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Fall 2019

  1. Advanced Relief

    Advanced relief will give students the chance to further explore a variety of relief techniques, with a critical emphasis on developing meaningful imagery both in design and in execution. In depth assignments will be in both western and eastern techniques, working both spontaneously and with considered planning. All assigned prints will be editioned, culminating in the production of a multiple print portfolio and or bound book in collaboration with a contemporary writer. This class is an advanced elective for undergraduate and graduate students.

    Estimated Materials Cost: $175.00

    Major elective

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

  2. Ceramics and Print

    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, throwing, slip casting and the RAM press to create forms to hold screenprinted, intaglio, relief, lithographic 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. Collaborative Study

    A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of indepedndent 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. Graduate Print Projects I

    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. 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.

  6. 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.

  7. ISP Major

    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.

  8. ISP Non-major Elective

    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.

  9. 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 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.

  10. 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 Materials Cost: $175.00

    Major elective

  11. Junior Print Workshop: Seminar/critique :Fall

    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.

  12. Letterpress Printing On The Vandercook Proof Press

    There has been a renewed interest in letterpress printing as an art form and craft. What was for centuries the main method for printing text and distributing information, had been replaced in favor of newer technologies. Today, the process has once again gained popularity for its unique tactility, ability to print imagery through polymer plates using digital illustration, and its potential for self-publishing. This course will serve as an introduction to letterpress printing. Techniques to be covered will include handset typesetting, printing and routine troubleshooting on the Vandercook press, photo polymer plate-making, multicolor printing, and registration. Photoshop basics will also be covered, as well as digital illustration techniques, how to prepare files for letterpress printing, and documentation of work.

    Estimated Materials Cost: $100.00

  13. Print Installation and Contemporary Print Media

    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.

  14. Professional Internship

    The professional Internship provides valuable exposure to a professional setting, enabling students to better establish a career path and define practical aspirations. Internship proposals are carefully vetted to determine legitimacy and must meet the contact hour requirements listed in the RISD Course Announcement.

  15. 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 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.

  16. 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 Materials Cost: $200.00

    Major requirement; Printmaking majors only

    Registration by Printmaking Department, course not available via web registration.

  17. Senior Print Workshop: Seminar

    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.

  18. Suite Minimania

    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.

  19. 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 Materials Cost: $175.00

    Fall 2019: Open to all students.

    Major requirement

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

  20. Workshop: Light To Ink

    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.

    Open to all students.

Wintersession 2020

  1. *Japan: Paper, Temples & Prints

    This course and its co-requisite are an 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 paper making 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 an 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.

    This is a co-requisite course. Students must plan and register for PRINT-4525 and THAD-W525. Students will receive 3 studio credits and 3 liberal arts credits.

    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.

    2020WS Travel Cost: $4,400.00 - airfare not included.

    ***Off-Campus Study***

  2. At The Crossroad Between Science and Art For Sculpture and Drawing

    "It is by logic that we prove, but by intuition that we discover. To know how to criticize is good, to know how to create is better." (Henry Poincaré, 1908)

    This studio course poses the following questions: What is the position of science for artists? What is the union between the artistic and the scientific world? Further, what does science look like? Why do we make art? This class uses methods of drawing and sculpture to dive into the meaning of these questions specifically as visual artists. Through combining quick drawing exercises and sculpture sketches with two formal individual and group projects, we propose a discursive investigation of the intersection between art and science.

    For the first half, we will focus on exploring the development of scientific philosophy. Studio components will entail quick daily sketches and meticulous weekly analytical drawings to elucidate such ideas. While quick sketches from the first half of this course will be essentially illustrative, we will move into oral fables, short stories, and scientific hypotheses for the second half with individual and group projects. Interdepartmental collaborative efforts will be honored, and students will work closely with instructors through individual meetings. A group session will be held at the RISD Museum and Nature Lab to embrace perspectives among artists and science in a museum setting. Ultimately, advancing artists both in creative production and critical thinking is key. Students will walk away with a more well-rounded understanding of the nature of art and science as well as an investigative inward lens toward their own artistic practice.

