DOCSLIB.ORG

VISA-A245-001 Book Arts / Letterpress Location: MO 532

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VISA-A245-001 Book Arts / Letterpress Location: MO 532 VISA-A245-001 Book Arts / Letterpress Location: MO 532 / Printmaking Studio 5th floor Monroe Meeting times: T/R 2:00-4:45 Karoline Schleh, Instructor Email: [email protected] Course Description This course will introduce the student to the essential concepts and techniques of letterpress printmaking as applied to fundamental book art formats and structures. Projects will introduce students to the basics of letterpress printing for the Vandercook proof press including hand typesetting, typography, composition, locking up, printing, and distribution. A variety of book arts formats will be covered ranging from broadsides to hand sewn and bound hardcover books. Course Goals & Grading Each project will introduce the student to a new technique will be accompanied by a concept to explore that process. Each project will be graded on the following elements: *Participation (Includes critiques and ability to work collaboratively within the studio) *Research *Concept *Technical Understanding Students should be able to analyze and evaluate their own work and that of other students through the process of critique using terms and concepts unique to printmaking. Students should also understand the history of printmaking overall as a distinctive form of art production, while keeping in mind the exploration of how these theories and ideas can be used for personal expression within our contemporary culture. Supply List 6” Speedball soft rubber brayer (or similar) 2” Speedball soft rubber brayer (or similar) Yasutomo Bamboo Baren Speedball 4131 Linoleum Cutter – 5 Assorted Lino Cutters (or similar) Student Wood Chisel Set - set of 12 3 Premium Mounted Linoleum Blocks – Fine, Flat Surface for Easy Carving, Smoky Tan or grey, 6 x 8 Inches (or similar) 2 pads of ​Strathmore 400 Series Drawing Paper 18”x24” (or similar) 1 pad of 18”Strathmore ​300 Series Printmaking Paper, 30 Sheets 120 gsm ​or​ 2 pads of 11”x14” 300 Series Printmaking Paper, 30 sheets 120 gsm (or equivalent) 1 pair of rubber dishwashing gloves Pencil (for signing prints) Combination lock (for grey lockers in hall) Sketchbook (can be one used for multiple classes) Misc. old paint brushes Cotton swabs Roll of painter’s tape or drafting tape Rags for clean up (old t-shirts etc.) Lineco Bone paper folder (6”-12” or similar) Bookbinding/ Linen Binding Tape - ⅜” x 60 yards (or similar) Book Adhesive - Polyvinyl Acetate (PVA) 18 oz bottle Linen Bookbinding Thread - 50 yards *Materials must be purchased before the second week of classes. Most of these supplies can be purchased locally at Mo’s Art Supply and David Art Supply. Dick Blick also has most of these materials, and orders can be placed through their website at dickblick.com. Supplies may be added to this list throughout the semester, if so, prior notice will be given. Personal projects requiring specialized materials also must be purchased by the student. Text: ​All readings will be made available online via Blackboard. Please check daily. Expectations ● Participate in all critiques and discussions. ● Expect to put as much (or more) out of class time than you do in class (sign in sheets will be posted.) ● Arrive to class on time with all required materials and ready to start. ● Complete all assignments by the due dates. ● Exercise safety with all the tools and equipment ● Leave the studio clean. This includes paper trash, cleaning tools etc. ● Be courteous. This includes no cell phone use in print studio/class and not bringing visitors to class sessions. Attendance ● Attendance is mandatory. Because of the extensive technical information we will cover in this course it is essential that you are present and ready to work at the beginning of class. ● If for any reason you cannot attend class, make arrangements to turn any assignments during office hours (not during class time). Please email to schedule an appointment. ● Chronic lateness and/or absences will lead to a reduction in your grade. If you miss any class, it becomes your responsibility to acquire any information or materials that you have missed. You are allowed two (2) absences. Three late arrivals equal one absence. Your grade will be lowered a half letter grade for each additional unexcused absence. ● Excused absences are generally medical emergencies accompanied by a doctor's note. If you have a chronic medical condition that does not allow you to come to class on a regular basis, or have a family crisis please arrange a meeting with me during my office hours to discuss. Health & Safety Please be careful. Think ahead about what you are doing and consider how to avoid any mishaps. The materials and equipment in this class are safe to use, but proper handling is very important. If you have any questions about any of the materials we will be using, there are Materials Safety Data Sheets in the shops. They are in a three ring binder marked M.S.D.S. which is kept with the first-aid supplies. I will be happy to address any questions or read through the M.S.D.S with you during