Printmaking

Courses

  • Fall 2015

    BOOKBINDING

    This class is primarily about learning the function of producing of artist books. It's objective is to acquaint students with the tools and materials as well as proper construction and execution so as to facilitate their ability to use the techniques as they wish. While intertwining this with content is part of it, it is 80% form and construction. Ultimately, we will work together to gain a solid foundation in this media that can transfer into and augment the individual's own departmental work.
    Decision and problem solving en route to a final piece is key in making books. The class will discuss the positives and negatives of choosing materials and the structural layout of a book, The importance of becoming familiar with adhesives, tools and potential problems in the process will be stressed.
    Aspects of adhesive and non adhesive bindings as well as traditional and non traditional books will be covered in ways to enable each student to determine where their strengths and desires lay. It also will create work that will convey the contents narrative into a complete idea. This should not only leave each person with an enthusiasm for the book form as art, but the ability and confidence to produce books on their own. Assignments will be given each week with the objective of manifesting that week's demonstration and objectives into a realized binding. Each student will be required to produce a minimum of ten books. As weeks pass, we will slowly turn from teacher required bindings into student conceived bindings, ultimately culminating in a unique, wholly individual expression.
    Estimated Material Cost: $175.00
    Major Elective; Elective for Non-Majors by Permission

    DRAWING ALL TO ITSELF

    Drawing is very often the backbone in service of some other artistic pursuit. In this course we will explore drawing as a means of expression all to itself. Our goal is to help students better realize their personal vision by strengthening their formal and thematic approach to drawing. We aim to achieve our goal by building confidence in mark making. We will begin by using observational drawing then branching off in different directions in order to produce the widest possible range of images. Assignments that are designed to encourage experimentation with material and media will give way to more independently conceived projects as the course progresses.
    Elective

    GRADUATE LITHOGRAPHY

    Lithography requires the simplest materials: fine limestone or metal plates, grease & water, tree saps & plant oils, pigments & paper. It is safe to say that more prints have been produced with this process than all other printing methods combined, and also that artists are intimidated by the mystical aura that has come to cloud its simplicity. After its thoroughly documented invention in 1796 it quickly developed into a technologically sophisticated industry that overshadowed the great delicacy and power possible with the hand drawn and printed lithograph. Examination and discussion of historical and contemporary lithographic prints will inform a series of clear demonstrations based on tried and tested production practices. These demonstrations will introduce students to the beauty and ease with which lithographs can be drawn, processed and editioned. This course is for graduate students to gain a working understanding of this essential print medium, working with any type of drawn or photographic imagery. Stone and plate preparation with traditional drawing materials as well as an introduction to photo plate processing, multi-matrix color printing, chine collé and transfer will be demonstrated. Safe and proper use of presses and chemicals used for stabilizing and maintaining a printing base, the special qualities and successful modification of lithographic inks for optimum printing and trapping of successive layers, transfer papers; their preparation and use, and the composition and production of lithographic crayons and tusche will be explained. An album of prints in an edition of 6 will be produced by each student for the final project.
    Estimated Materials Cost: $175.00
    Graduate Printmaking majors only, non-majors by department permission

    GRADUATE PRINT PROJECTS I

    Grad Print I focuses on artistic decisions using waterbase silkscreen as a medium. Photo processes will be integral to the course. Various surfaces for printing, the integration with painting or drawing, scale investigations, and other materials combined with silkscreen will be encouraged. Aesthetic discourse will occur in individual and group critiques.
    Estimated Material Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration
    Elective for other graduate students by permission of instructor required

    GRADUATE PRINTMAKING I: HISTORICAL CONTEXT AND PRACTICE

    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.
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    GRADUATE PRINTMAKING III: HISTORICAL CONTEXT AND PRACTICE

    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.
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    INTAGLIO I

    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.
    Estimated Material Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department; course not available via web registration
    Elective for nonmajors by permission

    JAPANESE PAPERMAKING

    Make you own paper for printing or three-dimensional constructions in this hand on experimental studio course in making paper. Curriculum will include: paper specifications, basic sheet formation, Japanese Plant fibers, recycled materials, paper modules and screens, along with paper structures for installation based work.
    Estimated Material Cost: $175.00
    Major Elective, Printmaking Majors Only
    Open to nonmajors by permission

