Module Identifier AR21530  
Module Title PRINTMAKING 4  
Academic Year 2003/2004  
Co-ordinator Mr Paul J Croft  
Semester Semester 2  
Course delivery Seminars / Tutorials   2 Hours Seminar.  
  Seminars / Tutorials   6 Hours Tutorial.  
  Practical   198 Hours  
Assessment TypeAssessment Length/DetailsProportion
Semester Assessment Portfolio:  100%

Brief description

The purpose of this module is to promote and develop the student's technical competence and understanding of different forms of print media and is based upon the continued development of self-directed study initiated during the first semester.
Run concurrently with Printmaking 3, the module builds upon the skills acquired in Printmaking 1 and 2 and encourages students to develop a more experimental and independent approach to printmaking. In addition to the processes of intaglio and screenprinting, students will also have the opportunity of learning techniques of collograph and relief printing, stone and aluminium plate lithography. Students are encouraged to experiment with a wide range of print media and to use a variety of mixed media approaches, enabling exploration of the creative potential of printmaking and providing opportunities for increasing technical and graphic vocabulary.

As well as developing technical proficiency in printmaking, this module places strong emphasis upon the development of a `personal statement? and requires the student to produce a body of work related to an identifiable theme or line of enquiry over a sustained period of time. As such the module provides opportunities for testing both technical and conceptual aspects of working in preparation for the development of a body of work that will lead to Exhibition in the final year.

Students opting for Printmaking 4 are required to attend all studio lectures, demonstrations and seminars and are expected to work in the print studio for a minimum of 18 hours per week. Students are expected to be strongly self-motivated and to produce work within a conceptual framework. They will be encouraged to evaluate and discuss their own work and that of their peers, in a reasoned and critical manner, and assess the relevance of both to the work of past printmakers and contemporary printmaking practice.

Students completing this 30-credit module are expected to produce a small suite of prints in addition to the work that is required for Printmaking 3. Final assessment will be based upon the submission of a portfolio of work appropriate for a 30-credit module.

To enrol for this module students must have completed either Printmaking 1 or Printmaking 2.


The module should enable you to:

A develop printmaking skills in relief printing and in stone and plate lithography
B develop a programme of research and self-directed work that gives expression to personal ideas and concerns
C develop work that demonstrates a line of enquiry and experimentation in a logical manner
D develop a mixed media approach to printmaking
E develop skills of editioning and presentation
F develop a self-critical approach to creative working
G express opinion and criticism of other student?s work
H justify and evaluate actions and decisions
I apply methods and techniques in a manner that is appropriate to materials, media, process and subject matter
J develop awareness of contemporary and past exponents of printmaking practice
K develop good working practice and awareness of health and safety issues

Transferable skills

The module will assist the development of the following academic and transferable skills:


The module is structured with a series of lectures, demonstrations and seminars that must be attended by all students. Students are encouraged to develop a positive attitude to workshop practice and are expected to develop independent routines of working. Students are strongly advised to make full use of the print studio outside of timetabled times as this provides a number of benefits. Firstly it enables the tutor and other members of staff to talk with you about your work outside the allotted tutorial times. Secondly it creates a situation in which you can work alongside, encourage and discuss the work of your peers. Thirdly a positive group ethos and a sense of independence and mutual interdependence as a body of students helps to foster a healthy, productive and competitive environment and a forum for cross fertilisation of ideas.
In addition to weekly tutorials a series of lectures, seminars and demonstrations are organised as follows:

