Professor Juana Valdes Class: Printmaking 2 ART-2401C-002 Etching Intaglio Process Monday & Wednesday Time: BLDG. VA53 Room 104 Printmaking Studio Email: [email protected] Office Hours: Tuesday 2- 4:00pm Description The word "intaglio" comes from the Italian, which means to engrave or to cut into. Etching a term, sometimes interchangeable with intaglio (to incise, to cut) that refers to the study of printing process inclusive of Drypoint, etching, aquatint, soft ground, engraving, and mezzotint. In intaglio printing, an impression is made by pushing the paper into inked depressions and recesses in a metal plate. This studio course covers the fundamentals of printmaking, incorporating drawing, painting and collage into the processes Intaglio printing. Students will learn the art of intaglio with a special emphasis on using line, tone and texture. Assigned projects will assist in the investigation of drawing, plate making and transfer methods. Visit to museum, print shops and gallery shows will be assigned in coordination with the studio portion of this course. Course Objective Student will learn and utilize the technical applications of intaglio printmaking. They will develop an understanding of Drypoint, etching, aquatint and their usages; paper handling, printing, as it occurs in edtitioning and printed variants. Students will learn the safe use and handling of the materials and equipment used in the printmaking studio. Understanding the graphic aesthetic of intaglio printmaking and reasons for its exploitation. Implement good formal strategies including design, color and mark making. This course offers an introduction to the general history of printmaking and the conceptual and historical context of intaglio printmaking by understanding the role of printmakers in society. Analyze prints through critiques and class discussions. Project Objectives: Six projects are required with each project consisting of a series of five finished prints minimum. Critique format will include a verbal statement by each student and a pertinent class discussion based upon the qualitative criteria of form and content. Projects 1. Drypoint 2. Etching 3. Hard Ground 4. Soft Ground 5.Chine Collé 6. Final Project Weekly Course Outline: The following outline is subject to change. Classes will be adjusted vis-s-vis class make up and individual interaction and needs. The semester will be broken down into a series of lectures, demonstrations and open workshop to explore and explain the practice and uses of etching. Week 1- January 10 List of materials and syllabus, class expectations and shop rules; giving out of locker and drawers, overview of objectives, attendance, assignment and grading. Orientation to the medium: Print as drawing medium vs. graphic reproductive process. Techniques: plate preparation; dry point; attributes of line stage biting; necessity of proofing process using correct inking and wiping. Guillotining (cutting) of plates, using tools Professor Juana Valdes Class: Printmaking 2 ART-2401C-002 Etching Intaglio Process Monday & Wednesday Time: BLDG. VA53 Room 104 Printmaking Studio Email: [email protected] Office Hours: Tuesday 2- 4:00pm to create line and texture for Drypoint. Lecture: Video presentation to 15th to 19th Century Intaglio images and processes. Hand on demo to inking, print of plates and paper preparation. Assignment: Buy supplies and paper for next week Week 2- January 17 Monday Holiday Martin Luther King Day Pencil transfer, line drawing, necessity of proofing process using correct inking and wiping. Discussion and use of paper for printing: mark, rip, soak, press and dry. Beveling plates, cleaning of plates using ink and solvents to help visualize Drypoint plates Practice plate: small zinc plate using drypoint line, Project #1: 9ʻ x 12” cut into 4 equal square work on two of the plates using Drypoint needle and another with burins burnisher roulettes and scrapers. Create image using stage bite line plate work (scraping and burnishing); 3 trial proofs and an edition of five trial proofs and an edition of five. Week 3 January 24 Proper block-out and stage biting; proper use of the scraper and burnisher; inking and wiping; proper setting of the press; paper selection, white ground; flattening and curating prints. Week 4 January 31 project 1; introduce project 2 Techniques: Hard and Soft ground techniques Techniques: Engraving burin and roulette- embellishment vs. primary structure of the drawing. Mezzotint. Project # 2- 9 x 12 image using Hard ground techniques any concept. Image is to be developed fully and proofed. The plate is then worked back reductively with scraping and burnishing. 