office hours. Shop Rules: ● Do not use facilities unless you are enrolled in the course and have special permission from the Instructor. ● Do not bring guests outside of class that are not enrolled in the course to use the facilities either. ● Never use equipment that has not been demonstrated to you by the Instructor. ● Report all accidents or equipment damage to the Instructor. ● Eye protection and protective gloves should be used when necessary, and mandatory in the etching room.In the printmaking studio respirator masks are recommended when dealing with rosin, and spray paints. ● Tie long hair back. ● Wear long pants. ● Wear closed toe shoes. No bare feet or sandals. ● Do not eat in the printmaking studio. ● Dispose of printers ink carefully. Fold inside of paper and do not leave sticky ink on the trash cans as it will spread. ● Clean up after yourself, leave no trace behind. ● Absolutely no inky finger prints anywhere, particularly on the etching felts- they are expensive Project outline - ​6 concept driven projects will be given to explore the printmaking techniques covered in this course. In addition to this, there will be a final group book arts project/ exchange with the entire class which will serve as the final exam. Final Project - Artist’s Book Exchange- ​Size and concept decided upon by class. Proposals will be introduced at midterm. ● A calendar will be posted on Blackboard with due dates for projects, presentations, critiques, and final portfolio exchange. Studio must be clean at the end of exam period, and all student work removed. .
Load more

Recommended publications
  • Progress in Printing and the Graphic Arts During the Victorian
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor.
    [Show full text]
  • An Access-Dictionary of Internationalist High Tech Latinate English
    An Access-Dictionary of Internationalist High Tech Latinate English Excerpted from Word Power, Public Speaking Confidence, and Dictionary-Based Learning, Copyright © 2007 by Robert Oliphant, columnist, Education News Author of The Latin-Old English Glossary in British Museum MS 3376 (Mouton, 1966) and A Piano for Mrs. Cimino (Prentice Hall, 1980) INTRODUCTION Strictly speaking, this is simply a list of technical terms: 30,680 of them presented in an alphabetical sequence of 52 professional subject fields ranging from Aeronautics to Zoology. Practically considered, though, every item on the list can be quickly accessed in the Random House Webster’s Unabridged Dictionary (RHU), updated second edition of 2007, or in its CD – ROM WordGenius® version. So what’s here is actually an in-depth learning tool for mastering the basic vocabularies of what today can fairly be called American-Pronunciation Internationalist High Tech Latinate English. Dictionary authority. This list, by virtue of its dictionary link, has far more authority than a conventional professional-subject glossary, even the one offered online by the University of Maryland Medical Center. American dictionaries, after all, have always assigned their technical terms to professional experts in specific fields, identified those experts in print, and in effect held them responsible for the accuracy and comprehensiveness of each entry. Even more important, the entries themselves offer learners a complete sketch of each target word (headword). Memorization. For professionals, memorization is a basic career requirement. Any physician will tell you how much of it is called for in medical school and how hard it is, thanks to thousands of strange, exotic shapes like <myocardium> that have to be taken apart in the mind and reassembled like pieces of an unpronounceable jigsaw puzzle.
    [Show full text]
  • Printmaking Tips and Hints
    Printmaking Tips and Hints 1. “Inking chips” (cardboard) can be used to remove ink from a can, to spread ink over a plate for printing, and can be used to mix small amounts of ink or to spread ink out to be rolled with a brayer. Never take a chip from the “chip box” if your hands are dirty or inky, use clean hands only (the ink will spread to another chip and ruin someone else’s ink.) 2. If you have trouble removing the lid from an ink can you can bet the next person will have trouble also. Help yourself and your classmates by cleaning the lid and can edge and applying a little Vaseline to the edge of the can (this helps seal the can, as well as making it easier to open next time.) 3. Do not dig ink out of a can, it makes a greater surface area on the ink and makes the ink dry out faster. Skim ink from the top and spray the ink with a little light oil (also called Overnight, or Anti-Skin, Spray) before closing the can. 4. The best way to protect your hands, and to make cleaning them easier and more complete, is to rub some water-soluble hand lotion into your cuticles, fingernails, and hands before getting oil-based ink on them. Then, when you clean your hands, all the ink will just slide off leaving little or no residue. 5. Keep all your “edged” Printmaking tools sharp. A dull tool is more dangerous, is harder to work with and requires more physical effort, and will make a more ragged, uncontrolled, line than a sharp tool.
