Fall 2020

  1. A range of perspectives in contemporary art will be explored through seminar presentations and group discussions. Seniors and graduate students in Printmaking will explore critical but often marginalized artistic perspectives on society through a sequence of readings, viewings, and guided personal research. Regular conversation and feedback on studio work will help students as they prepare for the Senior Degree Project or Graduate Thesis.
    Estimated Materials Cost: $20.00
    Open to Printmaking majors only; seniors and above.
    Open to non-majors pending seat availability and department permission.
  2. 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 Materials Cost: $200.00

    Open to all students; junior and above.
    Permission of Instructor required.
    Also offered as CER-3208; Register in the course for which credit is desired.
  3. A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of independent study.
    Usually, a CSP is supervised by two faculty members, but with approval it may be supervised by one faculty member. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses, though it is not a substitute for a course if that course is regularly offered.
  4. Grad Print I will focus on the notion that Printmaking (and its constituent processes/techniques) are a "hub" within the visual arts. Students will experiment with a multitude of print processes that branch from drawing (a logical creative starting-point between Printmaking and Painting), and form extensions into the mediums of painting, sculpture, installation, and even video. Processes covered will include; drawing fluid/screen filler, screen monotype, image transfer, drypoint intaglio, and various other forms of monoprint. Assignments will require experimentation with each new technique and projects will require the individual exploration of these techniques and application to each students' personal studio practice. Demonstrations, presentations, and group/individual critiques will supplement all work time.
    Estimated Materials Cost: $100.00
    Graduate major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
    Open to non-major graduate students by permission of Instructor.
  5. 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.
  6. 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.
  7. 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 Materials Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department; course not available via web registration.
    Open to non-majors as elective by permission of Instructor.
  8. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. An Independent Study may be taken either for credit within the Printmaking major or as a nonmajor studio elective, depending upon the subject matter under study and the major of the student.
    Permission of Instructor and GPA of 3.0 or higher is required.
    Register by completing the Independent Study Application available on the Registrar's website.
  9. 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 Materials Cost: $175.00
    Major elective Open to Printmaking majors only.
  10. 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 Materials Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
  11. 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 Materials Cost: $100.00
  12. Printmaking's inclusive nature allows for many different approaches and opportunities. Motivated by historic, sociological, political and media driven revolutions, printmaking has undergone significant shifts throughout history. The current world of image proliferation and rapid technological innovations have pushed the traditional boundaries of printmaking even further in the contemporary art world. Many of today's artists are creating large-scale installations utilizing the printed multiple in many distinctive ways. Through process and scale, students will examine the interrelated nature of form, multiples, expression, and meaning. The course will explore permanent, temporary and site-specific installation based art.
    Major elective, available to non-majors on a space available basis.
  13. A Professional internship is one of the central experiences of a RISD Printmaking education. Students can participate in the collaborative process between artist and printer in a fine arts publishing shop, work with artist/printmakers in a community-based print facility, learn the newest photographic and digital print techniques in a state-of-the-art shop, assist an individual printmaker in a private studio or choose from many other educational opportunities. The department maintains relationships with many printshops including, Solo Impression, Renaissance Press, Pyramid Atlantic, Kala Institute and many more. Internship lists will be distributed and some printers will come to campus to conduct interviews.
  14. 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 Materials Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
    Open to non-majors as an elective by permission of Instructor.
  15. 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 Materials Cost: $200.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
  16. This course offers a glimpse into the realities of pursuing a professional career in printmaking (and the fine arts). Various aspects of developing and maintaining a studio career will be covered including: CV, artist statements, and the effective preparation of competitive applications of all forms. Career Services serves as an important resource. Students will be expected to produce new work and related scholarship consistently, and frequently during the course of the term, with the goal of submitting the following prior to receipt of final grades: full and distributable CV, artist statement, short-form artist statement abstract, presentation of past/present/future work, a business card design ready for print, completed artist interview (with colleague from class), a WELL documented, hi-resolution, and fully-edited for submission, portfolio of AT LEAST 15, and up to 20 images of RECENT work, which includes detail and installation views, and a fully-detailed image list/inventory. During the course of the class students will also prep mock applications to at least 2 of the following (graduate school, artist residency, grant funding, etc.), and AT LEAST 1 of these applications will be brought to finalization and submitted to the institution of choice. Course will include in-progress critiques of recent work, group discussions, lectures, and presentations.
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
  17. This course is specifically designed to address the format of a printed suite, a series of related images on a theme or story, using basic intaglio techniques. Progress and mastery of techniques will allow the student to progress to more advanced techniques and color printing. A minimum of six images in the suite is required with a minimum edition of six prints of each image. As this is a course that addresses miniature or small scale, prints are not to exceed 4" on any side. An archival portfolio will be fabricated to professionally present and contain the finished suite accompanied by its related colophon page.
    Estimated Materials Cost: $75.00
    Major elective
    Open to non-majors as an elective.
    Course can be repeated for credit.
  18. 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 Materials Cost: $175.00

