Advanced Printmaking / Art 341
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MONOTYPE
A true monotype print is a one-of-a-kind piece, coming from an impermanent
matrix.
Use the monotype or related techniques of your choice to create
at least three finished prints/drawings/paintings that map your reaction/writings
from participating in the Live Art Symposium.
These should at least
be half-sheets of paper (about 15” x 20”).
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REDUCTION
The reduction process creates a limited
edition of prints, since the printable surface area of the matrix is
slowly reduced. In the printmaking media of your choice produce a reduction
edition of at least ten (10) prints with at least five (5) layers each. Work
with at least a quarter sheet of paper (about 11” x 15”).
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RESEARCH/REACTION
This will be divided into three (3) sections—worth
10 pts each:
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Reaction to the Live Art Symposium (with Monotypes). We will not have scheduled class on Wednesday, September 14th—instead I expect you to attend as much of the Live Art Symposium as possible—at minimum I would expect you to attend five (5) events/performances/workshops/exhibitions (I will give you a more exact schedule on Monday)! You then need to write a two-page typewritten reaction to this experience, relating it specifically to the idea of the temporary or time within the pieces that you view. The Symposium is an opportunity for you to be exposed to a wide range of artist creating work within this area!
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Artist Research Presentation. Using your experience with the Live Art Symposium, lectures in class, etc as a springboard, do research about an artist of your choice that creates work, which relates to this quarter’s theme. Present a five-minute (minimum) lecture to the class using PowerPoint software.
You must discuss a minimum of two works from the artist, including visuals from them.
Your must use at least five research sources—only three of which may be Internet based.
A list of these source materials must be turned in at the presentation time.
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Reaction to the Reductive/Project Log (with Reduction). As you plan and execute your reduction print, I would like you to keep a journal/project log about the experience—eventually creating a two-page (minimum) typewritten document from your words. This document can come in any form—i.e. a formal essay, a poem or prose, a short story, a rigid day-to-day project log, a stream of conscious journal entry... The form is up to you—I am simply interested in you thinking about, evaluating, and processing what you are experiencing.
TEMPORARY FINAL & DOCUMENTATION
As your highlight piece for this course, you are responsible for creating
an event/performance/installation/experience/sculpture/exhibition/and
on and on and on and on through the use of two-dimensional bits of information.
This project is open for interpretation of ANY KIND!!
You should stew on your thoughts about it, do research, brain-storm with others, look at everything that you can, travel, listen, experiment, ask questions, get involved, challenge yourself—what ever is necessary to allow you to concoct and create something that is true to you!
This piece, because of its transient nature, will need to be documented in some way—so that it may last on. Your documentation of this piece may come in any form: a book, a video/DVD, a website, a print, a lecture, a poster, an essay, an object, etc.
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BROADSIDE/POSTER
Content: Use the project title in anyway that strikes your interest!
It talks more about the form of the eventual print, then what the print
will say. You may simply insert your own ideas into it or use the form
to inspire idea!
By nature, posters and broadsheets usually include information for public
consumption. They are an immediate way to release opinions into the world.
Maybe you use this project to react to a current event or political situation.
broadsheet: 1. large-sized newspaper 2. large sheet of paper printed
on one side only
broadside: 1. vigorous verbal attack 2. simultaneous firing
of all guns from one side of a ship
poster: 1. placard in a public place 2. large printed picture
Assignment Guidelines:
* must be editionable
* must include text and image somehow
* must use at least two of the techniques covered so far this quarter (i.e.
transfers, gum printing, chin colle, embossing, letterpress, wood engraving)
* the base or main print technique(s) is(are) your choice
ARTIST RESEARCH PRESENTATION
For this assignment you will be required to research your choice of a
printmaker or artist that uses printmaking in their work. This research
will be shared with the class as a ten-minute presentation in class.
(tentatively scheduled for November 1)
Begin by introducing the printmaker, their life and what kind of prints
they create and techniques they use.
You are also responsible for discussing at least examples of their artwork
in detail and show three other images. Focus on how the artist creates
the prints and where their imagery/inspiration comes from.
