Expanding on the fundamentals of Intaglio, this course will explore the Mezzotint technique that was developed in the mid- seventeenth century. This technique is unique because it achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker". The plate will print with a strong and even velvety black. At this point, the burs created by the rocker are then scraped and burnished away to create arrange of tonality. Students will learn how to rock a plate, develop their drawings, transfer their designs on a copper plate, use a rocker, sharpen a rocker and printing methods. Mixed Media etching methods with mezzotint images will be explored as additional mark making possibilities and color layering. Emphasis will be placed on sound technical execution, image making, and the development of students’ personal artistic language.  Technical demonstrations, individual and group critiques will be used throughout the semester to encourage students’ artistic practice. Let’s “Rock” and “Roll”!

Estimated Cost of Materials: $120.00

Elective

Expanding on the fundamentals of Intaglio, this course will explore the Mezzotint technique that was developed in the mid- seventeenth century. This technique is unique because it achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker". The plate will print with a strong and even velvety black. At this point, the burs created by the rocker are then scraped and burnished away to create arrange of tonality. Students will learn how to rock a plate, develop their drawings, transfer their designs on a copper plate, use a rocker, sharpen a rocker and printing methods. Mixed Media etching methods with mezzotint images will be explored as additional mark making possibilities and color layering. Emphasis will be placed on sound technical execution, image making, and the development of students’ personal artistic language.  Technical demonstrations, individual and group critiques will be used throughout the semester to encourage students’ artistic practice. Let’s “Rock” and “Roll”!

Estimated Cost of Materials: $120.00

Elective

This course explores queerness as material, method, and lens for making art. Together, we will look at how queer printed media and art movements have challenged dominant traditions, positioning queerness as a source of resistance, joy, community, and transformation. Students will experiment with techniques and methods such as papier-mâché, Screen Printing, Riso Graphs/Zine making and temporary tattoos, engaging them through queer theory and lived experience. Making becomes a way to ask: how does queerness take shape in our lives and practices?

Readings will include José Esteban Muñoz’s Cruising Utopia, and Sara Ahmed’s Queer Phenomenology. We will also study artists such as Allyson Mitchell, Deirdre Logue, Jim Hodges, Juliana Huxtable, and Jesse Harrod, along with films like Mishima: A Life in Four Chapters and Grey Gardens. Students are encouraged to take risks, embrace failure, and push the boundaries of printed media and performance. Projects will include individual works as well as collaborative sculptures, zines and performances, drawing inspiration from the collective nature of a print studio as a metaphor for queer collectivity.

Estimated Cost of Materials: $100.00

Elective

Ceramics and printmaking have a shared ethos in the production of multiples and process-driven technical methods. This is reflected in industry but is not often explored in an academic context. This course would be the first at RISD to explore the rich resources of the Ceramics and Printmaking Departments to promote research into innovative ways to combine the disciplines. For almost three centuries ceramics have been enhanced by printed elements. The combination of ceramic and print technologies have tremendous potential for new applications in functional and sculptural approaches to ceramic multiples and printed editions. RISD has all the facilities in ceramics and printmaking required to pursue research in this field. Students will learn ceramic techniques such as hand-building and slip casting to create forms to hold screen printed, intaglio, relief, and digital images. Historical techniques will be presented and new methods and combinations will be developed.

Estimated Cost of Materials: $200.00

Elective

The Sculptural Print looks to the multiple as a material (rather than a form) for the construction of one-of-a-kind works. The primary technical focuses will be in photo-emulsion based screenprinting, polymer-plate etching/intaglio, and basic relief printing. Students will be asked to design unique image vocabularies, transform and translate them to various matrices, and then to alter, manipulate, reimagine, and finally to build structural pieces using the printed matter. In the first half of the term, class sessions will begin with a presentation of artist precedents and technical demonstrations. In the second half, classes will still begin with a short presentation, and will then focus largely on in-progress critique and technical troubleshooting/consultation. Works completed for midterm will be based on provided prompts with detailed parameters and require students to work in series and at a large-scale. The final will be fully self-directed.

Estimated Cost of Materials: $125.00

Please contact the instructor for permission to register. Preference is given to Junior, Senior or Graduate Students.

Elective

Intaglio: Alternative Practices builds bridges from experience in the medium of intaglio by presenting advanced and innovative platemaking and printing processes using copper, plexiglass, and polymer plate types. Coursework will cover topics such as: custom stop-outs, extended etches, ink interfacing, toner transfers, and extensions into the digital realm utilizing the Benson Hall “Tech Lab” resources. Demonstrations and assignments will focus on the virtues of plating material, not solely as printable matrices, or carriers of transferrable visual information, but also as finished objects. The semester will be driven by demonstration, guided in-class work, independent work focused on experimentation, and conversation geared toward alternatives to substrate (paper), matrix (copper, polymer, plexi), and medium (ink). The semester will culminate in a self-directed final project that requires students to generate a grouping of works that successfully combine a selection of the processes covered which includes a substantial set of proofs, studies, plating tests, and pertinent supplementary visual/technical research.