    [Show full text]
  • Letterpress Terms
    Letterpress Terms GENERAL TERMS Type High – The height of type from it’s base to it’s printing surface. .918 of an inch or 15/16th. Letterpress – A traditional way of printing, where a plate with the image standing proud Type High Gauge – Tool for measuring if type of the surface is inked and then impressed is at the correct height. onto the paper. Traditionally, it was not correct to indent the paper but it has now become fashionable to do so. Printing Press - A device that applies pressure that transfers ink form a surface to a medium. They revolutionized mass communication, changed the course of history & today call back to simpler times. Put simply, they are magic. Platen Press– A press with a flat plate which is pressed against a medium (paper) to cause an impression. These have an inking disc up top and a large flywheel on one side. Pied Type – Type which is in a jumbled mess. Proofing Press – A press used to prep a print for production. The bed of this press is parallel to the ground and either a roller moves on top of the bed or the entire bed itself can move. Letterpress Terms SETTING A FORM California Job Case – method of organization of the letters in a case. is a kind of type case: a Form – what you set to print, composed of compartmentalized wooden box used to store letters and or images. movable type used in letterpress printing. It was the most popular and accepted of the job case designs in America.
    [Show full text]
  • Bed & Platen Book Printing Machines
    BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII A C K N O W L E D G M E N T S In addition to the late William Elligett, whose urging and generosity spurred this study, the following institutions and individuals are owed particular thanks. The author takes credit for all errors of fact or interpretation. Bodleian Library, Staff British Library Quick Information (Patents), Ziaad Khan Compuset Centre of Darjeeling, Bon Pradhan Full Circle Media Arts, Gregg Poppen Historiche Drukkerij Turnhout, Herwig Kempenaers Ketchikan Daily News, Lew Williams III Ketchikan Public Library, Staff Leeds (UK) City Council, Business and Patent Information Services, Staff Oxford University Press (Archives) Dr. Martin Maw, (Library) Staff Radcliffe Science Library,Staff St. Bride Printing Library, Clare Amos, Lyn Arlotte, Robert Richardson Smithsonian Institution, Dr. Elizabeth Harris, Stanley Nelson Hall Anderson Don Charles Mick Elligett Peter Marsh Stephen O. Saxe Dorothee Snoek iii F O R E W O R D The bed and platen printing machine seems to be the “missing link” in the story of the evolution of the printing press. The narrative, as usually presented, begins with Gutenberg’s adaptation of the wine press, followed centuries later by Blaeu’s improvements in the 1620s.
    [Show full text]
  • A Catalogue of Printing Machinery
    A CATALOGUE OF PRINTING MACHINERY PRINTING PRESSES, PAPER, CUTTERS AND PRINTERS’ TOOLS G GOLDING MANUFACTURING CO. FRANKLIN, MASS., U. S. A. 1908 Introduction for this Facsimile Edition (Third Revision • July 2002) This is a partial reproduction of a 1908 catalogue from Golding Manufactur- ing Company. The original is 85 pages long and includes paper cutters, card cutters, lead & rule cutters, miterers, composing sticks, proof presses, hand rollers, galleys, and many other pieces of equipment used in print shops. Extracted here are pages dealing with Golding’s three lines of printing presses: the Jobber, Pearl, and Official. I’m reproducing the information with the hope that fellow owners of Golding presses will find it as interesting as I did. I have tried to roughly match the original’s page layout, although several changes have been made to match the computer equipment available. Most of the original 6 by 9 inch pages had 55 text lines rather than the 51 used on these 8½ by 11 inch pages. The larger body type in this reproduction should assist the eyesight of the reader. Headings in the original look to be Post Old Style Roman No. 2, a wide and black face represented in this facsimile by Bookman Old Style Bold. I tried not to introduce spelling errors, but followed the copy exactly, even when it contained what look like obvious errors. This edition includes images scanned from the catalog. David M. Tribby 1529 Fantail Court Sunnyvale, CA 94087 [email protected] FOREWORD THE purpose of this Catalog is to present to the printer a briefly ¶ detailed description of every article we manufacture and to prac- tically demonstrate the superior quality of some of our products.
