Intaglio I, II, and III
(260/360/460)
Fall 2012
TuTh 1:50-4:00 PM
3 credits
Room: A/C S13
Instructor: Sharon Lindenfeld
[email protected]
Office hours: A/C 513, MW 10:45am- 12:15pm
Overview
In this multi-level workshop class, we will learn about the technical, conceptual, and
formal aspects of Intaglio printmaking. Printmaking has, as its main advantages, the
potential to create multiples, reach larger audiences, and achieve marks/effects not
possible through any other method. Working in printmaking also forces an artist to
think in different ways: in reverse, reductively, and indirectly. These ways of
working, coupled with the use of sometimes unpredictable processes and chemicals,
leads to unexpected results. A printmaker must both plan ahead and embrace the
accidental, use mistakes, and work innovatively with the materials.
Course Objectives
-Mastering the basic intaglio techniques of hard ground line etch, aquatint, soft
ground, mezzotint, drypoint, and multi-plate registration.
-Thinking in new ways: in reverse, reductively, and indirectly
-Bring conceptual, formal, and technical aims in harmony (Why does using this
technique help what you are trying to say with the work?)
-Experimentation
-Time management
-Craftsmanship
-Ability to surrender some control, make use of accidents, and embrace surprise
Access to the Building
The building opens at 7 AM and closes at 11 PM, but the doors lock at 10 PM, so you
need to be inside by then. If you want to work later than that, you can request
permission from me to sign a late pass that allows you to stay after hours. The fine
for being caught without a pass is pretty high, and you are responsible for getting a
pass from the Art Office on the 3rd floor.
It is unwise to be here by yourself, especially at night. If you do need to work late, I
highly encourage you to plan on working with other students so that you can be
there for each other in the unlikely event that an accident does happen.
Attendance and Grading Policy
Three unexcused absences are allowed. Final grades will be lowered by a full letter
grade (eg. an A- to a B-) for each additional absence. Three late arrivals or early
departures (over ten minutes) are equal to one absence. This means that after four
absences (or three absences and three early departures), the highest possible grade
you can earn is a B+. After four absences, a C+, and so on. Seven absences will
result in an automatic failure. Written documentation (a note from a health care
provider or dean of students) is required to excuse an absence. You are responsible
for keeping track of how many absences you have.
Attendance and work at critiques are mandatory. One missed critique (ie. no you or
no work in the critique) will result in a a full letter grade reduction on that project.
A late project will result in a third of a letter grade (eg. A- to a B+) deducted per
calendar day that it is late.
Final Grade Breakdown
80% Five Projects (10% 15%, 15%, 20%, 20%)
10% Homework
5% Participation (prepared and engaged during class, participation in critiques)
5% Write-up (about an artist lecture or opening)
Project Grades
Project grades will be based on mastery of technique, aesthetics of the image,
concept/idea/emotional impact, and your effort/innovation/experimentation. You
will also turn in sketches and proofs so I can see the development of your ideas.
Deductions
-one third letter grade per impression missing/badly printed
-one-third letter grade per impression with smudges/less than a 2-inch border
-one-third letter grade if the edition is unflattened/ improperly signed
-one-third letter grade per calendar day that it is late
-one full letter grade for a missed critique
Homework
Throughout the semester, I will assign baby-steps as homework. For instance,
making a thumbnail sketch, or preparing your plate for etching. I will mark down in
my book whether or not you’ve finished the assignment (by 1:50 PM), and will
calculate the percentage of completed homework assignments into your final grade.
This is meant as a favor to you. Etching is a complicated, multi-step process, and
sometimes, things may go wrong, or at the very least, take longer than expected.
Therefore it is essential not to procrastinate. (In addition, it is not safe to
procrastinate because if you are working late the night before, you may become
tired and end up rushing.)
Email
Check your email at least once a day and read any announcements I send out; often
they have important information in them. You are responsible for that information,
as long as I give you 24 hours notice. The best way to reach me is through email
([email protected]). I will check my email once a day, so if you need to reach me
before class, email me at least 24 hours before class. If you email me the day of
class, I might have already checked it that morning and may not receive your email
in time. While I try to keep to the syllabus, sometimes we fall behind or run ahead.
Therefore, if you miss class, contact another student or me to find out the
assignment. If you miss class, you are still responsible for keeping up with
assignments.
Classmate contact information:
Cellular Phones and iPods
Use of cellular phones is not allowed during class time. For playing music during
class, we have a CD player and speakers that attach to a computer or iPod. I
encourage everyone to bring in and play music, as long as everyone is ok with it.
