Arts 2502-Beginning Printmaking Professor Jenny Schmid jrschmid@umn.edu
Office Hour: T 12:15-1:15 # W277 T.A. Mara Durva duvra001@umn.edu

This course introduces three print media: relief, silkscreen and digital printmaking. We will explore the many aspects of these printmaking techniques and their history, and view works by contemporary artists who are working with this media. Additionally, because this class is specifically for majors, students will be introduced to more contemporary and experimental ways of working with print media.

Relief printing's original form, woodcut, was invented in China during the T'ang dynasty (A.D. 618-906) and quickly developed in Japan, later becoming popular in Europe. For the relief printing part of this course, we will start with linoleum cut- a modern, cheap material that cuts very easily. We will move on to using wood and printing with multiple layers. Recent trends in relief printing have expanded on tradition to include artists who carve non-traditional surfaces- print on t-shirts, create sculptural works or masks for performances.

Also invented in Asia, screen-printing gained popularity in the U.S. through commercial and indie publishing applications. Andy Warhol and other pop artists made screen-printing popular among artists in the 60s by merging a growing advertising culture with fine art. Screen-printing has many commercial applications, but in this course we will be considering it from a fine arts perspective. Screen-printing has become increasingly popular as an accessible and affordable way to make quality hand-printed work.

Digital printmaking has allowed artists to easily incorporate multiple sources into their work. Computers also assist in translating photographic materials into hand processes and computer applications can also make registration and composition easier.

Printmaking is alive and thriving and we will look at works both old-timey and contemporary that employ the various media of screen, digital and relief, including artists: Hiroshige, Hokusai, Margaret Kilgallen, Kiki Smith, Enrique Chagoya, J.G. Posada, Eric Avery, Sue Coe, Kristiane Baumgartner, Richard Mock, Artemio Rodriguez, Bill Fick, Elizabeth Catlett, Tom Huck, Cannonball Press, Drew Peterson, Tonja Torgerson and others. You will be asked to find research materials for projects several times during the semester and look to other artists for inspiration.

We have several visiting artists this semester who employ printmaking and you are required to attend one of the following artist talks. I suggest you attend them all
Willie Cole- Lecture Thursday September 13th at 7:00 p.m., Exhibition at Highpoint Center for Printmaking Opens Friday September 14th www.highpointprintmaking.org
Piotr Szyhalski- Lecture Thursday October 11th at ? p.m., Making a print with bopress
Aaron Wilson and Tim Dooley (Midwest Pressed) who will be creating a show in the Quarter Gallery and Lecture October 25-27, Making a print with bopress

Grade Requirements:
There will be approximately five assignments and a final project, most of which you will be asked to edition (print multiples of). You will be graded on a mid-term portfolio and a final portfolio and we will have critiques for each assignment due. Critiques are the equivalent of tests- Never miss a critique and always have work up by the start of class for it!

Criteria:
20% Mid-term portfolio. This will include all the assignments given up to this time. Projects can be reworked or redone after critiques when they are due. Midterm portfolios must be turned in on time to be considered.
50% Final portfolio- final project and any redone or recent assignments.
Your work will be graded at the mid term and in the final week based on the following:

Creativity- You are encouraged to bring your own ideas to this class, push yourself to brainstorm interesting subject matter and to push the boundaries of assignments. You are expected to research your images and communicate original ideas. Often, we will check preliminary drawings and ask you to think your ideas through in a more in-depth way. Content and critique are emphasized in this course, but this class will be difficult if you have no prior experience with drawing/composition. Once you get a feel for the media, you are also very much encouraged to bring your outside sources and influences to the process. Please experiment until you find a way to make printmaking dynamic for you!

Effort and technique- Printmaking can get very technical- take notes and ask lots of questions and, above all, be patient. You will have frustrations and breakthroughs, but the success of this course depends on your open mindedness, enthusiasm and perseverance. You will be asked to rework you images and to take risks. Give yourself time to make mistakes. In order to love printmaking, it is absolutely necessary that you develop your focus and commit to the media.

20% Participation
-Active participation and work up in critiques. Everyone needs to contribute: Even the shy people.
-Active use of the studio during class time (i.e. not just sitting around talking)
-Active use of the studio outside of class time
-General helpful and positive attitude. The atmosphere of the print studio is often dependent on a core group of positive, respectful and active students.

You are expected to interact in this class actively and speak with me or with Mara if you feel like you are not getting enough feedback or have trouble understanding concepts that are covered. There is a big jump between watching and doing and it is vital that you are sure you understand the process.

10% Respectful use of studio and equipment
-Printmaking is particularly messy- allow time to thoroughly clean up, refill empty supply bottles, notify grads of low supplies and keep the studio beautiful.
-You are required to use materials sparingly and safely. This means wear gloves, wash hands before eating, and dispose of toxics properly- no exceptions.

*If you are unsure about a process or equipment use, do not abuse the studio! Ask a qualified person and refer to detailed handouts for information.

