DEPARTMENT OF ART
UNIVERSITY OF WISCONSIN OSHKOSH
WOODCUT I 22-261-001
Class: Monday and Wednesday: 4:10-6:20
A/C S-13
3 credits Instructor: Professor Gail Panske
Office: A/C 328
Phone: 424-0492
e-mail: [email protected]
Office Hours: Monday and Wednesday 2:00pm- 4:00pm
Course Description:
Prerequisites:
The execution and design of relief prints in wood and linoleum and the
development of creative imagery in single color and multiple color prints.
Studio Foundation and Art History survey courses
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“To create one’s own world takes courage.”
- Georgia O’Keeffe
Create your own world.
What is your world? Right know, for most of you, your world is centered on being a student. This course is just one
of 4 or 5 in which you are enrolled this semester. You should not look at the different courses as being separate from
one another. They are all related and they (along with your job, family, friends...) are your experience for the next 14
weeks. It is natural that a convergence of ideas and symbols takes place over the course of the semester and beyond.
That is, after all, what a Liberal Arts education is about. Attending the University semester after semester is a
process of building “your own world”. The information from one course informs another and that in turn informs yet
another. This is not just true of your studio art courses, your general education courses and art history courses are all
just as vital to your education. The whole of your education makes up “your world” upon graduation.
Your life will give you your imagery, what being an artist is all about is figuring out what to do with it. Well,
start figuring out what to do with it. Try not to think of your creative work as something that fits into a fourteen
week block. Your artwork, your intellectual pursuits are not limited to an academic year or semester or even your 45 year college career. There is not a clear cut beginning and end – it is a continuum. The only limits on your ability
to “create your own world” are your drive to succeed, your courage to invent and your capacity to discover.
______________________________________________________________________________________
1. CONTENT OUTLINE:
a.
Ongoing demonstrations and discussion of basic techniques used in development of a
relief print matrix, different printing methods, the history of the relief print and the
historical importance of printmaking are part of this course.
b.
All students are expected to keep a sketchbook. The sketchbook and the images within it
will be discussed in class and are important in preparation for work on the relief prints.
The sketchbook should also contain notes from demonstrations and presentations.
Sketches are a required part of each project.
c.
Finished prints and works in progress will be discussed in individual and group class
critiques.
d.
1 woodcut print edition, 1 linocut print edition and 1 three-color reduction block edition
will be due at mid-term. Individual reviews will take place when the mid-term portfolio
is returned. There will be 3 projects completed during the second 7 weeks, including: 1
multiple block color edition, 1 “choice” of other techniques and 1 open project.
e.
All students will be responsible for the continued maintenance of the equipment and
supplies in the workshop. Instruction will be given on the proper use and care of the
studio facilities. This includes but is not limited to: cleaning up after you work in the
studio and returning all tools and other materials back to their proper location.
f.
A 2-3 page typed exhibition review written about the Durer` exhibition is required.
Details will be discussed in class.
g.
A written self-evaluation/reflection will be part of the final portfolio.
h.
A lab fee of $20.00 will be charged.
i.
There will be two “pop” quizzes during the semester.
2. COURSE OBJECTIVES:
The objectives of this course are to gain a solid understanding of relief printmaking techniques through
the development of creative artistic images in the medium; to gain experience in the use of color printing
techniques related to relief printing; to gain a basic understanding of the historical importance of the
relief print and printmaking; and to begin to explore the creative possibilities inherent in the print
multiple.
3. GRADING PROCEDURE:
a.
ATTENDANCE AND PARTICIPATION:
--Critiques are considered exams. Failure to attend and participate will result in the
lowing of the final grade by one grade point for each absence. Participation in the critique
includes having the required work completed and participating in the critique
conversation.
-- Class attendance is required (full two hours). Attendance is necessary for participation
and discussion in the studio. 3 absences are allowed without a reduction in the final
grade. 2 occasions of arriving late or leaving early will count as one absence. The final
grade will be lowered by one grade point for each absence over 3. All excused absences
must be documented by the Dean of Students Office.
b.
PORTFOLIO REQUIREMENTS:
Mid-Term: (30% of final grade)
1 - woodcut blocks, one edition
1 - linocut blocks, one edition
All state and test proofs that show a change in the image and the final proof should be included.
Each block should be printed on printmaking paper, printed in an edition of 5, signed, numbered,
titled, with a minimum of two-inch border around the image.