You may also want to talk about how the artist has inspired you or influenced
your own work if it is applicable.
Your five visuals can be images in books, color Xeroxes, slides, digital
images in Powerpoint, etc. If you have specific technology needs, talk
to me early about them!
To complete this project you can use any research means available to
you: the University libraries, public libraries, the Internet, etc. The
internet is especially valuable for contemporary artists—you can
visit their own personal websites, the sites of galleries which represent
them or the site of the school or organization they work with.
The following artists are possible research candidates:
Michael Barnes
Richard Black
John Buck
Sean Caufield
Jim Dine
Lisa Drost
Bill Fick
Tony Fitzpatrick
John Himmelfarb
Tom Huck
Karen Kunc
Yvonne Leonard
Beauvais Lyons
Charles Masey
Kathryn Maxwell
Barry Moser
Nancy Palmeri
Carol Wax
This list is only suggestion; you may come up with your own printmaker
to research. These are also only more contemporary artists—there
are many choices of outstanding printmakers throughout the disciplines
history (woodcut—the first type of printmaking to emerge--began
in the late 1400’s and early 1500’s). Choice an artist that
is interesting to you!
Each of you should research a different artist; so check-in with me before
you make a final decision.
EX LIBRIS EXCHANGE
Technique: wood engraving
Image size: any (size of your engraving block)
Paper size: 5” x 7” (MUST be this size to fit in the exchange
portfolio!)
Edition size: could change as the number of students
changes
Content:
ex libris: [L. ex from + libris books.] or [from the library of] An
inscription, label, or the like, in a book indicating its ownership; esp.,
a bookplate.
bookplate: n : a label identifying the owner of a book in
which it is pasted
For this project, you should create a bookplate for yourself. Often bookplates
express the identity of the owner. You the form and material how you
would like!
Assignment Guidelines:
It is an opportunity to trade prints with your classmates. Everyone in
the class, including me, will create an edition of 9 prints that are
5 inches by 7 inches. They will be distributed into folders (one print
from each person!) and given back to you. This suite of prints will be
a collection of different images, themes and styles within wood engraving!
We will edition these together on the Vandercook press in the letterpress
shop. Specific paper will be requested of you for this printing that
you should order from the Paper Order. The block must be cut to completion
by the scheduled printing day!
Research:
We will look at many examples of wood engravings and ex libris prints
in class.
Hopefully, we will visit Special Collections in the library to see some
first hand.
You may also do your own visual research. Try searching for ex libris
or bookplate in
Google Images or try the following sites (there are many more out there!!):
* http://www.bookplate.org/Current%20Issue/Gallery.htm
* http://www.geocities.com/Athens/Olympus/4369/Bookplate/artists.htm
* http://www.exlibrisweb.cz/gal/gal.htm
* http://www.aed.org.tr/results.html#
SERIES PRINTS
Technique: any
Image size: any
Paper size: any
Edition size: at least 2 editionable prints (at least 3 in each edition)
or at least 6 monotype prints
Content: Open
Assignment Guidelines:
The only true rule for this project is that the prints must link together!
Maybe you create monotypes that show a linear narrative, moving the viewer
from the first to last image, telling them some sort of story.
Maybe the link is formal—YOUR VISUAL STYLE—what ever that
may be. These does not have to be linked to your previous work necessarily…they
could explore a new direction.
I am very open with this project!
BUT…it is weighted heavily within the grading table—so take
it VERY seriously!
This is your chance to do your work in this class, so take the reigns!
A two part writing assignment will be due with this project (each expected
to be between two paragraphs and a page long):
*The first section will propose your ideas for the prints. It must be
type-written and include: a description of what the prints will look
like (color, texture, page placement, images included, etc) and what
you would like them to “say”, tell how the prints will be
linked as a series, the printmaking techniques you plan on using, the
size of the image area, the size of the paper, etc.
* The second section will be a reaction to the final prints. Basically
grade yourself! Did you succeed to create what you desired? What about
the prints are successful? What could use improvement? How do these prints
connect to each other? How do they connect to your other work?