You may also wear your iPod but only during work days, and if people become too
detached during class, I may change this policy.
Supplies
In this class, you will receive a tool kit for which you will be charged $35. Upon
returning the tools, you will be refunded $30.
The class also charges a $20 lab fee that covers your use of inks, grounds, and other
consumables in the studio.
You will also need to purchase:
(from Arthaus, the bookstore, or hardware store)
2- 12 x 18” or so copper etching plates (to be cut up in class, at sizes that are up to
you. We will discuss this in further detail)
1 - pair chemical/acid resistant gloves (neoprene coated recommended)
1 - pair vented goggles
1 – Newsprint (rough or smooth) pad (50 sheet minimum)
1 – Sketchbook (or loose paper in a folder)
As needed:
Proof Papers: Crown Proofing, Index, Domestic Etch
Edition Papers: Arches Cover, Rives BFK, Coventry Rag, German Etch, Copperplate,
Rosapina, Murillo, Pescia, Folio, Johannot, Canson Editions
(You may get any of these papers in white, buff, cream, tan or gray.)
recommended: an old towel, apron
Lockers
To reserve a locker in the hallway, purchase a combination lock, put it on a locker,
and register that locker with Art Office. We also have some cabinets in the litho
room to leave some items, and we will share a flat file to store our paper (we can
label it) in the etching room.
Schedule
Disclaimer: we will try to stick with this schedule, but it is subject to change
depending on the pace of the class.
WEEK
1
DATE
Th 9/6
2
Tu 9/11
Th 9/13
3
Tu 9/18
Th 9/20
4
5
Tu 9/25
Th 9/27
Tu 10/2
Th 10/4
6
7
8
Tu 10/9
Th 10/11
Tu
10/16
Th 10/18
Tu 10/23
ACTIVITY
Syllabus
SECTION 1
REWORKING THE
PLATE
Bevel and proof preetched plate
Powerpoint
presentation on the
history of Intaglio
Proof plates
Drypoint
CRITIQUE: Section 1
SECTION 2 LINE
DEMO:
Polishing/degreasing
Cut and prepare plate
Discuss sketches,
drypoint onto plates
DEMO: grounding a
plate, drawing with
needle, line etch
Proof test prints
minicrit
Ground/Draw/Etch
Section 2 project
plates
Continue working
CRITIQUE: Section 2
SECTION 3
TONE/TEXTURE
Discuss sketches
Demo: Lay down an
aquatint- rosin and
spray paint, etch an
aquatint
Demo: softground
Demo mezzotint
minicrit
CRITIQUE: Section 3
ASSIGNMENT
Get supplies, scrape/burnish plates
Print Drypoint stage of reworked
print
Sketch
Ground test plate, draw and etch
Continue working on linear prints
Complete Section 2 prints
Prepare a plate and a sketch
Lay down aquatints on test plate
and Section 3 plate
Continue working
Print test plates
Th 10/25
9
10
11
12
13
14
15
Tu
10/30
Th 11/1
Tu 11/6
Th 11/8
Tu
11/13
Th 11/15
Tu
11/20
Th 11/22
Tu
11/27
Th 11/29
Tu 12/4
Th 12/6
Tu
12/11
Th 12/13
SECTION 4 COLOR
Color Mixing
Demo:
Monotype/Collagraph
minicrit
Demo: Multi-Plate
Registration
Color
mixing/Overlaying
Demo: Chine Collé
Prepare sketches
Monotypes (3)
CRITIQUE: Section 4
Prepare sketches
SECTION 5
360/460
Presentations
CRITIQUE: Section 5
Minicrits are short in-progress critiques that will take no longer than ten-fifteen minutes.
260 PROJECTS
SECTION ONE: REWORKING THE PLATE (ONGOING TEST PLATE)
LEARN beveling, scraping and burnishing, drypoint, wiping and printing a plate
ASSIGNMENT This is an ongoing print project that will last for most of the semester.
We will be starting off with old, pre-etched plates from previous students. We will print
them as is, rework and reprint, adding and subtracting to alter the image.
You will print 6 state proofs : 1-original plate, 2-scraped/burnished, 3-drypointed, 4-line
etched, 5-aquatinted, 6-soft-grounded, and then afterwards use the plate for color tests for
your color printing project. You will turn these proofs at the end of every section for a
grade, and then again at the very end. I will give you grades along the way, but only the
final grade on the whole project, given at the end of the semester, will count. The grades
along the way are meant as feedback. Because they are test plates, they will be graded
more on your effort and experimentation than on the final results. I am looking for some
real transformation through each added technique.
