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JOHN CABOT UNIVERSITY
COURSE CODE: "AS 341"
COURSE NAME: "Advanced Printmaking"
SEMESTER & YEAR:
Spring 2022
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SYLLABUS
INSTRUCTOR:
James Gardner
EMAIL: [email protected]
HOURS:
T12:30 PM 3:15 PM (Please note that this class cannot be taken remotely)
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
Prerequisites: AS 141. This class requires a materials fee of €75/$85 to cover all basic art supplies)
OFFICE HOURS:
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COURSE DESCRIPTION:
Aimed at students with previous experience in printmaking, the course will explore a variety of contemporary printmaking processes, including woodcut, screen printing and mixed media. Emphasis will be placed on embedding theory and practice related to artisanal and digital production methods, expanded printmaking, and installation. As students develop a more personal approach to concept, subject, scale, material and process, they will be introduced to more advanced printmaking topics. Discussion and research will further engage students with the theoretical directions in the field and support their own development, culminating in a portfolio of their own research and related artistic output.
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SUMMARY OF COURSE CONTENT:
Students will engage with a variety of briefs ranging in complexity and time-scale.
Initial projects will focus on exploring advanced-level frameworks for researching, developing and presenting creative projects related to printmaking, whilst ensuring students acquire advanced-level technical skills. Emphasis is placed on the relationships between drawing and photography as approaches to explore layout, composition, scale and context of individual prints.
As the semester progresses the projects will encourage greater student autonomy. Students will develop a sustained body of work and indipendent research to explore seriality and display. Through tutorials and group critiques students will be encouraged to reflect on their practice and position it within the wider fields of Contemporary Art and Design.
Students will gain proficiency in advanced artisanal production techniques throughout the course via workshops, visits to printmaking workshops and exhibitions within Rome. They will further be guided to experiment with digital technologies, such as laser cutting and 3D printing.
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LEARNING OUTCOMES:
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Develop an advanced technical proficiency in the use of techniques, materials and processes to generate a sustained body of independent enquiry.
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Develop an advanced use of primary and secondary research methods to generate creative outcomes.
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Develop an advanced ability to analyze and evaluate both the individual creative process and importantly the work and practice of other professional artists and designer’s relationship to printmaking
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TEXTBOOK:
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Attendance | Active participation in class. Engagement during critiques.
| 15% |
| Reflective Essay – 1000 Words | Reflecting on a specific exhibition in Rome related to Contemporary Art / Printmaking. Ability to analyze and reflect on conceptual issues and spatial considerations. | 15% |
| Wood Cut Project | Evidence of research and development to arrive at a final artwork. Emphasis will be placed on technical skills, process and use of composition. | 20% |
| Screen Print Project | Evidence of research and development through screen printing. Understanding of color mixing, layering and composition. Clear registration of prints. | 20% |
| Final Project | Evidence of idea research and development, which may take the form of drawings, photography, compositional experiments and colorways. Consideration will be given to technique and process used in relation to the quality of the final print and an ability to think spatially whilst exhibiting the body of work. | 30% |
-ASSESSMENT CRITERIA:
AWork of this quality shows excellent mastery of the course content along with exceptional levels of technical skill, artistic awareness, originality, resourcefulness, commitment, quantity of work and improvement. There has been excellent collaboration and leadership in group projects, and there have been no attendance problems.
BA highly competent level of performance with work that directly addresses the content of the course, with a good quantity of work produced.
CAn acceptable level of performance: the work shows awareness of the course content, but is very limited in quantity, quality, commitment and skill.
DThe student lacks a coherent grasp of the course material and has failed to produce much work.
FNegligent in attendance, academic honesty, engagement with the course content, or production of work.
-ATTENDANCE REQUIREMENTS:
Aimed at students with previous experience in printmaking, the course will explore a variety of contemporary printmaking processes, including woodcut, screen printing and mixed media. Emphasis will be placed on embedding theory and practice related to artisanal and digital production methods, expanded printmaking, and installation. As students develop a more personal approach to concept, subject, scale, material and process, they will be introduced to more advanced printmaking topics. Discussion and research will further engage students with the theoretical directions in the field and support their own development, culminating in a portfolio of their own research and related artistic output.
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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1
Introduction to course
Drawing, visualisation and photography exercises based upon still life set up within studio. Concentrating on conceptual approaches to mark-making. Via a series of tasks, analytical observation, composition and media control will be discussed in relation to researching for printmaking at an advanced level.
ESSENTIAL READING:
Tallman, S., 1996. The Contemporary Print: From Pre-Pop to Postmodern. Thames & Hudson. (page 85 - 97)
2
Research Proposals
Students will develop independent research proposals for their first project. In response to the project brief titled ‘Limits,’ students will engage with brainstorming, idea generation and visualisation exercises to develop strategies and approaches for their initial project.
ESSENTIAL READING
Sanders, P., 2021. Prints and their makers. Princeton Architectural Press. (Page 35 - 46)
3
Composition Development
The lesson is devoted to experiments in composition. Via analyzing the work of historical and contemporary printmakers, students will explore approahces to composition and its relationship to concept. Students will develop 2 of their initial drawings into posisble compositions for a black and white woodcut.
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Approaches to Carving
Students will make a series of A5 tests to experiment with approaches to tranfering and carving wood to create a relief. Using both traditional and digital tools such as laser cutting and 3D printing, students will engage with the relationship of image, process and markmaking. Students
will use this exercise to plan and execute their large format woodcut. Through critique and group discussion, students will plan how to translate their compositional studies via the demonstrated processes.
5
Carving
Technical demonstration on how to enlarge and transfer images to transfer onto the matrix.
6
Printing
Technical demonstration on how to print large format wood cuts via both the use of a press and other experimental techniques. Students will produce a series of 5 prints which are uniform in terms of registration, pressure and ink coverage. Students will also produce 3 experimental prints utilizing mixed media techniques, which will build on their experience of monoprinting within the Introduction Course.
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Group Critique
Students will present their work professionally, through physical or digital means.
8
Visit to Exhibition
Whilst visiting an exhibition, focussed on printmaking, students will analyze the role of curating and display. As a follow up task, students will be asked to write a critical review of the exhbition as an assessed piece of work.
9
Screen Print Intro
Students will explore image transfer through screen-printing. Technical demonstrations will focus on painting through screens, stencils and exposing images onto mesh. Students will experiment with color, layering and transparency.
10
Screen Print - Development
Referencing their individual research students will design a 3 color screen print for either fabric or paper.
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Screen Print - Final Artwork.
Explore a range of colorways and placement to develop one final print, with a minimum of three separations.
12
Group Critique + Intro to Final Project
The final project will encourage students to explore scale and site specifity and collaborative practices within their work. Divided into groups, students will develop exhbition proposals and work for a group show, for which they will make both collaborative and individual artworks. Within their own time, students must explore and develop concepts, which can be developed within the class next week.
ESSENTIAL READING
Pelzer-Montada, R., 2018. Perspectives on contemporary printmaking: Critical writing since 1986. Manchester University Press. (Page 65 - 76)
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Experiments in print
Students will develop a series of prints informed by their research. Through print exchanges, overworking, removing, adding and responding to existing images, students will develop a series of collaborative prints. Students will develop these outcomes in preparation for the final week of printing.
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Resolving Ideas
Developing their group prints, students will build on their prior learning to produce one final individual print. Students may choose any medium, either analogue or digital to produce a well resolved artwork.
15
Final Exhibition
Installation of artworks for exhibition and final critique.
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