Module Identifier AR32040  
Academic Year 2006/2007  
Co-ordinator Mr Paul J Croft  
Semester Semester 1  
Other staff Ms Judy E Macklin, Mr Paul J Croft  
Pre-Requisite AR22320, AR22430, AR22520 and AR22630  
Mutually Exclusive AR31930  
Course delivery Seminars / Tutorials   3 x 1 hour seminars 5 x 1 hour group tutorials  
  Practical   11 x 16 hours of studio based practicals  
  Other   10 x 1 hour studio based demonstrations (as required)  
Assessment TypeAssessment Length/DetailsProportion
Semester Assessment Portfolio Submission including: Portfolio of prints 50%
Semester Assessment Sketchbook and related research material25%
Semester Assessment Suite of four prints (learning outcome c)25%

Learning outcomes

On completion of this module, students should be able to.
a) Produce a portfolio of prints that clearly demonstrates experimentation and proficiency in processes of printmaking as appropriate to personal research
b) Produce a body of research that includes sketchbook, drawings, written and visual material that clearly demonstrates a line of enquiry that gives expression to personal concerns and ideas
c) Produce a suite of no more than six related prints that demonstrate specific research into a particular print technique, concept or line of enquiry
d) Sustain working and resolution of editioned prints
e) Identify and develop techniques and processes of printmaking that are appropriate to their work
f) Identify clearly, artists, practice, processes and issues that are of relevance and pertinence to their own work g) Maximize full use of the studio facilities and time for working towards resolution of prints

Brief description

This module which runs concurrently with AR31930 Printmaking 5 aims to promote 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 are offered ? as required. A professional approach to printmaking is expected and considerable commitment outside of timetabled sessions is required if a full programme of research is to be engaged upon. For the module students are expected to research and develop a strong conceptual or thematic basis for their work using subject matter that is meaningful and important to them. Development of subject matter may derive from work carried out at Level 2 or may initiate from newly formed ideas and aspirations. Definition of appropriate subject matter is determined by discussion with the student'r tutor and a programme of research and development is then suggested and agreed. For Single honours Students, this programme of research is closely allied to work that is completed for AR30620 Research and Process in Practice and it is important to realise that one module will inform the other.Students are expected to produce a portfolio of prints and associated sketchbook of drawings, written and visual material, demonstrating both thematic and technical research and experimentation in technique, format and media. Completed prints should be executed with high regard to presentation and printmaking convention and wherever appropriate ? work should be fully editioned and presented in a professional manner. For Module AR32040 students are also expected to produce an additional suite of no more than four related prints that result from specific research into a particular print technique, concept or line of enquiry.


This module promotes self-directed study and 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, researching, testing out ideas, formats and methods and refining their practice in preparation for work on the final exhibition.


Research and Print Directed Practice

The emphasis of the module is upon experimentation in a variety of printmaking media and techniques - many of which will have been experienced during Modules studied at Level 2 - and which will enable students to develop a personalised mode of working. Opportunity to learn new or more advanced skills can be arranged as required and from the following:

Module Skills

Problem_solving development of practical printmaking skills and problem solving in aspects of printmaking and in through research  
Research skills development of a programme of research and self directed work that provides evidence of experimental approach to printmaking and gives expression to the development of a personal statement  
Communication development and encouragement of communication skills occurs during workshop-based activity and during tutorials and group seminars  
Improving own Learning and Performance development of a self-critical approach to creative working and professional conduct in the production of a portfolio of prints  
Team work development and encouragement of team work and student interaction occurs during workshop-based activity and during tutorials and group seminars  
Information Technology development of graphic IT skills through use of digital imaging programmes such as Adobe Photoshop  
Subject Specific Skills developing skills of print editioning and presentation development of self-management, time management and use of studio facilities for completion of self-directed project workdevelopment of awareness of related health and safety issues  