    JUNIOR PRINT WORKSHOP: CRITIQUES

    This course primarily involves the search for a personal, idiosyncratic visual statement. Juniors will refine technical application, engage in experimentation and study historical/contemporary artists and movements as the course progresses from scheduled project orientation to more independent bodies of work involving printmaking and its combinations with other mediums. Installation and presentation of work created will be analyzed as a critical component. This course will encompass oral discussion and presentations. Critiques will be frequent, in individual and group format including a group mid-term critique and end of semester critique that includes an invited, guest critic. In addition to the visual component of the course, instruction in seminar form will comprise visual artist professional practice methods that involve resume, cover letter, and employment application. Presentation of work in gallery, museum and professional interaction formats will also be part of the course.
    Estimated Material Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    LETTERPRESS PRINTING ON THE VANDERCOOK PROOF PRESS

    At the intersection of commercial and fine art printing for centuries, letterpress printing is now enjoying a resurgence of interest. This course will serve as an introduction to letterpress printing, where students will learn to operate and troubleshoot the Printmaking Department's Vandercook Universal II proof press. A wide spectrum of letterpress techniques and concepts will be discussed. Topics to be covered will include handset typesetting, printing and routine troubleshooting on the Vandercook proof press, photopolymer platemaking from digital and mechanically produced film, and multicolor printing and registration. Students will be expected to produce a body of work incorporating the various techniques covered.
    Major elective; Elective for nonmajors by permission

    LITHOGRAPHY

    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.
    Estimated Material Cost: $100.00
    Course may be repeated for credit
    Major requirement, Printmaking majors only
    Registration by Printmaking department, course not available via web registration
    Elective for nonmajors by permission

    SENIOR PRINT WORKSHOP: CRITIQUE

    this course provides the printmaking major the opportunity to work closely with Printmaking faculty on a concentrated and advanced basis beyond study in a print elective course. Focus on the development of printmaking related work prior to the Degree Project, relying primarily on individual and group critiques, will culminate in the Degree Project Proposal-foundation for both the Written Thesis and Degree Project body of work that is the focus of Spring Semester for senior printmakers.
    Estimated Material Cost: $200.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    SENIOR PRINT WORKSHOP: SEMINAR

    This course offers a practical foundation for professional career options in printmaking and fine arts. Various aspects of a studio career will be covered including: resumes, artists' statements, grants, photographing slides of work, artists' taxes, exhibition planning, graduate school applications, web-presence, publishing workshops, & etc. Career Services serves as an important resource. Students will submit examples of all relevant materials covered, conduct research and compile a personal professional file.
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    WORKSHOP: LIGHT TO INK

    Contemporary Printmaking's use of photo print processes is ubiquitous. This class is about laying a foundation in making prints using those processes. 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 1st semester Seniors.
    Major requirement; Non-Majors by Permission of Instructor
    Registration by Printmaking department, course not available via web registration

    Wintersession 2016

    *JAPAN: PAPERMAKING, TEMPLES, & PRINTS: AN INTRODUCTION TO THE ARTS OF JAPAN

    This trip is a six credit, in depth exploration of the Tokyo and historic Kansai region to see and draw the most important Shinto, Buddhist and secular sites in Japan, and to couple that visual exploration with 9 days of papermaking in rural Tokushima on Shikoku Island. Returning to Providence, students will spend an intensive week creating a final project using the paper they have made that reflects on their experiences in Japan, as well as write 2 art history papers. Through historical site visits students will gain a in-depth understanding of the background of Japanese visual culture. Through an intensive workshop at the Awagami Paper Factory students will work side by side with the finest Japanese paper makers as they learn paper making skills and gain an understanding of the continuing vitality of traditional Japanese crafts. Accommodations will vary depending upon to availability, with the goal of experiencing a variety of traditional and contemporary hotels, ryokan, dormitories, and so on.

    All students are required to remain in good academic standing in order to participate in the WS travel course/studio. Failure to remain in good academic standing can lead to removal from the course, either before or during the course. Also in cases where WS travel courses and studios do not reach student capacity, the course may be cancelled after the last day of Wintersession travel course registration. As such, all students are advised not to purchase flights for participation in Wintersession travel courses until the course is confirmed to run, which happens within the week after the final Wintersession travel course registration period.