    Also offered as PRINT-1528; Register in the course for which credit is desired.

  3. Collaborative Study

    A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of indepedndent 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. ISP Major

    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.

  5. ISP Non-major Elective

    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.

  6. Intro To Silkscreen

    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.

  7. Introduction To Intaglio

    In this course, students will be introduced to traditional intaglio printmaking techniques while simultaneously challenging the conventional idea of a print. Intaglio printmaking has existed since the fifteenth century and held many different functions as an art form. Throughout history intaglio printmaking has been used for recording engraved designs in metal craft, illustrating texts, as a compliment to painterly and sculptural practices, and (of course) as an art form in and of itself. Now, over 500 years after the first intaglio print was pulled, we are asking: Where can intaglio go next? Initial coursework and visits to the RISD Museum Print will ensure that students both the technical aspects of the printmaking process and the history and tradition of editioned prints. After the technical foundation is established, students will be encouraged to bring their knowledge of other mediums into play with the intaglio process. We will explore the potential for print to expand in all dimensions---from 2D into 3D, from image into concept, from etching into a totally different process---and push the medium into new realms of collaboration and experimentation.

    This is an introductory level course. No prerequisite is required and all levels are welcome.

    Estimated Materials Cost: $175.00

  8. Letterpress Printing On The Vandercook Proof Press

    There has been a renewed interest in letterpress printing as an art form and craft. What was for centuries the main method for printing text and distributing information, had been replaced in favor of newer technologies. Today, the process has once again gained popularity for its unique tactility, ability to print imagery through polymer plates using digital illustration, and its potential for self-publishing. This course will serve as an introduction to letterpress printing. Techniques to be covered will include handset typesetting, printing and routine troubleshooting on the Vandercook press, photo polymer plate-making, multicolor printing, and registration. Photoshop basics will also be covered, as well as digital illustration techniques, how to prepare files for letterpress printing, and documentation of work.

    Estimated Materials Cost: $100.00

  9. Painterly Prints

    This class will introduce students to a more painterly approach to printmaking. Ideally, the medium will play a role in every aspect of all images created. Monotype is the printmaking technique most closely associated with painting. Printmaking inks are painted or rolled onto a flat plate and then transferred onto the paper using a printing press. We will investigate why artists choose this medium with the goal for each participant to create their personal style within the medium. Integrating imagery from other classes to develop cross-discipline dialogue will be encouraged. In the first part of the semester, students will be creating an experimental portfolio focusing on mastering the techniques demonstrated in class. After midterm, they will pick their favorite technique/medium and concentrate on creating a more cohesive body of work. Growth of imagery and technique will be encouraged through the medium. There will be reviews throughout the semester including a midterm and a final group critique.

  10. Papermaking

    Papermaking takes over five stages and runs between wet and dry environments. This course will introduce the traditional western papermaking methods and contemporary artistic usage of handmade paper. The first week focuses on the basic sheet formation, including fiber preparing, cooking, making, pressing and drying. The second week introduces contemporary methods of working with pulp and building three-dimensional constructions. The rest of the weeks will be open to the individuals to interpret papermaking in one's language. By the end of the class, you will truly appreciate this beautiful material and combine papermaking with your media. This course is designed for people at all levels in papermaking.

  11. Relief Printmaking

    No Relief from Propaganda.

    Every image with an agenda is a form of propaganda. It is just whether you try to hide that fact or whether you are honest about it. -Shepard Fairey

    How does visual propaganda shape culture and influence the way we view the world? What forms can propaganda assume in an effort to influence thought and opinion? The aim of this course is to introduce students to relief printing techniques that can be used as vehicles of propaganda, exploring the influence of mechanical and digital production (and reproduction) on ubiquitous, mass produced images that challenge our notion of the authentic or the original. Using relief printing techniques, print media and an exploration of theory on the subject, this course will encourage students to confront the influence of propaganda in contemporary culture.

