Fall 2021

  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. 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.
  3. This course will explore the fundamentals of western relief printing with an emphasis on non-traditional surfaces and tools. Projects presented in class will introduce students to a wide range of woodblock printing techniques: chiaroscuro, reduction printing, multi-color printing, and digital techniques such as laser cutting and CNC routers. The history of western and eastern relief printing will be discussed in relation to the history of printmaking and its relevance in contemporary art making practices. Students will examine the interrelated nature of form, process, expression, and meaning. No printmaking experience is required.? Estimated Materials Cost: $125.00 Open to sophomores and above.
  4. Grad Print I brings first term Printmaking and Painting graduate students into common creative and critical space as a reflection of the notion that printmaking is a "hub" within the visual arts. Taught in 2 side by side studios - one in silkscreen the second in relief, students are split in two sections for technical instruction ensuring that all students learn both relief and screen print. The class is reunited at mid term and final for discussion and critique. Processes covered will include; drawing fluid/screen filler, screen monotype, image transfer, woodblock and linocut, edition printing, reduction relief and multi-plate registration. Projects will require the individual exploration of these techniques and application to each students' personal studio practice. Students are encouraged to use print as a launching pad for work that might include painting, photography, sculpture, film, video and installation. 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 department.
  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 onlyRegistration 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. This course begins building bridges from a students' past experience in the medium of intaglio by presenting advanced and innovative platemaking and printing processes using copper, plexiglass, and polymer. Coursework will cover topics such as: extended etching, custom ink-mixing, creation of new etching materials/printing substrates, generation of extensions into the digital realm utilizing the Tech Lab resources and will focus primarily on the development of a new understanding of the malleability/versatility of this historic medium. The first half of the semester will begin with weekly demonstration and be followed by in-class work and weekly assignments/reviews. The second half of the semester will require students to develop a project idea and generate experiments, proofs, and a finished series of prints. Estimated Materials Cost: $125.00 Elective Permission of Instructor required.
  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 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.
  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. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  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.
  21. 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 2022

