syllabus — ART 229 — Beginning Printmaking

Intaglio Method:
Drypoint Prints

overview:
We will use the intaglio method and the drypoint process in the creation of your next body of work. Consider this project as an opportunity to focus on an issue or topic that is important to you. You will address your concept in two ways: with a limited edition set of identical prints AND with a collection of experimental prints/results. You may choose to develop two different ideas for the different sets, or use both methods in a way that supports the development of a single concept or technical development.

Take time to consider the subject matter and how you want to approach it. What will you need to research to develop your idea? Who do you hope to connect with in your work? Will the tone of your message be serious, humorous, formal, educational, aggressive, ironic, etc? How might the printmaking medium affect the development, interpretation, or delivery of your message? How does the production of multiples play a role in your work? What size and format best matches the intentions of your work?

drypoint:

The creation of a traditional drypoint plate shares characteristics with pen and ink drawing and can utilize similar techniques. It is possible to achieve incredibly fine and detailed lines. Tonal values can be created with crosshatching and stippling, or plates can be sanded or texturized to create different forms of marks.

It is also possible to create unique monoprints on a drypoint plate by manipulating the ink through a number of techniques. These works often feel more painterly.

monotype / monoprint:

The process of using a print support to creates one (mono) unique print is called either monotype or mono print. “Monos” are among the most flexible forms of printmaking because they can be created in so many different ways. However, unlike other forms of printmaking, they usually produce only a single, unique print (although ghost prints are possible). Here is a full explanation of the difference between monoTYPE (no repeatable component) and monoPRINT (some repeatable component).

In addition to monotype/monoprint, there are many options for experimentation both conceptually and throughout the process of printing:

1) Experiment with your sketch or plan for the work.

2) Experiment when creating a drypoint plate.
(try sanding the surface or scratching with different tools)

3) Experiment when applying or removing ink from the plate.
(try leaving ink on the surface of the plate and adding drawings or creating textures)

4) Experiment when choosing a support for the work.
(printmaking paper, fabric, etc.)

5) Experiment after the print is created.
(for example intaglio prints pair well with mixed-media like watercolor painting to add color, or can be shaped into sculptural works, or can be viewed or contextualized in new ways)

complete or submit the following items for your project grade:

• PREP WORK:
  Present the concept for your work. (SEE: the Developing Ideas assignment)
  
  
• TRADITIONAL LIMITED EDITION:
  A limited edition of IDENTICAL finished and signed prints on quality printmaking paper or appropriate; minimum of 4 prints. See: Edition Information PDF
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).
  
  
• EXPERIMENTAL SET:
  A collection of tests or experiments that show either a large range of types of experimentation or a great depth into a certain kind of experimentation, or an additional take on the concept you explored in your limited edition; minimum of 8. They may be on any form of support (not just printmaking paper) and may be signed or unsigned. You may include drypoint and/or monoprint and/or items that don’t fit a particular category, but that experiment with the concepts, techniques, or materials. Usually students choose to make different designs for the traditional and experimental prints, but you may use the same design as long as it requires two unique plates or plate designs.
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).
  
  
• PRESENT IN CRITIQUE:
  Consider a proper format for presenting your work (for example, pinning to the wall) and be prepared display all your work during the critique.
  If you are absent on the day(s) of the critique or your work is not complete for critique, you must submit a brief written component along with your images on D2L for presentation credit; discuss the details of the description and self-assessment paper with me.
  
  
• DOCUMENT:

Photograph / document your final work and submit the JPGs (or HEICs) in the appropriate D2L folder within 1 week of the end of class critique. You will have a brief amount of time to photograph your work during class critique or you may photograph it before/after critique. It is not my expectation that you edit the images or clean them up, but as long as your work was in critique, you may submit appropriately edited images if you choose.

NOTE: Please submit a minimum of 6 images as listed below as JPG (or HEIC) files to receive full credit for your work. Do not submit in a different file format without discussing with me.
NOTE: Items loaded after the 1 week timeframe will be considered late and will receive reduced points.
NOTE: Assignment credit may not be granted unless minimum D2L submission requirements are met.

Please submit a minimum of the following JPG/HEIC images:

1+ photo(s) of your favorite limited edition print (full image of print)

3+ photos of your favorite experiments (full image of experiment if applicable)

1+ photo(s) of a detail of a single work

1+ photo(s) or some configuration of photos showing ALL your work for critique – this part of the documentation doesn’t need to be formal and can be prints spread on the wall or floor, etc.

[ This is a minimum of 6 photos total ]

NOTE: If you feel that your concept for this project will not be possible within these stated requirements, please talk to me so we can work out a different set of requirements.

grade criteria for limited edition prints:

• Challenge of concept, message, or purpose
• Success of concept, message, or purpose
• Identical printing (at least 4 prints)
• Effort exhibited in the initial sketches/pan for your work
• Overall composition
• Detail and complexity of your design (ex: contrast of light and dark values, application of line-work, etc.)
• Skill and craftsmanship in creating your plates
• Evidence of 2 plates or plate designs*
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).
• Quality and craftsmanship of printing
• Finished quality of the work; appropriateness for portfolio or exhibition display
• Appropriate application of limited edition process
  To edition, gather your prints and select the prints that look identical (sometime a little paintbrush or X-acto work can remove a small blemish). You may choose a few prints to be Artist Proof images if you want (traditionally 10% of images); Label those as “A.P.” and put them aside. Count your remaining prints and the resulting number is your edition size. You may choose to keep a few Trial Prints / Test Prints that might even include your notes written on them, but label them “T.P.” See: Edition Information PDF for further information.
  
  Prints are labeled under the image in sharp pencil, left to right: # of print / # in edition, title (if applicable), signature and date.

grade criteria for second or experimental pieces:

• Challenge of concept, message, or purpose as it applies to the work.
• Effort exhibited in formulating a plan for beginning your experimentation; this may or may not be sketches.
• Breadth and/or depth of experimentation. (This could include: use of materials, multi-layer, mixed-media, color experimentation, color-mixing, etc. or more conceptually based work.)
• Evidence of exploration and multiple trials. (If this component is not clear in the final prints or if the final prints no longer exist, please provide a statement or other form of documentation.)
• Quality and craftsmanship as it applies to the work.
• Evidence of 2 plates or plate designs*
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).

checklist:

• Developing Ideas assignment
• Limited edition of 4+ prints
• Experimental set of 8+ results/prints
• Evidence of 2 plates or plate designs

resources:
Common printmaking terms & vocabulary

Ink, Paper, Politics: WPA-Era Printmaking from the Needles Collection (download PDF)

Artists who yearn for art that transforms by Lisa Gail Collins (text and PDF)

Ester Hernandez on community leadership and art (3min video)
The Design of Dissent: Socially and Politically Driven Graphics by Milton Glaser (PDF)
Print Liberation by Nick Paparone and Jamie Dillow (book)

DePaul Idea Realization Labs, IRL & IRL2
MoMA / Khan Academy demonstration of Edgar Degas’ monotype process (here)

Creating colored prints through a multi-layered process (here)
And demos in class or posted on D2L

PRINT PLATES:
There must be evidence that you’ve used 2 printmaking plates in the creation of work for this first assignment. One plate will likely be used in your traditional limited edition. The other plate can be a practice plate, a second layer, a different design, etc. If there is even one print from a second plate then I will be able to see that you experimented with it. Please save your plates after this assignment because you may wish to use the back side for experiments in the future.