Attendance- You are allowed three absences and after that your final grade begins to drop and continues to the more absences you accumulate. Leaving early or coming in late counts as 1/2 an absence, save these absences for illness and emergency.

Commitment
Printmaking is demanding and involves many, many hours. Cramming at the end results in messiness, stress and injury. Each week you should plan on minimally 3- 6 hours to work outside of class. This is a well-equipped studio and you should jump right into projects after demos. You cannot do all the work for this class at the last minute- it will be sloppy and you will endanger others. Studio time is also limited by other courses.

You are required to keep all handouts, be attentive during demonstrations and keep a sketchbook for ideas and preparatory drawings. In order to assure safety for yourself and the equipment, you must be focused.

Studio Etiquette
-Share information, materials, press time and ideas
-Help/correct someone who is improperly using equipment or supplies
-Use materials safely and sparingly, especially the toxic ones
-Clean up after yourself and others, if necessary. Do not leave the studio if there is a mess.
-No cell phones in the studio they should be turned off, even outside of class time. Step outside of our creative area to talk.
-No headphones during class time, you may use them during your own time.
-Be safe with all materials for both your own sake and those around you.

Approximate Road Map for Printmaking 2502:
Week One: Introduction (people and media), supplies, studio tour, safety, storage, Introduction to relief printmaking history and principles, transfer drawings, carving,
Week Two: printing the linoleum block, paper types, multiple block printing and registration, Visiting artist Willie Cole lecture
Week Three: registration, reductive and color printing, Linocut project due, Intro to Woodcut,
Week Four: Color layers, transparency, color mixing and varied editions
Week Five: In-process critique, work days
Week Six: Assignment due, critique, Piotr Szyhalski printing and lecturing
Week Seven: Shop clean-up, Midterm Portfolio due, Mid-term meetings,
Week Eight: meetings continue, Intro to screenprinting, stencils, Tim and Aaron in studios
Week Nine: Printing, screen filler, drawing fluid, project due, Halloween fun week
Week Ten: intro to digital, screen positives, half-tones, dpi/lpi, assignment introduced,
Week Eleven: Introduce final projects,
Week Twelve: possible museum trip, Thanksgiving
Week Thirteen: Work week
Week Fourteen: Final Portfolio due, The Long Critique begins, shop closes for the season
Fifteen: Critique continues, Clean up of studio, final party

The print studio closes on the last day of instruction for cleaning and organization.
Print Shop Hours: 7 am - 11 pm, closed to undergrads on Sundays

To work in the print shop after 11pm, acquire a late-night pass in advance and there must always be at least two people working in the shop. The late pass is valid between 11 pm and 2am. The vents in the studio turn off at 2 am, and EVERYONE must leave the studio at this time. ESCORT SERVICE: 624-WALK

If you would like to work during another class you are required to ask permission from the instructor. Please be quiet during other classes' work time.
SUPPLIES
The studio supplies relief inks, solvents, newsprint, black, white and transparent screen inks, screen emulsion, and a screen to use. You have some credit from class fees applied to the Digital Service Bureau. Other supplies are listed below.

You are required to get the following materials within a week of class. You have a drawer for storage. Please consider renting a locker for safe storage in the building.

Available in the photo crib
Rubber gloves (Absolutely a must- write your name on them immediately)
Linoleum- if it is very hard to cut, let me know
Wood- Shina ply, also available at hardware stores etc.

Other materials
Apron or work shirt
Sketch Pad and pens/pencils for notes and drawings (bring every day)
Box for carrying tools and supplies
One fine permanent marker (Sharpie is fine)
Triangle for making 45 degree angles
Scissors
Clear packing tape
Yogurt or other sealable plastic containers for ink mixing and storage
Flash drive
Wet Paint has assembled a set for us online that consists of the items below. They generally give us a good price, assemble the kit and you can buy online- the kits will be delivered on Tuesday next week if you get your order in by Monday 9/12 at 6:00pm. You are required to have these materials, but may purchase them wherever you prefer.

To order the kit: http://www.wetpaintart.com/, click on School Kits and order by Weds. 6:00
PGRIP POWERGRIP WOOD TOOL SET 5PC 1.00
46211 SCREEN INK ACRYL 8OZ PROC MAGENT 1.00
46210 SCREEN INK ACRYL 8OZ PROC CYAN 1.00
46212S SCREEN INK ACRYL 8OZ PROC YELLOW 1.00
TN2751 THAI MULBERRY 25X37 UNBLEACHED 2.00

Additionally you will need approximately:
10-15 sheets of Screenprint paper: Stonehenge white, 22" x 30" (cheaper) or Arches 88, Somerset Satin or Velvet (these are more expensive). Paper can be very over-priced at some places. Many art stores will give student discounts and discounts if you order in a 25 pack.
Any additional Acrylic Screen Ink colors that you desire

Art Supply Stores include:
Wet Paint: St. Paul, Utrecht: Minneapolis, The Art Cellar @ MCAD, the U bookstore and Art Materials: Minneapolis also has some of what you need.

Recent Comments

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