CLASS DAY Shop is closed next week! CLEAN UP DAY Attendance Is Mandatory! 15 05/08 FINAL 2:20PM All work due

SKETCHBOOK: Your sketchbook is due for evaluation prior to approval of each print. For each semester you must complete the following: → Research a MINIMUM of 15 artists (approximately one artist per week). This does not include finals week, but it does include the first week of classes. At the end of the semester you should be conversant on the work of at least 15 artists. +5 Per Contemporaneous Class. − Use the internet, but also go to the library and check out the art section or research an art magazine (Barnes and Noble, Periodicals Room at the library, etc.) like Art on Paper, ArtNews, Art in America or ArtForum. −For each artist, glue a copy of at least one piece onto a page in your sketchbook. Your research and images must come photocopied or printed from journals, books, internet or exhibitions. The artist must not necessarily be a printmaker. Consider copying a piece by your artist in your sketchbook for a deeper understanding of her/his methodology. YOU ARE REQUIRED TO ATTEND PRESENTATIONS BY VISITING ARTISTS/ SPEAKERS AS PART OF YOUR REASEARCH. −Below the image, list the artist’s name, title of the artwork, and date. −Write five to ten sentences reflecting on how this work, this artist, touch upon topics you are learning in class? What are the artist’s strengths and weaknesses in relation to what you would like to develop in or eliminate from your own production? This is your research. Some artists to look at (talk to fellow students and your faculty for more suggestions): frozencharlottepress.com intaglio Ellen Gallagher video about her prints: https://m.youtube.com/watch?v=7PZnoux_zXw www.jacoubreyes.com Jacoub Reyes, litho Belkin Ayon https://hyperallergic.com/.../the-masterful-unsettling.../ Delita Martin http://www.blackboxpressstudio.com/Artist.asp... Willie Cole /prints Paula Rego Alberto Giacometti Degas Jacques Villon Nancy Grossman Mary Cassat/prints Jim Dine Auguste and Eugene Delatre Kathe Kollwitz Theophile-Alexandre Steinlen Kiki Smith Paul Wunderlich Lowis Corinth Leonard Baskin Rufino Tamayo Edgar Chahine Daumier, Durer, Rembrandt Georges Rouault Odilon Redon Henri de Toulouse-Lautrec Rodolphe Bresdin Eugene Delacroix, Theodore Gericault Edvard Munch/prints Anders Zorn Harvey Breverman Warrington Colescott Oscar Jay Gillespie Kenneth A. Kerslake Mauricio Lasansky Enrique Chagoya Wayne Kimball Robert Nelson Art Werger Tom Huck George Bellows Sue Coe Cyril Power Baldessari/Raymond Pettibon William Hogarth George Bellows Lynd Ward Judy Youngblood William Kentridge Kathryn Polk Jose Guadalupe Posada James Siena Michael Barnes Nicola Lopez Zuniga Kara Walker Jaune Quick-To-See Snith Sigmund Abeles Karen Kunc Eric Avery Yuji Hiratsuka Jenny Schmidt →Complete research and development for assigned homework projects: thumbna il sketches, studies, gestures, more complete drawings, notes, conceptual development, planning out of projects (measurements, media, etc.), experimentation in methods and techniques, brainstorming, etc.

IT IS NORMAL TO FILL MORE THAN ONE SKETCHBOOK FOR THIS CLASS. EACH SKETCHBOOK SHOULD BE AT LEAST HALF COMPLETE WITH QUALITY WORK.