The course is structured around technique demonstrations and three projects regarding scale, alternative surfaces, and seriality through which students will explore various printmaking processes such as collagraph, screen-printing, and experimental intaglio. In addition to practical work, students will participate in group critiques to evaluate the work of their peers, as well as applying aesthetic and theoretical analysis to their own output. Time will be spent considering color, composition, communication, and application of technique.

• Develop an advanced technical proficiency in the use of techniques, materials, and processes to generate a sustained body of independent enquiry

• Expand the ability to work across a variety of media and develop visual responses to independent research

Week 1: Course Introduction – Research methods

An overview of key concepts and strategies for approaching printmaking as a painterly practice. Students will begin their visual research through the sketchbook as tool for collecting images.

Week 2: Scale Project – Introduction

Through a series of experimental exercises students will being to develop a body of work involving both image transfer techniques and painting. Exploring layering, visual hierarchy, and composition, students will develop a series of printed collages.

Week 3: Scale Project – Development

Through technical demonstration and critique, students will plan how to translate and scale up their compositional studies through variable articulations of the monoprint process.

Week 4: Screen-Printing Techniques
Technical introduction to serigraphy, including color-mixing and registration. Students will create a

series of monoprint screen-prints, based on their collages from the previous project.

Essential reading: K.E. Gover, ‘Are all multiples the same? The problematic nature of the limited edition’ (pp. 132-173) in Perspectives on Contemporary Printmaking: Critical Writing Since 1986 (2018)

Week 5: Alternative Surfaces Project
Technical demonstration, expanding on monotype screen-printing processes, including direct

application of inks and the use of stencils. Week 6: Alternative Surfaces Project

Students will be tasked with collecting and exploring alternative surfaces for print, departing from the standard use of paper. Students will use these surfaces to experiment with novel combinations of print techniques learned thus far.

Week 7: Experiments in Printing

Students will expand upon ideas from the previous weeks to progress their experimental approach. Emphasis will be placed on investigation of surface and image, as well as the application of varied techniques.

Week 8: Mid Term Critique
As a group, students will evaluate the work of their peers and discuss how to evolve their practices

in the second half of the course

Week 9: Exhibition Visit – Istituto Centrale per la Grafica
The class will visit the archive of the ICG to strengthen their research with an art historical

perspective.
Week 10: Collagraph Techniques

Technical demonstrations and workshop on collagraph prints including carborundum and chine collé techniques.

Week 11: Thinking Through Seriality Project

This project invites students to explore the concept of a series of prints in terms of repetition, quantity, and the aesthetic relationship between individual works. Students are expected to synthesize techniques demonstrated thus far to develop a personal approach.

Week 12: Research Presentations
Students will present visual outlines for their proposed set of final prints

Essential reading: Jeremy Lewison, ‘Projects and portfolios: narrative and structure’ (pp. 274-256) in Perspectives on Contemporary Printmaking: Critical Writing Since 1986 (2018)

Week 13: Print Development and individual critique
Week 14: Final Prints
Students will finalize their works and consider how to present them for the final critique Week 15: Final Critique