SECTION TWO: LINEAR METHODS (TWO EDITIONS)
LEARN preparing a plate, line etch, stage biting, ink consistencies, flattening, curating.
ASSIGNMENT:
1. Drypoint (Final edition of 3 plus state proofs)
2. Line Etch (Final edition of 5 plus state proofs)
These two prints will be worked on and critiqued side by side. Attention should be paid
here to line quality and weight (achieved differently through drypoint and line etch) and
building up tone with only lines.
SECTION THREE: TONE AND TEXTURE
LEARN aquatint (rosin and spray paint), soft ground (both textures and pencil drawing
through newsprint) and mezzotint
ASSIGNMENT: Make a print (using aquatint and soft ground) inspired by another class’
readings or lectures. For example, illustrate a mathematical formula or trajectory of
astronomical bodies. Or explore a historical, literary, or anthropological subject. Any
non-art classes are acceptable. (Final edition of 5 plus state proofs)
In addition, for this project, I’d like to you try out a few different tinted blacks (blue
black, brown black etc)
SECTION FOUR: COLOR AND MULTI-PLATES
LEARN monotype and collagraph, color mixing, multi-plate printing and registration
strategies for getting the images on the plates to line up (using a key drawing to
transfer onto multiple plates, offsetting a proof from one plate onto other plates),
color mixing, tips about how to unify color schemes and how color printing is
different than color painting, transparent base, overlaying and compositional
strategies specific to multiple plates.
ASSIGNMENT: Create a three-plate etching. (Only one layer need be a copper plate.
The other two can be a collagraph or monotype). Students will use transparent base
to allow the three different inks to create new colors. We will use our test plates to
test out color inks. (Final edition of 5 plus color tests)
SECTION FIVE: BEYOND THE EDITION
ASSIGNMENT: This project is open, both subject matter and technique-wise. It
encourages exploration and experimentation. There are two options. First, create
an evolving image of four where each state changes over time: darkening and
lightening, compositions and structures shifting, moods and messages changing.
The differences between each print should be substantial, not little adjustments.
Alternatively, students may create a variable edition where each image of five is
pulled from the same state of the plate but printed, hand painted, stained, or altered
in a different way. For example, students may print on patterned, altered or collaged
paper.
360 and 460 Students
For 360 and 460 students (and 260 are free to watch as well), I will demo:
Sugarlift ground, white ground, photoetching, spit bite, a la poupee, acetone
transfer, open bite, surface roll, monoprinting, deep etching. The advanced students
and I will discuss the scheduling of these on the first day of class.
Portfolio
You will be creating a body of work (equivalent to five print projects) exploring the
themes that you are drawn to as an artist. All the prints must be in someway
thematically related (you will turn in a 1 page statement at the end of the semester
explaining your ideas). This doesn’t mean that ideas can’t evolve along the way, as
long as you can explain the relationships and evolutions in your statement. You may
work at the size of your choice, but I encourage to go as large as you can for a few of
the projects.
You will present work at each of our five critiques. You will make your own schedule
for how to divide up the work. It may be that you do one piece at a time, or that you
are working on things simultaneously, in which case you must present some sort of
physical in-progress work at critiques for feedback. You will propose your schedule,
and you must stick with it. Being on-time will affect your grade.
Requirements of your portfolio:
1. Submit and adhere to a proposal.
2. Create the equivalent of five print editions exploring a common theme or
concept.
3. Experiment with ink and color mixtures to find an individualized palette,
tone, or ink mixtur. At least one project must be printed with variable colors.
4. Turn in a one-page statement discussing the ideas in your project. You will
mention technique only as it relates to your ideas. This should read like a
more finished artist’s statement, instead of a step-by-step accounting of your
process and techniques.
5. Invent your own technique (we will talk more about this in class).
In your one-page proposal (due September 11th), detail the following aspects of your
project:
1.
2.
3.
4.
Format
Technical, ie. size of plates, paper, other materials, techniques, tools needed
Conceptual
Schedule, ie. what will be presented at each critique? You will be held
accountable for this schedule
5. How it should be evaluated/graded, ie. what goals are you trying to meet?
In addition to your proposal, you will give a ten to fifteen minute PowerPoint
presentation near the end of the semester on your project (it won’t be completely
finished, but mostly finished), along with slides of two artists who have dealt with
similar issues or processes (one contemporary, one historical). These artists should
be your “kindred spirits.”
Final Grade Breakdown
80% Project
5% Participation (prepared and engaged during class, participation in critiques)
5% Presentation
10% Timeliness (adhering to proposal)