Spring 2020

  1. Advanced Intaglio

    Building on the students pre-existing experience with the materials and process of etching, this course will focus on advanced intaglio practices and methodologies. Primary techniques covered will include experimental copperplate etching, polymer-plate processing/printing, and various other unique plating approaches that utilize aspects of other print-processes and tools; monotype, relief, and screenprinting. The plate, or printing-surface/matrix, will become as important as the printed image or multiple. Assignments will be guided by prompts that require students to push the plating material to new and unexpected places, and to begin to consider ways in which the plate figures in as "finished" work. The two main course projects, a midterm and final, will both be self-directed.

    Elective

  2. Advanced Letterpress

    The focus of this course will be for students to improve their letterpress printing skills and techniques, while allowing each student the time to develop a unique body of work. The first few weeks will be used to cover further fine hand typesetting skills, and to use the nuances of the type and typesetting to explore the finer intricacies of the press and papers. Demonstrations covering more in depth polymer plate printing and other processes will continue throughout the semester, with the goal of allowing students to develop an independent project over the second half of the class.

    Open to all students.

  3. Advanced Silkscreen: Large Screen Print

    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.

  4. Bookbinding

    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

  5. Collaborative Study

    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.

  6. 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 Materials Cost: $75.00

    Major elective

  7. EHP Sprg:studio Concentration

    In this intensive independent studio students continue and complete the work began in "EHP Studio Elective", culminating in the final exhibition and review. It corresponds to the remaining eight weeks of the program, after students have finished with their Art History and Italian classes.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  8. EHP Studio Elective

    Independent studio is at the core of the EHP experience. Upon arrival, students are assigned studio space at the Palazzetto Cenci, home of RISD's program in Rome. With guidance from the chief critic, each student develops a personal body of work sparked by his/her interactions with places, people and circumstances in Rome and other locations that are part of the EHP tours (such as the Northern, Southern or Eastern tours, as well as other shorter trips.) The work takes as a point of departure knowledge and techniques specific to individual home departments, but allows, and even encourages, explorations beyond disciplinary boundaries, including collaborations and cross-fertilization within a group of students from different departments working together.

    Beyond consistent and thorough engagement with studio work, requirements include participation in open studios and exhibitions, presentations in reviews, and attendance to all group activities and events, such as lectures at the Cenci and other institutions. From time to time, the chief critic may issue short assignments to introduce or focus on a particular subject. As part of the studio elective, students may be encouraged to keep sketchbooks and/or diaries, participate in optional activities--such as figure drawing sessions--and search for brief internships, apprenticeships, or other forms of interactions with local artists, designers, curators and critics.

    EHP Studio Elective corresponds to the first twelve weeks of the program, while students are also taking Art History and Italian classes. This course establishes the direction for the work in the "Studio Concentration" course that follows.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  9. 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.

  10. 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.

  11. 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.

  12. ISP Non-major Elective

    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.

  13. 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 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.

  14. Junior Print Workshop Seminar/critique: Spring

    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.

  15. 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 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.

  16. Print Culture: Learning Print History Through Object-based Study

    For centuries prints have been made, dispersed, and collected, spreading images and ideas across the globe. What can close study of prints and printed objects tell us about the cultures that made them, the historical viewers who engaged with them, the collectors who assembled them, and the historians, curators and librarians who continue to study them? How can these historical printed objects speak to the present and provide inspiration for contemporary makers? Lucky for us, Providence is a repository for prints from many cultures and time periods. Using the holdings at RISD, Brown, the Providence Public Library, the Providence Athenaeum, the Rhode Island Historical Society, and other public and private collections, this course will provide an in-depth study of prints and print culture. In the process, we will engage with topics and themes such as the inventions of movable type and the printing press, multiplicity, the circulation of images, collecting, the relationship of text and image, and the impact of digital culture. Students will learn a range of research methods relating to working with prints and will develop an independent collection-based research project.
    Open to sophomores and above.

  17. Senior Degree Project: Critique

    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. Single Edition/portfolio Project

    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.

  19. The Sculptural Print

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

    Estimated Materials Cost: $125.00

    Major elective

    Open to sophomores and above.

    Permission of Instructor required.

  20. 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 Materials Cost: $175.00

    Fall 2019: Open to all students.

    Major requirement

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