4 trial proofs and an edition of five. Week 5 February 7 Studio time Techniques: Tusche wash and marbling; scraping and burnishing. Week 6- February 14 Studio time Techniques: Spit bite and creeping bite; ink modifications Week 7 February 21 Critique project 3; introduce project 4 Studio time; Critique of print #3; print viewing from the collection; visual control of plate etching and handwork (i.e. proper lighting, etc.) Project #4: 9 x 12 image using soft ground using different texture and two colors minimum. Week 8 February 28 Studio Time Techniques: Technique: Chine colleʼ and aʼ la poupee; plate and paper registration Week 9 March 7 – Spring Break Week 10 March 14 Critique project4; introduce project 5 Activating ideas through seeing and discovering the visual dialogue with the proof; seeing and responding to the needs of the picture. Form and content unification. Professor Juana Valdes Class: Printmaking 2 ART-2401C-002 Etching Intaglio Process Monday & Wednesday Time: BLDG. VA53 Room 104 Printmaking Studio Email: [email protected] Office Hours: Tuesday 2- 4:00pm Project #5: 9 x 12 image using double drop printing and chine colleʼ Week 11 March 21 studio time Technique: Chine colleʼ and aʼ la poupee; plate and paper registration Week 12 March 28 Studio time Techniques: Open bite and relief etching; multiple plate printing; transfer and activating multiple plate images Week 13 April 4 Critique project 5; introduce project 6 Objectives: Studio time; Critique of print #5 Techniques: Mounting, storing and framing prints; portfolio preparation Project #6: Student Choice 9 x 12 select image treatments of their choice with 2 color minimum. Week 14 April 11 Studio time Techniques: Mounting, storing and framing prints; portfolio preparation Week 15 April 18 Objectives: Studio time Week 16 April 25 Final Project #6 is due Final Examination April 28- May 4 Final critique and comprehensive clean-up. Final clean-up: Students must spend one hour working on the group clean-up. If a student cannot make the date, s/he must pre-arrange an alternate date to contribute to the group effort. Failing to attend the clean-up period will reduce your final semester grade by one full letter. After the clean-up, students may not use the studio to print. Reading & Internet Resources: Will be assigned with project. While no textbook is required for this course, the following books are highly recommended: Adam, Robert and Carol Robertson. Intaglio: The Complete Safety-First System for Creative Printmaking. Thames & Hudson Howard, Keith. The Contemporary Printmaker: Intaglio-Type & Acrylic Resist Etching. Write-Cross Press Saff, Donald and Deli Sacilotto. Printmaking: History and Process. Wadsworth: Thomson Learning Ross, John, Clare Romano and Tim Ross. The Complete Printmaker: Techniques/Traditions/Innovations. Roundtable Press, Inc. Artists Books Castleman, R., A Century Of Artists Books, New York, Museum of Modern Art, 1994 Drucker, J., The Century Of Artists' Books, New York, Granary Books, 1995 General Survey Of Contemporary And Historical Prints Mayor, H., Prints And People, The Metropolitan Museum of Art, 1971 Gascoigne, B., How To Identify Prints, New York, Thames and Hudson Inc., 1986, 1995 Professor Juana Valdes Class: Printmaking 2 ART-2401C-002 Etching Intaglio Process Monday & Wednesday Time: BLDG. VA53 Room 104 Printmaking Studio Email: [email protected] Office Hours: Tuesday 2- 4:00pm Castleman, R., Prints Of The 20th Century, A History, New York, The Museum of Modern Art Artist Council of Great Briton, The Mechanical Image A Historical Perspective On 20th Century Prints Internet Resources: http://madeuk.blogspot.com/2009/06/collagraph-course-with-sarah-young.html http://theprintstudio.tumblr.com/ http://www.micaprintmaking.com/category/resources/ http://www.magical-secrets.com/artists/smith/video http://www.magical-secrets.com/artists/ruscha/video http://www.magical-secrets.com/artists/wilson/video EXPECTATIONS OF ART STUDENTS 1. Attendance and punctuality are mandatory. 2. An organized sketchbook with handouts and notes. 3. Careful, thoughtful solutions to the art problems- turned in on time. 4. Participation in group evaluations and critiques. 5. Student is responsibility for missed notes and materials 6. Care of artwork and clean up of materials and workspace. 7. Work must be ready and properly presented on time for critique. Grade Breakdown 60% - print projects (30% of the course grade will be based on timely and successful completion of all projects and assignments 30 % on final presentation and development of idea.) 20% - class participation and preparedness 10% - presentation & gallery visits assignments 10% - critique Attendance Attendance will be carefully recorded daily. It is important that you arrive to class on time tardiness of more than 15 minutes will count after two times as one full absence. Coming to class without the appropriate