1 – color reduction relief print, 3 color, edition of 10
sketchbook - Minimum of 30 thumbnail sketches (minimum 10 per block) plus all larger
more developed preparatory sketches
More specific information will be given when the projects are introduced.
Final Portfolio: (50% of final grade)
1 - multiple block relief print
1 – open relief print edition
1 – “choice”
*All the prints can be completed using wood or linoleum for a printing surface.
*The Multiple block print will be completed in two edition states of 5 each.
*The open edition is just that – open, it is up to you. Minimum edition of 5
*The “choice” project will be discussed in detail later in the semester
*All prints will be signed numbered and titled; printed on good printmaking paper (listed
below); with a minimum of two-inch borders.
More specific information will be given when the projects are introduced.
Sketchbook: minimum of 60 thumbnail sketches (semester total).
A short self-evaluation should be included in the final portfolio.
2 prints from the final portfolio should be matted
Please hand in portfolio prints and other supporting materials neatly organized in an appropriate
portfolio folder.
OTHER FACTORS:
2-3 page typed exhibition review paper on the Durer` exhibition. (10% of final grade)
Quiz results (10% of final grade)
FINAL PORTFOLIO IS DUE:
May 6, 2013
GRADES WILL BE DETERMINED BY THE FOLLOWING FACTORS:
1. Continued development of imagery using the relief print and the overall technical quality of the work
(neatness and consistent print quality).
2. Both the midterm and final portfolio: Prints must be completed on time and in the manner listed
above. The sketchbook is a very important aspect in the development of imagery and strategies for
completing the course projects. All sketches and prep materials must be included with each edition at the
time of grading. Sketches are required to receive a passing grade. Late sketches will not be accepted.
3. Class and critique attendance and participation.
4. Results of the two quizzes and the writing assignment.
What do the grades mean:
A = Outstanding in every area. An “A” student will have conceptually strong ideas for all the prints, excellent technical execution of all the
editions, all work is completed on time, attend and participate in all the critiques and have a well written artist statement that addresses the major
issues in their art work. (Create your own world. - see below)
B = Overall strong work both in image development and technically. A “B” student will continued to develop the subject matter represented in
the images and continue to develop their technical skills through out the semester, all work will be completed on time, attend and participate in all
the critiques and have a well written artist statement that addresses the major issues in their art work.
C = Average work. A “C” student will have formally solid images and have gained a basic understanding of the technical aspects of creating a
relief print, all work will be completed on time, attend and participate in all the critiques and have a well written statement that addresses the
goals for continued development of their art work.
D = Below average work. Simply completing the required work with less than average results in the development of imagery and/or having
technically inferior editions, work is completed on time, attend and participate in all the critiques.
F = Failure to complete the work required for passing the course.
4. REQUIRED INSTRUCTIONAL MATERIALS & TEXTS:
1 - set of woodcut tools (recommend: Power Grip brand)
1 - linocut tool
Linoleum and wood blocks (as needed)
1or 2 - 4 ply smooth mat board (can be flaw board)
1 - fibre covered baren (optional but very handy)
1 newsprint pad, smooth recommended
masking tape
solvent resistant (neoprene or nitrile coated) gloves
matting supplies (as needed)
apron
portfolio
Proof papers: newsprint, crown proofing, index,
Relief print papers: Okawara, Goyu, Mulberry, Kitakata, Sekishu, Hosho, Maza, Mulberry
Print papers: Arches Cover, Canson Editions (various colors), Rives BKF (various colors), Somerset
(various colors), Arches 88, Lenox, ANW, Stonehenge (various colors), Speckletone Cover, Rosaspina,
Aquaprint, Pescia
Required Reading:
This syllabus
Suggested Readings:
The Complete Printmaker, John Ross, Clare Romano
The Print in the Western World, Linda Hults
Please Note: The use of any personnel electronic devices (laptops, cell phones…etc.) in the
studio during class time is prohibited. They must be turned off and stowed under the seat of front
of you or in the overhead compartment.
The University of Wisconsin Oshkosh and/or the Department of Art are not responsible for any items lost or stolen.
WOODCUT 22-261 Course Schedule
Jan. 28
Jan. 30
(first 7 weeks or so) Spring 2013
Course Introduction. Introduce Project #1.
