syllabus — ART 229 — Beginning Printmaking

Planographic Method:
Gelatin Prints

overview:
We will use a planographic method and the gelatin block monoprinting process (also called gel or gelli printing) 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 series set of related prints (these can be related in form or concept) 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?

gelatin print monotype / monoprint:

The gelatin block process cannot be repeated so each print is a single (mono) unique print called either monotype or monoprint. “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).

complete or submit the following items for your project grade:

• PREP WORK:
  Present the concept for your work. (SEE: the Developing Ideas assignment)
  
  
• PRINT SERIES:
  A set of related prints (these can be related in form or concept) finished on quality printmaking paper or appropriate; minimum of 4 prints. Prints should be signed, but you do not need to include Edition Information since the prints are all unique monoprints, 1/1. Title is also optional.
  * Between the print series and experimental set results, a minimum of 4 prints must include more than one layer.
  
  
• 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 series; minimum of 8. They may be on any form of support (not just printmaking paper) and may be signed or unsigned. You may include mixed media.
  * Between the print series and experimental set results, a minimum of 4 prints must include more than one layer.
  
  
• 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:

4+ photos of your favorite results (full image of print, 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; additional photos welcome ]

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 print series (related prints):

• Challenge of concept, message, or purpose
• Success of concept, message, or purpose
• Create 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 layers*
  * Between the print series and experimental set results, a minimum of 4 prints must include more than one layer.
• Quality and craftsmanship of printing
• Finished quality of the work; appropriateness for portfolio or exhibition display
• Artist signature
  Prints should be signed, but you do not need to include Edition Information since the prints are all unique monoprints, 1/1. Title is also optional.
  
  Prints are labeled under the image in sharp pencil, left to right: 1/1 (or Monoprint), title (if applicable), signature and year created.

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 layers*
  * Between the print series and experimental set results, a minimum of 4 prints must include more than one layer.

checklist:

• Developing Ideas assignment
• Print series 4+ prints
• Experimental set of 8+ results/prints
• Evidence of more than 1 layer in any 4+ prints
  
  

optional resources:
Common printmaking terms & vocabulary
The Design of Dissent: Socially and Politically Driven Graphics by Milton Glaser (PDF)
And demos in class or posted on D2L

materials or processes to try:

· Gel blocks are clear so you can put a design behind them as a guide while you work and you will see it through the block – just remember to REVERSE the orientation of the design (especially text) so it will come out properly once printed

· Image printed from a laser printer and transferred to the gel block by rolling out acrylic paint and tapping it on to the paint while it is still wet (high contrast B&W)

· Image from a glossy magazine cut out and transferred to the gel block by rolling out acrylic paint and tapping it on to the paint while it is still wet (high contrast)

· Charcoal drawn on paper or another surface and transferred on the gel block

· Charcoal or chalk applied directly to the gel block

· Stencil applied directly to the gel block to pull off ink or keep ink from being applied

· Object applied directly to the gel block to pull off ink or keep ink from being applied in an interesting shape

· Object / scraps applied directly to the gel block to create a texture of the object’s surface
(try: plants, leaves, feathers, scraps of fabric, netting, string, small objects, bubble wrap, crinkled paper, hot glue designs made on cardboard etc.)

· Tissue paper applied directly to the gel block in a chine-collé fashion (light glue)

· Metallic foil / leafing applied directly to the gel block

· Pigment powder applied directly to the gel block onto wet ink or into a stencil

· Acrylic paint markers drawn directly on the gel block
Acrylic paint painted onto the gel block (textures, brush strokes, design, colors)

· Acrylic paint rolled onto the gel block with a brayer (single color, large areas of color, gradients of color)

· Acrylic paint “reverse painted” on top of previous layers so the painting will exist “under” the previous layer once printed

· Gel medium / matte medium rolled onto the gel block with a brayer (instead of paint) for a clear transfer

· “Toothed” items to draw patterns/textures into an acrylic paint layer
(try: cut cardboard, art texture combs, combs, toothbrushes, etc.)

· Material or fabric or collage to print onto instead of paper (natural fibers work best, thin materials can rip when removed from the gel block)

* * *

· This is a REVERSE LAYER process. Usually, the first layer added to the gel block will sit on top when the print is pulled, so it will be the most visible layer. All subsequent layers added will be underneath once printed (closer to the paper).

· Usually, all layers are dry before the last layer of paint is added, and the last layer of paint serves to adhere all other layers to the paper. The paper or other media is added on top when the last layer is still wet.

· Usually, the paper itself or other media is dry when printing, unlike other printing methods that typically use pre-soaked or damp paper.