    [Show full text]
  • Pautschspr14.Pdf
    Ink, Paper & Pressure Restoration of a 1925 Vandercook Press & Renewed Printmaking Research Professor Sandra Starck and Jessie Pautsch Department of Art and Design University of Wisconsin-Eau Claire Restoration of the printing cylinder A thin film of viscous, sticky printer’s ink is applied to the type (whist Letterpress Printing proved challenging; years of neglect had locked up in the chase) with a brayer or bodkin . A sheet of paper is resulted in frozen joints and missing carefully placed upon the inked type. To transfer (print) the ink onto paper, The advent of the printing press, widely screws. The tympan paper (a thick the cylinder is rolled down the pressbed and pressure is thus applied to attributed to a 15 th century German, waxed paper which protects the rubber the forms within the chase. Johannes Gutenberg , revolutionized the skin of the roller) needed replacement, distribution of both written media and art. and the very heavy printing cylinder had Once printed, the sheet ( proof ) is checked for any errors (grammar, For the first time in history, an inexpensive to be removed and re-centered onto the spelling etc.). If discrepancies of ink coverage are discovered, the and easily repeatable process (printing) tracks so that the cylinder could exert process of makeready’ ensues. To ensure even inking, all height made it possible for the commoner to uniform pressure upon the length of the discrepancies within the form is corrected with packing material (thin access literature and art. entire pressbed. Soaking all bolts with papers laid beneath forms, the purpose of which is to adjust printing penetrating oil successfully loosened height).
    [Show full text]
  • Lithography Photocopy Litho Technique
    http://wsa.wikidot.com/printmaking Lithography Photocopy Litho Technique Introduction The Photocopy Litho process is an interesting and safe way to transfer images from a fresh laser photocopy. This process can be used to create simple lithographic prints or to transfer images to Lino and wood blocks for carving or onto an etching plate to create photo-etchings. It is important that a laser photocopy is used and not an ink jet photocopy as the process requires the photocopy to be wet for the process to work. An ink jet photocopy will not work as the photocopy ink will run once it gets wet. Photocopy Litho works in a similar way to traditional lithography in that oil and water repel one another. The oil-based ink sticks to the carbon ‘black’ areas of the photocopy and is rejected by the water/gum arabic saturated ‘white’ areas of the paper. For this reason high contrast black and white images work best as grey tones in the image images will result in a muddy and undefined print. As the process involves the use of a paper plate you may only be able to produce one or two prints from the plate before it breaks down. Inking The Plate There are two methods for inking the plate, each with its own advantages. The sponge method, makes it easier for the beginner to achieve succesful results. It is also ideal for working with small or detailed imagery as with practice you are able to control which areas recieve more ink and pick out finer detail.
    [Show full text]
  • Table Top Printing Press
    Table Top Printing Press Gerry is wearily recommendatory after revenued Kelsey settlings his line supernally. Commutative and alleged Merill always retyping distractively and featured his knobble. Seizable or bootlicking, Neil never decentralized any brawn! Please examine the ground will be aware that only trying to a number of the crank handle design you finish on par with table top of your print exhibition and clean Thank you for stopping by. Exclude your own site visits from the data, so your stats are as accurate as can be. Please call for hours! Set Up, Courier or Collection? Hebei Macrokun Trading Co. This article is about the historical device created by Johannes Gutenberg. Always include item no. The tutorial explains how to ink by hand. Easy to use, these presses inspired military and amateur printers during and after the Civil War to make use of portable presses to print military orders, receipts, billheads, and other documents. Advertising Kansas City MO. There is some paint loss and crazing to the finish. This invention helped aid the high demand for knowledge during this time period. For this print, I used my bulk bottle of Blick block printing ink. My pocket press is great for smaller printmaking at home at the kitchen table, but it can also print large. Not a printer expert and this printer is untested so selling as found as is. Did East Asian Printing Traditions Influence the European Renaissance? CARD PRINTING PRESS This cast iron printing presss sits on a wood mount. Buyers are reminded to check your local import and resale requirements prior to placing an order.