1.1 Introduction to Relief Printing and Collograph
Introductory lecture providing an historical context and explanation of relief printing techniques including woodcut, lino cut, metal cut, relief etching, wood engraving and collograph printing. Examples of wood blocks, lino blocks, collograph plates and prints from the student prints archive. Introduction to the module structure, expectations and work required etc.
1.2 Constructing and Printing Collograph Plates
Introduction to collograph printing including construction of plates, materials used for construction, gluing and sealing. Inking and printing collographs in intaglio and relief.
Examples of collographs by previous students.
1.3 Group Seminar: Second and Third Year Students
Opportunity for students from second and third year to review work submitted at Christmas assessment. Students are encouraged to identify and expand upon themes that have emerged from the previous semester. Suggestions for research and development are discussed in relation to contemporary and historical proponents of the medium.
2.1 Relief Printing: Black and White Linocut and Woodcut
Using examples of prints from the Collection, students are introduced to the technique of black and white wood cut and lino cut. Instruction on the preparation of blocks, drawing and techniques of cutting.
3.1 Relief printing: Printing Blocks in Black and White
Demonstration of printing including registration, inks and inking, papers, printing with a Japanese Barren, using the proofing press and using the Albion Press.
4.1 Relief Printing: Printing Blocks in Colour
Using examples of prints from the Collection and from the student prints archive, students are introduced to techniques of colour relief printing, including waste block or subtractive process, multiple block and key block, jigsaw cut, the use of chine colle and monotype, split rolling and blend rolling. Instruction in registration, inks and rolling will be given.
4.2 Relief Printing: Etching Lino with Caustic
Using examples of prints from the students print archive, the process of etching linoleum is demonstrated with reference to issues of health and safety.
5.1 Group Seminar: Mid Term Review
Review and discussion of work completed to date. Students are expected to give a short presentation about their work, research and ideas for future development.
6.1 Introduction to Stone Lithography
Introductory lecture providing an historical context and explanation of stone lithography, including the discovery and principle of the process, and overview of the process and examples of prints by practitioners of the medium. Examples of prints from the University Collection and student prints archive will be shown.
6.2 Lithography: Stone Preparation
Introduction to Stone Lithography providing instruction on stone preparation, graining and levelling.
6.3 Lithography: Drawing up a Test Stone
Demonstration of drawing materials and drawing on stone; restating the principle of lithography and the relationship between grease and water. Instruction in the use of crayons, rubbing crayon, tusche, toner, photocopy transfer and registration. Examples of black and white prints from the student prints archive and a Tamarind portfolio.
7.1 Lithography: Etching a Test Stone
Explanation of the principle for etching on stone and instruction on procedure including assessment of etch strengths, applying first and second etches.
7.2 Lithography: Proofing a Test Stone
Demonstration of proofing in black and white with instruction on inks and ink preparation, rolling and operation of presses.
8.1 Lithography: Lo-Shu Wash and Maniere Noir
Using examples of prints from the Collection and student prints archive, students are
introduced to the negative methods of lo-shu wash and maniere noir. Instruction is given in preparation of wash solutions and grounds, and procedures for drawing.
9.1 Lithography: Employing Monotype to Print Colour
Using examples of prints from the Collection and student prints archive, students are

Reading Lists

Adams, Clinton (1998) Nineteenth century Lithography in Europe The University of New Mexico Press
Adams, Clinton & Antreasian, Garo (19700) The Tamarind Book of Lithography, Art &Techniques Abrams
Adams, Clinton (1985) American Lithographers 1900-1960. The Artists and their Printers UNM Press
Brett, S (1991) Out of the Wood, British Woodcuts and Wood Engravings 1890-1945. The British Council, London
Brett, S (1995) Bold Impressions, Block Printing 1910-1950 Central St. Martins College of Art and Design
Carter, T. F. (1925) The invention of printing in China and its spread westwards. Columbia University Press, New York
Castleman, Riva (1983) Prints from Blocks, Museum of Modern art New York
Castleman, Riva (1988) Prints of the 20th Century Thames and Hudson
Chamberlain, W (1978) The Thames and Hudson Manual of Woodcut Printing Thames and Hudson, London
Croft, Paul (2001) Stone lithography A&C Black Printmaking Series
Devon, Marjorie (2000) Tamarind: Forty Years Tamarind Institute, University of New Mexico Press,
Gilmour, Pat (1981) Artists in Print BBC Publications
Gilmour, Pat (1978) The Mechanised Image Arts Council of Great Britain
Griffiths, Anthony Prints and Printmaking, Introduction to History and Techniques British Museum publications
Griffiths, Anthony (1990) Avant-Garde British Printmaking British Museum Press
Ivins, William Jnr Prints and Visual Communications
Knigin, Michael (1970) The techniques of Fine Art Lithography Van Nostrand Reinhold Co
Mayor, A Hyatt Prints and People, A social History of Printed Pictures Princeton University Press
Menzies, J (1992) Contemporary Japanese prints Art Gallery of New South Wales, Sidney.
Ross, Romano & Ross (1974) The Complete Relief Print, The Free Press, New York
Salter, Rebecca (2001) Japanese Woodblock Printing A&C Black printmaking Series
Senefelder, Alois (1977) A Complete Course of Lithography Da Capo Press
Stobart, Jane (2000) Printmaking for beginners A&C Black Printmaking Series
South Bank Centre (1991) The Woodblock and the Artist. The Life and Work of Shiko Munakata. sbc
Tamarind Institute (1999) Aluminium Plate Lithography Tamarind Institute, University of New Mexico Press
Westly, Ann (2001) Relief Printing A&C Black Printmaking series
Wisneski, Kurt (1995) Monotype/Monoprint Bullbrier Press
Tamarind Institute The Tamarind Technical Papers, Volumes 1-17 Tamarind Institute, UNM Press
Twyman, M (1970) Lithography 1800-1850. The techniques of drawing on Stone in England and France. oup
Vicary, Richard (1976) The Thames and Hudson Manual of Lithography Thames and Hudson, London


This module is at CQFW Level 5