Estimated Cost of Materials: $125.00

Elective

Pattern and print have been closely linked since the development of printing techniques in East Asia in the 600s. Since then, printed patterns have enriched pictorial art, textiles and wallcoverings - any surface that can take a print. All printmaking methods have been used to create patterns, from the earliest woodblocks to digital printing today.

 This course explores a handmade approach to pattern through drafting on graph paper, working with gouache, carving wood blocks in relief and printing with distemper paints. Emphasis will be placed on developing structures that exploit the fixed size of a block to make patterns that are satisfying when spread over a large area. The potential of the carved and printed mark and impact of layering with a small number of colors will be explored in individual and group projects. Students with prior printmaking experience will be free to execute designs in a range of media such as screenprint, intaglio and letterpress.

The hands-on approach will provide a foundation for exploration of design and printing methods introduced in the second half of the course. Students will work through a series of self-directed projects and apply appropriate computer programs as needed.

 A final portfolio/collection of patterns will employ and potentially combine techniques and methods learned in class. Readings about the history and theory of pattern design will be presented throughout the class and RISD Museum and Fleet Library collections will be consulted for historical background and inspiration.

Estimated Cost of Materials: $120.00

Elective

Performance and printmaking share qualities that can generate innovative and hybrid artistic forms, despite their seemingly unrelated disciplines. This intersection is increasingly seen in contemporary artistic practice but is not often explored in an academic context. This course will focus on the bridges and dynamic potential between theatrical performance, performance art, animation, and printmaking. Throughout the semester, students will learn conceptual and technical aspects of prints and printmaking that relate to and inform multimedia works, ranging from seriality, layering, and duration, to imprinting, documentation, and artifact. 

Students will be introduced to the relationship between prints, theater, and performance in the early- to late-20th century, and will examine recent works that define and explore critical issues of our time. Using RISD’s vast printmaking facilities, and equipment and materials for animation, sound, and performance, students will develop their own methods and combinations using topics such as the body, motion, and time.  

Course format will include lectures, readings, discussion groups, and visits to the RISD Museum’s collection. Students will develop three individual or collaborative studio projects in response to prompts, as well as a self-directed final assignment. Individual and group critiques will help sharpen students’ ideas, skills, and knowledge of prints.

Artists discussed during this course will include, but not be limited to, Marina Abramović, John Cage, David Hammons, William Kentridge, Kakyoung Lee, Poli Marichal, Jason Moran, Bruce Nauman, Rirkrit Tiravanija, Audra Wolowiec, and Yukinori Yanagi.

Estimated Cost of Materials: $200.00

Elective

Technical fundamentals related to each of the basic intaglio processes will be demonstrated throughout the semester. Traditional and contemporary intaglio applications will also be presented and experimentation will be encouraged. A series of monotypes, small editions in each process and a larger technical combination plate will comprise the final portfolio assignment. Imagery, concept and content will represent a primary course element as technical facility is mastered. Individual critiques will be the standard throughout and two group critiques at the midpoint and end of the semester will also be scheduled. This course is not available to Sophomore Printmaking Students.

Estimated Cost of Materials: $100.00

Major Requirement | BFA Printmaking

This course offers basic black and white lithographic technical applications on lithostone and lithoplate to those students who are at the beginning level. Contemporary techniques, and technical short-cuts will elaborate on traditional processing. Experimentation is encouraged throughout the semester while emphasis is placed on the development of personally innovative imagery and concept. Informal group and individual critiques are conducted in conjunction with group mid-semester and final critiques. A professionally portfolio of assigned prints is due at the end of the course. This course may be repeated for credit.

Estimated Cost of Materials: $100.00

Major Requirement | BFA Printmaking

Students will stretch their own screens and will be introduced to a wide range of stencil techniques (cut film, paper stencil, crayon and glue, tusche and glue, and photo). Students are urged to experiment with stencil and printing techniques to produce a portfolio of editioned prints.

Estimated Cost of Materials: $175.00

Major Requirement | BFA Printmaking

The use of light-based print processes is ubiquitous in contemporary printmaking. Light to Ink will lay a foundation of knowledge within the printmaking medium for using light as a part of the image-making process. The class is designed to introduce students to the basics of Printmaking using either hand made, digital or photo-made matrixes. The class will learn to make prints using the traditional print methods of intaglio, lithography and screenprint and build a base of information about the production of the film transparencies from which the matrix is made. Students will be taught the skills necessary to take the photo, computer, or handmade image from a one or a series of positive transparencies to a finished print. From Light to Ink is a starting point for growth and exploration in photo printmaking and an introduction to printing in intaglio, lithography and screenprint. No prior knowledge of printmaking is required. This class is most appropriate for sophomores, juniors and first semester seniors.

