|| AR30720 |
|| PORTFOLIO 3: PRINT-DIRECTED PRACTICE |
|| 2003/2004 |
|| Mr Paul J Croft |
|| Semester 1 |
|| Mr Robert K Meyrick |
| Course delivery
|| Seminars / Tutorials || 2 Hours Seminar. |
|| Seminars / Tutorials || 6 Hours Tutorial. |
|| Practical || 132 Hours |
|Assessment Type||Assessment Length/Details||Proportion|
|Semester Assessment|| Portfolio: ||100%|
This module focuses upon the conceptual and practical aspects of art practice, the ideas and subject matter, processes, systems, frameworks and precedents governing the processes of making art. Specifically in this module, students concentrate upon developing an experimental approach to the production of printmaking. The module builds upon experience of printmaking gained in Level 2. Successful completion of either Printmaking 1 or Printmaking 2 is considered to be a necessary requirement for continued working in Printmaking at Level 3
The module promotes self-directed study and emphasises the need for sustained and focussed workshop-based activity. Tutorial support is given on a one to one basis and a number of demonstrations in advanced printmaking techniques will be offered ? as required. Students are expected to work a minimum of at least 12 hours per week, which must be carried out in the printmaking studios. A professional approach to printmaking is expected and considerable commitment outside of timetabled sessions is required however if a full programme of research is to be engaged. Students are also expected to produce work with high regard to presentation and printmaking convention and wherever appropriate ? work should be fully editioned and presented in a professional manner.
During this module, students are expected to develop a strong conceptual or thematic basis for their work using subject matter that is meaningful and important to them and their interests. Development of subject matter may derive from work carried out at Level 2 or may initiate from newly formed ideas and aspirations. Definition of suitable subject matter is determined by discussion with the student?s tutor and a programme of research and development is then suggested and agreed.
For Single honours Students, this programme of research is closely linked to the work that will be carried out for AR30620 Research and Process in Practice and it is important to realise that one module will inform the other. It is expected therefore that the student will, in addition to developing a sound conceptual and technical basis for their work; also become fully acquainted with contemporary and historical exponents of the medium, which ultimately will provide a context for their own art practice.
The emphasis of the module is upon experimentation in a variety of printmaking media and techniques ? learnt from modules studied at Level 2 ? that will enable the students to develop a personalised mode of working. It is expected therefore that the work completed during this module will form a sound basis for the Exhibition 1 module completed in the final semester and culminating in the Degree Show.
A develop printmaking skills in relief printing, intaglio, screen printing and lithography
B develop a programme of personal research and self-directed work that will form the basis for Exhibition
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
The module essentially encourages self-directed and self-motivated working practice and students are expected to develop their own routine for working in a self-directed manner - supported by tutorials and group seminars.
The discipline of working within the print workshop is strongly advised and encouraged as it 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 foster a healthy, productive and competitive environment and a forum for cross fertilisation of ideas.
In addition to weekly tutorials and at least two seminars that are conducted during the semester a series of demonstrations may be given as required:
1. Using Adobe Photoshop.
How to scan material, using selection and manipulation tools, using layers, channels and paths. Saving and printing.
2. Applying Photoshop Techniques to Printmaking
Approaches for integrating computer generated material with conventional printmaking techniques. How to prepare computer out put material for use in Photo-Etching, Photo-Screen-printing and Photoplate Lithography.
3. Photo-Etching Techniques
Using Photec to make positive printing plates and using Negjet plate.
4. Colour Viscosity Etching
Demonstration of this colour printing technique devised by Sir Stanley William Hayter. How to etch the plates, mix inks and use rollers.
Techniques of Mezzotint, how to rock plates and burnish back.
6. Reduction Technique in Lithography
Introducing the reductive approach to colour lithography using a single stone.
7. Aluminium Plate Lithography
Using ball-grained aluminium plates for printing lithographs. Introducing the advantages of using plates, colour trial proofing and integrating plate and stone lithography.
8. Photo-plate Lithography
Using negative and positive working plates in lithography, their advantages, uses and potential for the integration of photographic and computer generated material.
9. Waterless Lithography
Using aluminium plates for printing waterless lithographs (siligraphy).
The module will assist the development of the following academic and transferable skills:
Subject Specific Skills ?Intaglio: Viscosity printing, mezzotint and photo-etching
Subject Specific Skills ?Lithography: Aluminium Plate, Photoplate and Siligraphy
IT Skills: Development of advanced Photoshop skills
Subject Specific Skills ? developing skills of editioning and presentation
Self-directed project work: through research and production of a portfolio of prints
Oral Discussion and Presentation ? developed through tutorial and seminar contact
Self-management ? Workshop Practice: time management and use of facilities for completion of self directed project work
Group Activity ? Workshop Practice: Interaction with workshop members and staff
Adams, Clinton (1998) Nineteenth century Lithography in Europe
The University of New Mexico Press
Adams, Clinton & Antreasian, Garo (1970) The Tamarind Book of Lithography, Art &Techniques
Adams, Clinton (1985) American Lithographers 1900-1960. The Artists and their Printers
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,
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,
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
Tamarind Institute (1999) Aluminium Plate Lithography, Compiled by Karen Beckwith
Tamarind Institute University of New Mexico Press
Westly, Ann (2001) Relief Printing
Wisneski, Kurt (1995) Monotype/Monoprint
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
Vicary, Richard (1976) The Thames and Hudson Manual of Lithography
Thames and Hudson, London
This module is at CQFW Level 6