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SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING

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SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING 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/LITHOGRAPHY: 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.
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