  1. This course is an introduction to the art of Japanese paper making, focusing on how to make traditional "Washi" or Japanese paper. Japanese paper making by definition has a history and practice located in Japan, though it borrows heavily on paper making techniques from China and Korea as well as other paper traditions. Over the past several years as artists from around the globe have been introduced to the techniques of the Japanese papermakers, they have used the tradition to their own design and artistic ends. This goal of this course is to introduce students to the techniques and methods of traditional kozo fiber preparation and paper formation so that you will be able to use what you learn for your own goals whether you would like to produce fine sheets of paper or use paper as a sculptural element, a print, drawing or painting support, an architectural material or a design element. What you do with your paper is part of your own exploration as a designer and/or artist, but how you make your paper will be based on traditional Japanese knowledge. Please note that contrary to the practice of purchasing already prepared material or stuff (the fiber that we make paper from) that you may have experienced in a class of western style of paper making, Japanese paper making as taught in this class focuses heavily on material preparation so that students learn how different ways of preparing the fiber will result in different qualities of paper. Applications open in September. Registration begins in October at a time to be announced. All students are required to remain in good academic standing in order to participate in the WS travel course/studio. A minimum GPA of 2.50 is required. 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. Permission of Instructor required. Open to first year students with approval from the Dean of Experimental & Foundation Studies. 2022WS Estimated Travel Cost: 5512.86 - airfare not included. ***Off-Campus Study***
  2. This course is designed to be an intensive introduction to East Asian paper making using traditional fibers, tools and techniques. The course also introduces bookbinding, letterpress and 3-D paper casting as well as paper pulp painting and a look at the overlap of papermaking, a contemporary art practice. As travel to Japan where this course originated is not possible this year, the class will instead travel to the University of Iowa's Center for the Book and the Morgan Paper Conservatory in Cleveland, Ohio to work at the 2 pre-eminent centers of non-western papermaking in the United States. At each site students will work with paper makers recognized around the country as leaders in their field as well as graduate students doing relevant research and studio artists whose practices imagine paper as central to contemporary art. This is a domestic travel course and requires payment in advance of registration. Contact instructor with interest.
  3. Silkscreen transcends the usual expectations of what a print can be. The size and print surface are limited only to the artist's own ambition. This printing method can be used for both fine art and utilitarian purposes. Ultimately, silkscreen can be as functional or dysfunctional as the user desires. This course will explore how printmaking can successfully achieve both of these outcomes. As an introduction to silkscreen, this course will incorporate both hand-drawn and digital methods of stencil creation. The purpose of this course is to provide students with new skills they can use in their existing studio work. The projects will have technical themes that relate to class demonstrations however, they will be entirely open concept.
  4. This course offers basic black and white lithographic technical applications on lithostone 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 concepts. Informal group and individual critiques are conducted in conjunction with group mid-semester and final critiques. A professional portfolio of assigned prints is due at the end of the course.
  5. This course is an introduction to the art of Japanese paper making, focusing on how to make traditional "Washi" or Japanese paper. Japanese paper making by definition has a history and practice located in Japan, though it borrows heavily on paper making techniques from China and Korea as well as other paper traditions. Over the past several years as artists from around the globe have been introduced to the techniques of the Japanese papermakers, they have used the tradition to their own design and artistic ends. This goal of this course is to introduce students to the techniques and methods of traditional kozo fiber preparation and paper formation so that you will be able to use what you learn for your own goals whether you would like to produce fine sheets of paper or use paper as a sculptural element, a print, drawing or painting support, an architectural material or a design element. What you do with your paper is part of your own exploration as a designer and/or artist, but how you make your paper will be based on traditional Japanese knowledge. Please note that contrary to the practice of purchasing already prepared material or stuff (the fiber that we make paper from) that you may have experienced in a class of western style of paper making, Japanese paper making as taught in this class focuses heavily on material preparation so that students learn how different ways of preparing the fiber will result in different qualities of paper. Estimated cost of materials $125.
  6. Dissidents and members of socially marginalized communities have published their voices in leaflets, pamphlets, and book forms for as long as such technology has been available. This course will dive into the history of letterpress printing and how self-publishing practice enforces the voices of marginalized identities. Independent publishers will be invited to join our class discussions and share their stories and views. In this course, we will learn how to operate a Vandercook letterpress printing press: including how to set up types on the press bed; how to expose polymer plates to create graphics; as well as an introduction of the printing history of typography. We will also be learning booking-making techniques to render a more complex print project. Students will be encouraged to be as experimental and interdisciplinary as possible, combining printmaking methods and other media for their final projects. In addition to that, we will be learning how to print with a risograph printer to experience how contemporary self-publishing is taking forms. Additionally, readings, brief lectures, virtual & in-person visits to museums, and special collections will prompt group discussion and artwork generation. Estimated Materials Cost: $125.00
  7. Students will be introduced to a variety of monotype and monoprint printmaking methods, focusing on both traditional and non-traditional matrices. Students will be encouraged to use found objects, and materials to create unique and editioned prints. Assignments will explore matrix manipulations by cutting it to a desired shape as well as, the construction and additions of researched materials. Various inking methods will be demonstrated. Collaging and layering of prints will be highly encouraged. Students will produce a print portfolio. Estimated Materials Cost: $125.00
  8. This alternative printmaking course will explore non-toxic lithography using polyester or 'pronto' plate making techniques. Students will produce several small editions in each method representing a thorough understanding of the processes learned. Participants will investigate green lithography through hand-drawn imagery, black and white printed imagery, colour printing using the Xerox machine, digitally manipulated imagery, and mono-prints. Eco-conscious methods will be used for clean-up, such as vegetable oil, toothpaste, and vinegar or Windex. Individual and group critiques will be standard throughout the course to facilitate constructive feedback for each student.

Spring 2022

  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. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. 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.