    [Show full text]
  • K-12 Art Curriculum
    East Grand Rapids Public Schools K–12 Art Curriculum JANUARY 2005 “I found I could say things with color and shapes that I couldn’t say any other way — things I had no words for.” –Georgia O’Keeffe Art Curriculum Committee 2004-2005 Judi Babel Holly Lampen Stacy Trierweiler Michele Dolmyer Sharon Pollice Christine Vettese Jill Gersch Lucille Steenbergen Jill Zimmermann Jeanne Glowicki Terry Szpieg Board of Education Beth R. Lent, President Natalie D. Kuras, Vice President Joseph D. Camp, Treasurer Rosalie R. Stein, Trustee Brian R. Ellis, Trustee Charles M. Denton, Trustee Stacy Trierweiler, Trustee James E. Morse, Ed.D., Superintendent Christine A. Vettese, Assistant Superintendent of Instruction Douglas L. Derks, Assistant Superintendent of Business The work of this committee was funded through a federal grant awarded by the Michigan Department of Education TABLE OF CONTENTS Committee Members ....................................................................................... Inside front cover Mission .................................................................................................................................... 1 Philosophy ............................................................................................................................... 1 Introduction .............................................................................................................................. 2 Career Pathways ....................................................................................................................
    [Show full text]
  • Antiquarian Books & Prints Guaranteed to Be Over 100 Year Old
    Antiquarian Books & Prints FREE 14 Page Sample eBook History of Printing on Paper Woodblock printing 200 Photostat and rectigraph 1907 Movable type 1040 Screen printing 1910 Printing press c. 1440 FREE SAMPLE 14 Page eBook Spirit duplicator 1923 Etching c. 1515 Antiquarian Books & Prints Xerography 1938 Mezzotint 1642 History of Printing on Paper Phototypesetting 1949 Aquatint 1772 Inkjet printing 1951 Lithography 1796 © Mumfordbooks.com 2016 Dye-sublimation 1957 Chromolithography 1837 Dot matrix printing 1968 Rotary press 1843 Laser printing 1969 Hectograph 1869 Thermal printing c.1972 Offset printing 1875 DNA printing c.1972 Hot metal typesetting 1884 3D printing 1984 Mimeograph 1886 FREE Valuation 1st Book Digital printing 1991 FREE Advice aBout Selling © Mumfordbooks.com 2016 1 Antiquarian Books & Prints Guaranteed to be over 100 years old, not a Facsimile FREE INTRODUCTION SAMPLE eBOOK DOWNLOADS Here at Mumfordbooks we buy and sell Quality Books & Prints, hard-to-find, first editions, many with illustrations and fine leather bindings. Old books with missing or damage pages we advise professional repair. We aim to restore books leaving as much original as possible, to Study and Educate. FREE SAMPLE 14 Page eBook Missing pages are replaced with digital copies images or text, we will restore with facsimiles printed on paper nearest to original, all facsimiles clearly marked as such. Antiquarian Books & Prints We will publish re-constructed old books with missing pages into reHistory of Printing on Paper -stored or new eBooks made up as complete as possible from original book pages (So called “Prints”) or with digital facsimiles. © Mumfordbooks.com 2016 All our eBooks will contain a mixture of both original or new marked facsimiles.
    [Show full text]
  • May 2007 Galley
    INSIDE: Teaching letterpress discus- sion continues with two articles starting on... / p6 Is eBay good or bad for letterpress / p8 A monthly online publication devoted The history of to letterpress printingGalley (published Kelsey & Co. / p11 the first day of each month). GAB No. 5 / MAY 2007 OLD FLAMES MIS-MATCHED: True ofstories extinguishedTHE WHY AND HOW love OF PRINTING THE MATCHBOOKS seemed the obvious theme for a book of matches. I By Catherine Alice Michaelis was mostly concerned the whole thing was trite. t any one time there are probably about Matchbook. The name was a challenge to me. a dozen ideas careening around in my de- I had been thinking about pocketbooks, and oth- Asign mind. Structures, images, themes, and er words that suggested crossover possibilities. I influences all bouncing around until the had recently been involved in a printer’s exquisite right balls fall into the right slot in the right order. corpse project and I was still enchanted with the I am more of a writer than image-maker, so book possibilities of mix and match pages, and I had shapes and designs that get me around the image also long been contemplating Keith Smith’s ideas making process move faster through my design of an ephemeral book. process. Once the idea began evolving, old flames I spent a year thinking about printing on matches. © 2007 MIKE O’CONNOR GALLEY GAB PAGE TWO (See why faster is good?) It seemed really hard–the paper would be. I printed low on the matchsticks, matches splay at the top, could I compensate for trying to avoid as much of the chemicals as I could, that? I liked my idea a lot though, so one day on concerned they would degrade the ink.
    [Show full text]