Elective

Building on the fundamentals of lithography this course will explore the technical, aesthetic and conceptual aspects of colour printing. Using ball grained aluminum plates and photolithography plates students will develop their imagery and concepts. Students will be encouraged to innovate and experiment with colour and image making techniques in conjunction with craft and technical mastery. Technical demonstrations, individual and group critiques will be used throughout the semester to encourage students' artistic practice. Hand drawn and digitally generated films for photo litho plates and traditional drawing on ball grained plates will be demonstrated among other techniques.

Estimated Cost of Materials: $75.00

Major Requirement | BFA Printmaking

Students in the graduate printmaking program will utilize graduate level research and scholarship as an impetus for growth within studio practice. Investigation into historical cycles of printmaking will be fostered through assigned texts and exploration of primary resources available at RISD, especially The RISD Museum. A dialogue stemming from intensive studio work will be developed in varied formats by faculty, visiting artists and peers throughout the semester.

Major Requirement | MFA Printmaking

This course sustains the search for personal, idiosyncratic visual direction. Printmaking applications are refined, experimentation is engaged and study incorporates group discussion, readings and critical writing related to texts provided and visits to libraries, museums and galleries. In addition, students will update the resume created during the previous semester, an artist statement will be written, cover letters and employment/grant applications will be addressed at regular intervals throughout the semester. Installation and presentation of work created will be analyzed as a critical component. At the end of the semester, students will discuss their current work in oral/powerpoint format as it relates to personal research of historical and contemporary art/artists. Critiques, group and individual will occur each week and an outside guest critic will be engaged for mid-semester and the final critiques.

Open to Junior Printmaking Students.

Major Requirement | BFA Printmaking

What is the curatorial imperative? By incorporating curation into studio practice, artists understand the context for placing new combinations into the world. Collecting, archiving and critical analysis of source material will develop a philosophy of stewardship. Central questions about printmaking as a crucial core for many disciplines that incorporate the relation between matrix and formed object, layers, reversals, positive and negative and replication of original and appropriated media will provide a structure. The state of print publishing, art fairs and current curatorial literature will inform ongoing discussion.

Enrollment is limited to Graduate Printmaking Students.

Major Requirement | MFA Printmaking

Students in the graduate printmaking program will utilize graduate level research and scholarship as an impetus for growth within studio practice. Investigation into historical cycles of printmaking will be fostered through assigned texts and exploration of primary resources available at RISD, especially The RISD Museum. A dialogue stemming from intensive studio work will be developed in varied formats by faculty, visiting artists and peers throughout the semester.

Major Requirement | MFA Printmaking

This course will introduce students to contemporary letterpress printing. While keeping the broad historical role of letterpress printing in mind, the course will allow students to use the various incarnations of letterpress printing to further their own work. The focus of the course will be learning to print, and print well, how to troubleshoot on the Vandercook proof press, and exploring how the different approaches, processes, papers, and techniques effect and direct the finished work. The course will begin with an overview of letterpress printing history and its relation to the evolution of typography, and its major impact on, and reaction to, societal change. We will first focus on setting and printing from handset type, and more traditional image making techniques (read: Linocuts!), and then introduce digital images through the use of polymer plates. Once the basics of the process have been covered, the focus will be on students using the techniques and processes to further their own work, and the creation of a final project using any of the techniques as appropriate to the piece.

Estimated Cost of Materials: $100.00

Elective

This course will introduce students to contemporary letterpress printing. While keeping the broad historical role of letterpress printing in mind, the course will allow students to use the various incarnations of letterpress printing to further their own work. The focus of the course will be learning to print, and print well, how to troubleshoot on the Vandercook proof press, and exploring how the different approaches, processes, papers, and techniques effect and direct the finished work. The course will begin with an overview of letterpress printing history and its relation to the evolution of typography, and its major impact on, and reaction to, societal change. We will first focus on setting and printing from handset type, and more traditional image making techniques (read: Linocuts!), and then introduce digital images through the use of polymer plates. Once the basics of the process have been covered, the focus will be on students using the techniques and processes to further their own work, and the creation of a final project using any of the techniques as appropriate to the piece.

Estimated Cost of Materials: $100.00

Elective

This course will focus on book binding methods including, but not limited to stab binding, Coptic stitch, variations on the pamphlet stitch, drum leaf, and books sewn through the fold. Through weekly demonstrations and assignments, students will acquire skills in both adhesive and non-adhesive binding as well as basic box making techniques. The course places a focus on facilitating individual practice in the form of books, and the integration of binding methods learned in class into one's personal artistic process. At the end of the semester, students will have thorough understanding of the anatomy of books, how to make them, how to plan and execute their own design, and where to acquire materials and tools. There will be opportunities to view books from the RISD Special Collections and critical discussions surrounding the functions of book making in contemporary practice.

Estimated Cost of Materials: $175.00

Elective