    Major requirement
    Open to non-majors as elective by permission of Instructor.
  19. 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 1st semester seniors.
    Major requirement; Printmaking majors only.
    Registration by Printmaking Department, course not available via web registration.
    Open to non-majors pending seat availability and department permission.

Wintersession 2021

  1. Printmaking is a ritual of gesture, movement, and touch. Printmaking is an experience and performance. These qualities do not live only in the printshop but pervade one's studio practice and life. Students will explore how the printmaking process/experience as is more than a collection of techniques or machinery as related to intaglio. It can be performed remotely and embodied. Printmaking offers the artist a unique experience in aesthetical and physical work. Historically, methods of reproduction can be traced from hand stencil paintings found in caves of the late paleolithic period to Chinese rubbings to intaglio replication of artworks. Students will learn hand-printing techniques in frottage (rubbings), pochoir (stencil), and intaglio methods such as embossment and dry point. These techniques will be used to explore how preservation, experience and performance shapes the artist, their world and practice. Additionally, readings, brief lectures, museum and special collection visits will act as prompts for group discussion and artwork generation. Students will be encouraged to be as experimental and interdisciplinary as possible, combining printmaking methods and other media for their final projects.
    Estimated Materials Cost: $175.00
  2. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. An Independent Study may be taken either for credit within the Printmaking major or as a nonmajor studio elective, depending upon the subject matter under study and the major of the student.
    Permission of Instructor and GPA of 3.0 or higher is required.
    Register by completing the Independent Study Application available on the Registrar's website.
  3. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses.
    Permission of Instructor and GPA of 3.0 or higher is required.
    Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  4. The concept of this course is word as image: in theory, craft, graphic design, and fine art. This course was built with remote learning in mind and is a sibling to the Printmaking Department's Letterpress courses. We will explore various examples and experiments of text-based work as printmaking, works on paper, and fine art. Word as image can be approached through many "at home" mediums and processes: draw, stamp, calligraphy, digital, stencil, linocut, woodcut, serigraph, collage, weave, sew, and collagraph. In this course we will approach a variety of topics: type-based brainstorming as art, collage & craft, typography & abstraction, language, book arts, and works on paper as a series.