    This is a co-requisite course. Students must also take HAVC-H525. Students will receive 3 studio credits and 3 liberal arts credits.
    Registration begins in October at a time to be announced.
    Permission of instructor required; Open to first year students.
    Estimated Travel cost: $4,100.00

    ARTISTS' BOOKS

    This course will allow the student to examine and learn traditional and non traditional forms of bookmaking. The class will primarily focus on the exploration of contemporary book artists and their use of various binding methods. Students will gain knowledge of various book forms, from the simple folded form to the more complex bindings methods. With daily assignments students will not only learn binding techniques but they will also learn how to create book narratives using text and image; ultimately leading to a final project of their own where they will demonstrate their bookmaking skills. The class will include visits to view artists' books in the Fleet Library Special Collections and the Prints, Drawings and Photographs room in the RISD Museum.
    Estimated Materials Cost: $175.00

    BASIC INTAGLIO

    Using plastic plates (Sintra) this course will cover non-etch methods of Intaglio printing; from drypoint, carborundum prints, pumice powder, contact paper, cut-plates and chine-colle. Through a series of 3 assignments and a proposed project students will gain experience with principles of intaglio and relief style printing; learning how to develop a plate and build a composition through inking & printing process. While collagraph is traditionally done by gluing found materials to plates, we will work with a more drawing based approach, using line and tone to build an image.

    CHINESE WOODBLOCK

    Muban shuiyin, Chinese water-based woodblock printing, began around the 600s AD. Rongbaozhai Studio in Beijing continues producing prints using this tradition which remains largely unchanged since its inception. This hand printing process requires no press and is non-toxic, which means students can take this knowledge and print just about anywhere. Alongside a master carver and master printer from Rongbaozhai Studio, students will gain an understanding of the three components of this process, color separation, carving and printing. As the world's first print technique, it had a profound affect on the development of all printing and especially the Japanese woodblock process which influenced so many artists. The master craftspeople from Rongbaozhai Studio will provide students with the depth of knowledge of this process.
    Course Fee: $300.00

    FASTFAB

    FastFab is a course geared towards the fast worker, hard thinker, and material inclined.
    In this course, students explore techniques that allow artists and fabricators alike to work quickly and cheaply at a large scale. This course is a true collaboration, where students work and think as a unit to create large-scale sculptures, installations, and images. Materials and techniques to be covered: quick casting, non-traditional mold making, large-scale paper sculpture, down and dirty carpentry, and non-welded metal combinations. All readings and discussions are driven by Critical Practices Inc. LTR transcriptions.

    INTRODUCTION TO INTAGLIO

    This course will address various Intaglio plate making processes including drypoint, hard ground and soft ground etching, and aquatint. Students will become familiar with all of these processes during the first half of the course while practicing printing techniques. Small editions of each etching process and a print-exchange project will be included in the final portfolio for evaluation. Individual critiques that consider both imagery and technique will be carried out throughout class-time, as well as one midpoint critique and one final critique.
    Estimated Materials Cost: $175.00

    LITHOGRAPHY I

    Lithography offers one of the most direct forms of printmaking, reproducing the artist's drawn marks with remarkable sensitivity and fidelity. In this course, students will begin by drawing directly on aluminum plates, and will learn the chemistry of processing, inking, and printing. With this foundation, the class will take a step back in time and learn the traditional methods of printing from stone. Photolithography will then be introduced, allowing students to reproduce photographic, digitally produced, or hand-drawn images on a photosensitive plate. Guidance will be given to impart a strong technical understanding of this challenging and rewarding medium, and best working practices will be instilled. Students will be encouraged to develop personal imagery best suited to their own interests.
    Estimated Materials Cost: $175.00
    Open to Undergraduate and Graduate Students

    PAINTERLY PRINTS

    Layering and the evolution of imagery created with a simple matrix and monoprint techniques allows for the exploration of ideas with great ease and facility. Brilliant colors and a variety of translucencies layered through the press interact with one another to present a myriad of exciting choices. Students from all disciplines can use this process to explore conceptual possibilities, and unlike traditional painting and printmaking, proofs of each possibility can be printed and saved while the idea is carried further and worked in different directions from the 'ghost' image left on the plate.
    Along with a wide variety of monotype techniques, collagraph, drypoint, and pochoir will also be taught in order to enhance the understanding of the range possible within printmaking. A portfolio of prints will be produced that explores the full range of monotype processes using the intaglio press.