Reading Lists

** Recommended Text
Adam, Robert and Robertson, Carol (2004) Screenprinting: The Complete Water Based System Thames and Hudson
Adams, Clinton (1985) American Lithographers 1900-1960. The Artists and their Printers, UNM Press,
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, Abrams
Brett, S (2002) The Engravers Globe: Wood Engraving in the 21st Century Primrose Hill Press
Brett, S (2000) Wood Engraving: How to do it Primrose Hill Press
Brunsdon, John (1965) Technique of Etching and Engraving, Batsford
Buckland-Wright, John (1953) Etching and Engraving: Techniques and the Modern Trend, Studio
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 & Hudson,
Chamberlain, Walter (1972, 1992) The T&H Manual of Etching & Engraving, Thames and Hudson,
Croft, Paul (2003) Plate Lithography A&C Black Printmaking Series
Croft, Paul (2001) Stone lithography, A&C Black Printmaking Series,
Devon, Marjorie (2000) Tamarind: Forty Years, Tamarind Institute, University of New Mexico Press,
Gale, Colin (2006) Etching and Photopolymer Intaglio Techniques A&C Black
Gilmour, Pat (1981) Artists in Print, BBC Publications
Gilmour, Pat (1978) The Mechanised Image, Arts Council of Great Britain
Griffiths, Anthony (1980) Prints and Printmaking, Introduction to History and Techniques, British Museum Publications,
Gross, Anthony (1970) Etching, Engraving and Intaglio Printmaking, Oxford University Press
Henning, R (1994) Screen printing water based techniques Watson Guptill, New York
Hoskins, Steve (2004) Inks, A&C Black Printmaking Series, A&C Black
Hoskins, Steve (2003) Water-Based Screenprinting, A&C Black Printmaking Series, A&C Black
Ivins, William (1968) Prints and Visual Communications, Cambridge Massachusetts,
King, Brian (2005) Photo Etching Special Interest Model Books
Knigin, Michael (1970) The techniques of Fine Art Lithography, Van Nostrand Reinhold Co.
Leaf, Ruth (1984) Etching, Engraving and Other Intaglio Techniques Dover Publications
Lumsden, ES (2000) The Art of Etching Dover Publications
Mara, Tim (1979) The T&H Manual of Screen printing, Thames and Hudson, London
Mayor, A Hyatt (1971) Prints and People, A social History of Printed Pictures Princeton University Press and Metropolitan Museum of Art, New York,
Menzies, J (1992) Contemporary Japanese prints, Art Gallery of New South Wales, Sidney
Ross, Romano & Ross (1974) The Complete Relief Print, , Collier Macmillan, London
Salter, Rebecca (2001) Japanese Woodblock Printing, A&C Black printmaking Series
Senefelder, Alois (1988) A Complete Course of Lithography, Da Capo Press,
Smith, Alan (2004) Etching: A Guide to Traditional Techniques The Crowood Press
South Bank Centre (1991) The Woodblock and the Artist. The Life and Work of Shiko Munakata. SBC
Stobart, Jane (2000) Printmaking for beginners, A&C Black Printmaking Series
Stromquist, Annie (2005) Simple Screenprinting: Basic Techniques and Creative Projects Lark Books
Tamarind Institute (1999) Aluminium Plate Lithography, Karen Beckwith, UNM Press,
Tamarind Institute (1970) The Tamarind Technical Papers, Volumes 1-17 Tamarind Institute, UNM Press
Trevelyan, Julian (1963) Etching, Studio Vista
Turner, Silvie (1991) Which Paper? Estamp
Twyman, Michael (1970) Lithography 1800-1850 The techniques of drawing on Stone OUP
Vicary, Richard (1976) The Thames and Hudson Manual of Lithography, Thames and Hudson
Westly, Ann (2001) Relief Printing, A&C Black Printmaking series
Wisneski, Kurt (1995) Monotype/Monoprint, Bullbrier Press,


This module is at CQFW Level 6