    This course aims to serve as a space to have conversations about poster, protest, agenda, propaganda, dissemination, language, and movement. This course aims to center BIPOC, LGBTQIA+, and women artists.
    Estimated Materials Cost: $125.00
  5. This course will introduce monotype and monoprint methods through a variety of painterly, experimental, accessible and flexible processes. Students will learn a series of techniques to produce prints without a printing press. We will be emphasizing the use of found objects and materials. The documentation and discussion about the origins or materials and the process of object discovery will be as important as the technical skills learned. Assignments will be process-based, and while there will be no limitations placed on content or subject matter, experiential prompts, readings and instructions will drive each week's focus. The class will center on object and material research and how this data can enhance printmaking processes for richer conceptual content and vice versa. We will focus on looking, discovering and relating printmaking to the world around us without the pressures of edition or archive-based print practices. This class will function as a uniquely contemporary engagement: the separation of printmaking from the cult of the press frees us to interface with the world in an immediate way. This class will be conducted entirely online. The course comprises zoom meetings and critiques, asynchronous demo videos by the instructor and students and work by students in their home studios. There will be short demos by the instructor accompanying each assignment that will be posted prior to each class. During the online meeting, all students in attendance will share their work utilizing that week's method. There will be weekly readings and studio assignments, one final project spanning the last two weeks and a few multi-week research assignments to complement class discussion. Each week there will be assigned reading and an expected reading response posted on each student's Google site page. This blog-style website will function as a living, growing artifact of each student's discovery - including new techniques developed in home studios, documentation of found materials, reading responses, and other media related to their studio practice.
    Estimated Materials Cost: $125.00
  6. The aim of this course is to introduce relief printmaking and its deep historical contexts and evolution over time, in order to develop visual narratives that speculate on reality and form forward-thinking/conjecture. Referencing graphic novels, works of speculative fiction, and contemporary artists and researchers working across disciplines, we will gain insight into the diverse visual languages used to navigate uncharted territories and uncertain phenomena. How can contemporary visual storytelling influence realities and inform futures? We will explore relief printmaking in its physical and theoretical contexts and its role in dissemination of information, mass production, digital media and contemporary culture.
    Estimated Materials Cost: $125.00

Spring 2021

  1. This course will focus on learning different book binding methods that include but are not limited to stab binding, Coptic stitch, pamphlet stitch, map fold, drum leaf, and more. Through weekly demonstration and assignments, students will acquire skills in both adhesive and non-adhesive binding as well as basic box making techniques. There will be opportunities to closely study various kinds of books from instructor's personal collection and the RISD Library Special Collections. Problem solving skills and decision-making skills will be further developed by countless practices and experiments. 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, where to acquire materials and tools, and more.
    Estimated Materials Cost: $100.00
  2. 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 Materials Cost: $75.00
    Major elective
  3. 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
    Elective
    Open to Printmaking majors only; sophomores and above.
    Open to non-majors with department permission.
  4. This course focuses on intersections between traditional analog printmaking processes/techniques and modern digital processes/techniques. The course will cover advanced methods in Relief, Intaglio, as well as a wide-variety of computational/digital outputs that rely on archival inkjet printing, laser jet outputs, various transfer processes, and laser-cutting.
    Estimated Materials Cost: $125.00
    Major elective
    Open to Printmaking majors only; sophomores and above.
    Open to non-majors pending seat availablility and permission of department.
  5. 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.
  6. 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.
  7. 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.
  8. 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 Materials Cost: $100.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department; course not available via web registration.
    Open to non-majors as elective by permission of Instructor.
  9. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. An Independent Study may be taken either for credit within the Printmaking major or as a nonmajor studio elective, depending upon the subject matter under study and the major of the student.
    Permission of Instructor and GPA of 3.0 or higher is required.
    Register by completing the Independent Study Application available on the Registrar's website.
  10. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses.
    Permission of Instructor and GPA of 3.0 or higher is required.
    Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  11. 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 Materials Cost: $175.00
    Major elective Open to Printmaking majors only.
  12. 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 mid-semester and the final critiques.
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
  13. 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 Materials Cost: $100.00
  14. 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 Materials Cost: $100.00
    Major requirement, Prinmatking majors only.
    Registration by Printmaking Department; course not available via web registration.
    Open to non-majors pending seat availability and permission of instructor.
    Course may be repeated for credit.
  15. Working to contribute to the long history of print media in political and social protest, this course will ask students to contribute as they make their own protest prints. Distinguishing between propaganda and material that reflects original ideas about an issue currently in the public debate, students will work quickly in series using linoleum for relief prints. This course asks students to link a public issue, an informed point of view and the making of prints of protest. Students will be required to choose 1-2 debatable subjects for the entire semester, create a research program for gaining a deeper understanding of their issues before producing prints that advocate for a strong point of view. At question is whether and how art can bring new information to the public debates of our times, and how this is done through the medium of printmaking. As a quick and relative simple material, students will work in relief with linoleum with an effort to produce whole series of prints (think posters/pamphlets/tracts rather than singular works. Advanced printmaking students will have an option to branch into different mediums; first time printmakers will work exclusively in relief. The course will include studio work, critiques, group discussions and demonstrations. There will be some required readings as well as viewing of films, documentaries and websites.
    Estimated Materials Cost: $125.00
    Major elective
    Open to Printmaking majors only; sophomores and above.
    Open to non-majors pending seat availability and permission of the department.
  16. While contemporary animation is most often associated with computer graphics and drawing, printmaking offers a unique approach to the medium. This narrative based course is designed to be a hands-on introduction to stop animation using traditional and non-traditional forms of printmaking. Class time will be divided between technical animation workshops and open print sessions using various printmaking techniques. Technical assistance with printmaking processes will be given on an individual basis. Students should have strong background in at least one traditional printmaking technique.
    Estimated Materials Cost: $125.00
    Open to Printmaking majors only; sophomores and above.
    Open to non-majors pending seat availability and permission of the department.
  17. The Degree Project involves a semester of guided, but essentially independent study to test the student's ability to design and successfully complete a substantial, comprehensive body of work. A Degree Project Proposal is submitted at the end of Wintersession in February. Each senior's body of work is ultimately presented in a Printmaking Degree Project Exhibition in the Woods-Gerry Gallery at the end of the semester. In addition, this course works in tandem with last semester's Senior Degree Project: Seminar topics. Accordingly, a Degree Project Final Folder is also submitted containing, DP Proposal, Final Statement, Resume, Artist Statement, and images of Degree Project work. It is important to note that the Printmaking Degree Project follows grant procedure, thus, its potential value to the graduated senior with a Printmaking BFA degree in the professional realm.
    Estimated Materials Cost: $200.00
    Major requirement; Printmaking majors only
    Registration by Printmaking Department, course not available via web registration.
  18. This course is intended to build on a basic Screen print foundation. Beginning with fine tuning basic stencil making and registration and printing techniques. The course will move on to working big. It's what screen printing can do more efficiently and in a lower cost-effective way than any other traditional printmaking technique. The class will cover printing with a one arm squeegee designed for printing large stencils and on a 10-foot fabric/paper printing table made to print along lengths of paper or fabric, joining each impression to the previous one to create continuous surfaces.