    Spring 2016

    ADVANCED INTAGLIO

    Presenting visual ideas clearly in any medium requires sensitive interaction with materials and an understanding of their possibilities. Intaglio processes encourage the generation of a rich variety of marks and surfaces. Proofing allows for analysis and insight into the way you construct an image, and is an ideal arena for color experimentation. Students are encouraged to master and adapt intaglio techniques in relation to their own imagery, and in the process gain proficiency in multiple-plate, color intaglio image-making, processing and printing. Group and individual critiques will allow for feedback and exchange of ideas. Emphasis is on imagery as much as technical competence, and students work towards a final project involving a series of related prints.
    Major elective; Printmaking majors only
    Elective for nonmajors by permission

    BOOKBINDING

    This class is primarily about learning the function of producing of artist books. It's objective is to acquaint students with the tools and materials as well as proper construction and execution so as to facilitate their ability to use the techniques as they wish. While intertwining this with content is part of it, it is 80% form and construction. Ultimately, we will work together to gain a solid foundation in this media that can transfer into and augment the individual's own departmental work.
    Decision and problem solving en route to a final piece is key in making books. The class will discuss the positives and negatives of choosing materials and the structural layout of a book, The importance of becoming familiar with adhesives, tools and potential problems in the process will be stressed.
    Aspects of adhesive and non adhesive bindings as well as traditional and non traditional books will be covered in ways to enable each student to determine where their strengths and desires lay. It also will create work that will convey the contents narrative into a complete idea. This should not only leave each person with an enthusiasm for the book form as art, but the ability and confidence to produce books on their own. Assignments will be given each week with the objective of manifesting that week's demonstration and objectives into a realized binding. Each student will be required to produce a minimum of ten books. As weeks pass, we will slowly turn from teacher required bindings into student conceived bindings, ultimately culminating in a unique, wholly individual expression.
    Estimated Material Cost: $175.00
    Major Elective; Elective for Non-Majors by Permission

    COLOR LITHOGRAPHY

    Once instruction and review of black and white lithography is engaged, this course offers color printing and selected advanced lithographic techniques on lithostone and lithoplate to those students who show mastery of the basic techniques. Experimentation is encouraged while development of personally innovative imagery and concept is stressed. Informal group and individual critiques are conducted in conjunction with mid-semester and final critiques. Prints submitted at the end of the course must be competently executed and professionally presented in a portfolio.
    Estimated Material Cost: $75.00
    Major elective, Elective for non-majors by permission

    COPPERPLATE ENGRAVING

    Engraving requires a single tool - the burin - to make intaglio prints of astounding clarity. The engraved line is unique in its brilliance and energy. A skilled engraver has complete mastery of every aspect of line, allowing a great range of expression from the most delicate linear shading to visceral gestures that stand our in relief when printed on the paper.
    Students will learn tool sharpening, image development, techniques for transferring designs to copper, burin use and special printing requirements. Emphasis will be placed on development of a personal language of marks appropriate to individual artistic needs.
    Museum visits and a master copy will provide inspiration for contemporary expression through an analysis of great engravings from the fifteenth century to the present.
    Estimated Materials Cost: $50.00
    Major elective. Elective for non-majors by permission of instructor

    GRAD ADVANCED INTAGLIO

    Presenting visual ideas clearly in any medium requires sensitive interaction with materials and an understanding of their possibilities. Intaglio processes encourage the generation of a rich variety of marks and surfaces. Proofing allows for analysis and insight into the way you construct an image, and is an ideal arena for color experimentation. Students are encouraged to master and adapt intaglio techniques in relation to their own imagery, and in the process gain proficiency in multiple-plate, color intaglio image-making, processing and printing. Group and individual critiques will allow for feedback and exchange of ideas. Emphasis is on imagery as much as technical competence, and students work towards a final project involving a series of related prints.
    Estimated Materials Cost:$125
    Major elective; Graduate Printmaking majors only

