In this course, students will re-examine the "Artist’s Book" as a sculptural spatial object, a tactile experience, and a material carrier of information. The journey begins with the introduction of classical binding techniques. Through folding, pasting, and stitching, students will explore the craft of traditional bookmaking, from hardcover binding techniques like the French Link and Egyptian Coptic to softcover scrolls and Chinese thread-sewn (線裝). As students learn these practices, they will develop spatial awareness skills applicable to various artistic forms.

Furthermore, the course encourages us to expand our definition of a book through creating "sculptural books" and "books as experiences." Centered on the "paperless book," students will explore materials that embody the concept of a "page," such as layered clothing, hinged doors, and packaging materials. Students will also be introduced to working with bookboard to create boxes and structural forms. By operating within vertical planes and three dimensions, the course reconstructs the form and scale bounds of the medium.

Students will engage with the framework of embodied knowledge and reflect on the role of the book in the contemporary world. Studying artists like Julie Chen, Lucas Samaras, Akai Miyako, and Joseph Cornell, and complemented by visits to RISD Special Collections, Fleet Library Materials Collection, and Brown University Hay Special Collections, students gain firsthand inspiration from expansive materialities. They will learn to harness spatial structure, temporal sequence, and material texture to craft works that resonate deeply and reveal multifaceted truths.

Estimated Cost of Materials: $150.00

Elective

Across history, color and pattern have functioned as cognitive, cultural and sensory tools for communicating human experience, from cave paintings and hieroglyphs to contemporary printmaking. Students will apply foundational colour theory and pattern-making principles to haptic processes: fiber preparation, pigmentation, sheet formation, pulp painting and ink application. Students will learn how to pigment fibers and make inks with natural dyes, including marigold, brazilwood, cochineal, madder, cutch, henna, myrobalan, Himalayan rhubarb and logwood. Through technical demonstrations, critiques and iterative making, students will explore how different fibers, including kozo, flax, abaca and recycled pulp, can shape layering, texture and form.

The term haptic refers to how surfaces record touch to produce visible traces of contact. Selected chapters from Jennifer Roberts’ Contact: Art and the Pull of Print and Ashley Montagu’s Touching: The Human Significance of the Skin will inform discussions of haptics within the inherently printerly. Visits to the RISD Museum and Fleet Library special collections will support students in developing a portfolio of original works. Situated at the intersection of fine art, science and craft, this course highlights the practical and conceptual importance of the sensuousness of materials in the modern era.

Estimated Cost of Materials: $125.00 - $150.00

Elective

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

Estimated Cost of Materials: $120.00

Elective

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

Estimated Cost of Materials: $125.00

Elective

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

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

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

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

Estimated Cost of Materials: $200.00

This course is open to Junior, Senior, Fifth-year or Graduate Students. Email the instructor for permission to register.

Elective

Traditional paper making often requires specialized facilities and equipment, but artists are increasingly exploring DIY and accessible approaches to the medium. In this course, students will experiment with paper pulp processes that can be adapted to their own studios and practices. Each unit will introduce a new technique for sculpting, casting, or image-making with pulp, which students will use to develop artworks in response to open-ended prompts. Through demonstrations, hands-on projects, discussions, and readings, we will explore how material and process can shape artistic content and investigate the generative possibilities of paper pulp.

Estimated Cost of Materials: $75.00

Elective

Relief: Alternative Practices combines analog and digital processes and techniques for the creation of non-traditional relief-based matrices and printed matter. The course will cover laser-cutting and laser-engraving, image transfers, collagraph, offsets, and block/plate types including; wood, plexiglass, and KM73 polymer. Assignments and projects will challenge scale, dimension, and the potentiality of the matrix as a finished artwork/object in-and-of-itself. Students will also work with and on a wide-variety of printing mediums and substrates. 

Estimated Cost of Materials: $150.00 - $200.00

Elective

Introduction to Silkscreen Printing will introduce students to the entire image-making process, from stencil making (digital/photographic stencils, CMYK, hand-drawn positives, paper & ruby-lith stencils, drawing fluid, laser cutting, and so on) and hand-pulled silkscreen printing techniques for beginning students. The final project 'Metamorphosis' will be a collaborative project using collage-like methods and various printing techniques such as drawing into prints, digital and/or photographic stencils as well as repeat patterns. Silkscreen is a time-based art making process. Students will experiment with many layers, and create multi-color layered variations. Independent and self-motivated projects will be encouraged using both traditional and nontraditional printmaking methods.

Elective

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.

Elective

Printmaking and The Politics of Protest examines the role of prints and printed matter in the context of political protest, the power of images, and how artists as well as non-artists have asserted and supported social justice and sustainability issues through art. While exploring the historical and structural basis of inequality, students will learn different theoretical paradigms and techniques for visual analysis in order to understand how visual media can inscribe and dismantle power and be a catalyst for change while mediating numerous social, economic, cultural and political differences. More importantly students will form recognition of their positions in an increasingly pluralistic world while fostering an understanding of social and cultural differences. This will be investigated through some of the following methods: lectures, exhibitions, guest lectures, video, historical art and media, group research initiatives, and the discussion of and creation of images that define and explore issues impacting our lives.

Major Requirement | BFA Printmaking

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

Estimated Cost of Materials: $100.00

Major Requirement | BFA Printmaking

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

Estimated Cost of Materials: $100.00

Major Requirement | BFA Printmaking

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

Estimated Cost of Materials: $175.00

Major Requirement | BFA Printmaking

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

Elective

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

Estimated Cost of Materials: $75.00

Major Requirement | BFA Printmaking

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

Major Requirement | MFA Printmaking

This is a seminar class for the senior printmaking student. The course addresses practical topics related to becoming a professional artist after graduation. Topics include:

1. professional content development as applied one’s CV, artist statement, website, and social media promotion.

2. class discussions about galleries, museums, graduate programs, auction houses, and grants.

3. examination of marketing channels for today’s artist.

4. introduction to business skills and professionalism as appropriate for the art world.

Professionals from related fields will be invited to the class to share their expertise and experience. 

Major Requirement | BFA Printmaking

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

Major Requirement | BFA Printmaking

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

Enrollment is limited to Graduate Printmaking Students.

Major Requirement | MFA Printmaking

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

Major Requirement | MFA Printmaking