    Methods for producing handmade stencils to making the matrix from fine dot digitally made positives will be demonstrated and taught. Screen printing on substrates from fabrics, rolled paper, rag sheets and other surfaces will be explored. Images can involve repeated pattern, be large scale image oriented, or tiled depending on each student's individual content issues and image needs. In the second half of the semester the students will embark on a research project aimed at; producing a large-scale print or series of large scale prints, printed fabric yardage, rolled wallpaper, installation. A proposal due at mid semester will serve as a starting point for the project it should speak to; focus and direction, content and form, the techniques and strategies planned, how will the stencils be made; handmade photo, computer generated half tones or line, what materials, tools will you use what will you print on. What artist influence the work? What do you look to and at for inspiration?
    Estimated Materials Cost: $125.00

    Elective
    Open to sophomore and above.
  19. This course is designed to present various printmaking processes to students new and more experienced; majors and non-majors. In group or individually, beginners will learn and advanced students will review print techniques that span silkscreen, intaglio, photo/digital, and/or their printed combinations, e.g., students choose the print technique(s) they wish to be the focus of their final, printed edition. The course objective concentrates on visualizing a distinct, image, while respecting each printmaking discipline(s), as it melds medium, process and concept. Drawings, studies and printed proofs will be initially created to learn, explore and plan strategies for the edition. The editioned print can be either experimental or more traditional. The course will culminate in a professionally presented printed edition that will be kept by the artist numbering enough prints to accommodate a class print exchange.
    Estimated Materials Cost: $100.00
    Elective; advanced students only
    This course may be repeated for credit.
  20. 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 Materials Cost: $175.00

    Major requirement
    Open to non-majors as elective by permission of Instructor.