Slides: Overview of the 20th Century relief prints
Review sketches for Project #1
Demonstration: basic cutting techniques… (bring wood to class)
Feb. 4 *
Feb. 6
Begin cutting on wood block.(Bring tools and other supplies to class.)
First block should be cut and ready to proof at the beginning of class.
Demonstration: basic printing. Print the first proof in class and continue to
work on first woodblock during class.
Feb. 11
Continue working on first project. (this may mean cutting a second block)
Demonstration: Edition printing. In-Progress Critique: State proof begins
at 5:00.
Continue to proof and refine block for first project. Introduce Project #2,
begin work on sketches. Discuss writing assignment: Durer` exhibition.
Feb.13 *
Feb. 18
Feb. 20*
Review sketches. Discussion of linocuts and demonstration on some
additional techniques. Begin linocuts.
In-Progress Critique: State proof woodcut and linocut begins at 5:00.
Continue to refine both woodcut and linocut images, begin edition
printing.
Feb. 25
Feb. 27*
Introduce Project #3. Demonstration on reduction process.
Review sketches. Begin work on reduction block.
March 4
March 6*
Continue to work on reduction project. Presentation on print history.
Continue to work on reduction project.
March 11
March 13
Continue to work on and finalize the reduction project.
CRITIQUE: The woodcut, linocut and the reduction block projects.
Mid-Term Portfolio:
Project #1: One woodcut, edition of 5
Project #2: One linocut, edition of 5
Project #3 Three-color reduction, edition of 10
Include all state proofs and sketchbook
At this point in the semester I will give you a schedule for the rest of the semester
* Indicates that time during this class period is scheduled to meet with students enrolled in 361 and 461.
Printmaking Vocabulary – woodcut
Baren: Is used to print the image by hand. Traditionally, a baren is round, with a bamboo covered hard lacquered
cardboard disk with a handle.
Brayer: The tool used to apply the ink to the matrix.
Chisel: A tool usually found in a woodcut tool kit. It has a flat sharp head and is used to remove larger areas of
wood or linoleum.
Chop: An identifying mark stamped onto the paper that indicates the workshop/printer/publisher of the print. Artist
and collectors may also have chops.
Edition: Prints made from a matrix that are very similar to one another, if not exactly the same. Each limited edition
print bears a fraction like designation, for example 4/10 means the print is the fourth print in an edition of ten.
Gouge: There are two types of gouges: “U” and “V”. The “V” gouge is “V” shaped and makes a “V” shaped line.
The “U”gouge is “U” shaped and makes a rounded shaped line and is generally larger the “V” lines.
Ink: Etching and relief ink is made of pigment and linseed oil.
Intaglio: The method of printing in which the image is printed from below the surface of the plate. The only
printing method where the ink can be printed in various thicknesses.
Linoleum: Common relief print substrate. Battleship linoleum is a thin grey relief block about 1/8 inch thick
backed with burlap. Has been commonly used for relief printing since the 1950’s.
Lithography: Means “stone writing”, planographic printing, the process is based on the fact that water and grease
do not mix.
Matrix: Latin for womb, that from which something originates. In the Woodcut course, the matrix is the block that
contains the image. The block can be repeatedly printed the same way.
Monoprint: A unique print made from a reproducible matrix.
Monoprint: A unique print made from a non-reproducible matrix.
Original Print: In printmaking, original refers to the intent of the artist. The artist conceives of the image as a print.
The original print can be a multiple.
Proof: A print outside the edition but not necessarily different from the edition. There are different types of proofs:
final proof: also known as “BAT” is the last proof printed before the edition. It represents what
the final edition prints will look like.
artist proof: are usually the same as the edition and are retained by the artist, printers, publishers.
trial proofs: are usually pulled before the edition and differ from the edition.
state proofs: are pulled during the course of developing the image.
Registration: Any system used to assure that the various colors of a print are in proper alignment.
Serigraphy: Means “silk-writing”, screen printing with a fine arts application.
Wood: a common substrate for a relief print. There are three main types of wood that are used:
End Grain: used for wood engravings, the end grain of the wood forms the printing surface.
Plank: used for woodcuts, the plank of the wood forms the printing surface.
Plywood: A manufactured wood product with a center core and wood veneer of one or both sides. Used for
woodcuts. Allows for larger scale prints.
Wood Engraving: a relief print cut on the end grain of the wood.