    GRADUATE PRINTMAKING II: CURATORIAL & CRITICAL TOPICS AND PRACTICE

    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.
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    GRADUATE PRINTMAKING IV: CRITICAL TOPICS AND PRACTICE

    What is the place of printmaking in the art-world and the world at large today? 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, the replication of original and appropriated media will provide a structure. The state of print publishing, art fairs and current critical literature will inform ongoing discussions, research, and presentations.
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    GRADUATE PRINTMAKING THESIS: ARTICULATING THE IDEAS AND PROCESSES THAT UNDERLIE YOUR WORK

    Strategies for analysis and documentation are presented and discussed as students combine their research and reflections on their own evolving production into an illustrated, written thesis that organizes, focuses, and articulates their ideas. Artist's books, online publications and other formats will be explored. Intensive support for development and production of the thesis in relation to studio practice will be given.
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    INSTALLATION/SIGHT & SOUND

    Installation Sight & Sound is a studio course where students may create installations, performances, or site-specific works that incorporate screenprinting techniques as a primary medium. Students are encouraged to create experiences that transform the gallery setting or exist outside it. The course is open to students of every disciple and allows for cross-media experimentation. Print will be used and viewed as a drawing and sculptural tool that can be combined with your other technical/digital knowledge and experience. Students will be challenged to explore and invent new ways of utilizing Printmaking in their work, and will be encouraged to transform and reutilize space through interdisciplinary experimentation, and to begin to think about surfaces other than walls for the display of work. In the first half of the semester, students will conduct research, experiment with a variety of screenprinting techniques, offer short presentations of past work, and collaborate on midterm projects. In the second half of the semester, students will form final project proposals, and then work collaboratively or individually on a self-directed final.
    Major elective
    Also offered as DM 4520
    Registration by Printmaking department; course is not available via web registration

    INTAGLIO I

    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.
    Estimated Material Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department; course not available via web registration
    Elective for nonmajors by permission

    JUNIOR PRINT WORKSHOP: SEMINAR/CRITIQUE

    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/power point 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 the final critique.
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    LETTERPRESS PRINTING ON THE VANDERCOOK PROOF PRESS

    At the intersection of commercial and fine art printing for centuries, letterpress printing is now enjoying a resurgence of interest. This course will serve as an introduction to letterpress printing, where students will learn to operate and troubleshoot the Printmaking Department's Vandercook Universal II proof press. A wide spectrum of letterpress techniques and concepts will be discussed. Topics to be covered will include handset typesetting, printing and routine troubleshooting on the Vandercook proof press, photopolymer platemaking from digital and mechanically produced film, and multicolor printing and registration. Students will be expected to produce a body of work incorporating the various techniques covered.
    Major elective; Elective for nonmajors by permission

    RELIEF I PROJECTS

    This class will utilize relief as a means of developing personal imagery. Wood engraving, reduction and multi-block techniques shown. The responsibility of direction, and problem solving will shift to the student as initial assignments proceed into more independent projects. Individual critiques will occur throughout the term, at mid-term and final week.
    Estimated Material Cost: $100.00
    Major requirement, Printmaking majors only
    Registration by Printmaking department, course not available via web registration
    Elective for non-majors by permission

    SENIOR DEGREE PROJECT: CRITIQUE

    This course works in tandem with the Senior Degree Project: Seminar to which a Degree Project Proposal is submitted in February. The Degree Project involves a semester of independent study to test the student's ability to design and successfully complete a substantial, comprehensive body of work. A degree project exhibition at the end of the semester is required.
    Estimated Material Cost: $200.00
    Major requirement; Printmaking majors only
    Registration by Printmaking department, course not available via web registration

    SINGLE EDITION/PORTFOLIO PROJECT

    This course will be dedicated to printing just one edition during the semester. Those students experienced in printmaking will be encouraged to collaborate with a faculty member. A portfolio of prints will be compiled at the end of the semester and a print exchange will be held for those participating in the project. This course will prepare the students for professional printing expectations and encourage intensity and scale to become more focused and ambitious.
    Estimated Material Cost: $100.00
    Elective; Advanced students only
    This course may be repeated for credit and taken in place of the junior requirement PRINT 4615

    WATERBASE SILKSCREEN I

    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 Material Cost: $175.00
    Major requirement; Print majors only
    Elective for nonmajors by permission