This course introduces the methodologies and concepts of traditional printmaking processes. These processes include intaglio, relief, letterpress and monotype. It exposes students to an overview of the tools, methods and materials for making printed artworks with particular focus on how manual printing and traditional techniques relate to contemporary concepts and individual art practice. This study includes the creation and utilization of various print matrices, edition processes, curatorial activity and how to work in a professional print-shop environment.
This course introduces the methodologies and concepts of printmaking techniques that utilize photo-based processes and digital applications. These processes include screen-print, photo-etching, photo-lithography and digital printing. It exposes students to an overview of the tools, methods and materials for making prints with particular focus on how photo-processes and digital applications expand technical and conceptual possibilities. This study includes the creation and utilization of various print matrices, editioning processes, curatorial activity and how to work in a professional printshop environment.
An introduction to letterpress printing through the use of poetic language. This course reviews the basic concepts of letterpress printing and history. Students edition a series of unique broadsides and chapbooks working with basic hand typesetting, using metal type, wood type, and finally the composition of polymer plates for letterpress printing. Field trips are scheduled to library collections, as well as archetypal readings of chapbooks to develop poetic craft. Using these resources students begin with experimental writing exercises, placement of text and image for broadside composition and use of negative space and semiotic hypertext as a way to introduce the fundamentals of letterpress printing. After broadsides and chapbooks are complete, students are required to submit work to upcoming call for entries.
Relief printing can be simple, direct, and inexpensive, resulting in images as bold as German Expressionism or as delicate as Japanese woodcuts. With this method, ink is transferred to paper from the surface of linoleum cuts, woodcuts, or found objects. The use of press is optional. Large and small-scale prints are produced. Black and white work is emphasized, but at least one project requires color.Prerequisite: FF 111 or FF 112, and FF 161
This course is a concentrated overview of intaglio and relief printing. Working primarily in etching and relief, students will gain comprehensive skills in both processes. Some examples of intaglio methods include etching, aquatint, drypoint, engraving, and mezzotint. Relief processes will include muliple registration of complex linoleum and woodcut plates.
Designed as a comprehensive course which looks at techniques of plate-making and intaglio printing, students will learn to prepare and render the surface of a metal plate. Students explore the development of their own ideas in this medium from both technical and personal points of view. Processes covered are drypoint, line etching, hard and soft ground, rosin aquatint, spit bite, and multiple plate color printing.Prerequisite: FF 111 or FF 112, and FF 161
Covers through demonstrations and lectures the major design and basic technical processes of image making in lithography, traditional and contemporary. The primary goal is the production of fine lithographic images. Beyond technique there is art. Focus is on fundamentals of drawing and design principles, as well as a concern for ideas and personal artistic growth. Technically, this course addresses registration of multi-color images, edition printing, presentation, curating, and the vocabulary used in a print studio setting.Prerequisite: FF 111 or FF 112, and FF 161
This course will cover a broad range of concepts, methods and materials related to the practice of monoprinting. A monoprint is a term used to describe a unique printed image created with the use of one or more repeatable, manipulated matrix's. The matrix's may include prints made from metal, wood, stone, plexiglass and transfer/copier processes. Concepts and methods related to stamping, stenciling, mixed-media, color printing, multiple-layer printing, and print curation are addressed. The class looks at artists working in print as image, book, installation and moving picture, surveying historical concepts to contemporary trends.Prerequisite: FF 111 or FF 112, and FF 161
Explores the different possibilities of water-based screen-printing in a professional print shop atmosphere. Students can gain a solid working knowledge of screenprinting, employing both traditional and contemporary methods of stencil making, film preparation and printing methods on various papers, as well as alternative surfaces and materials. Techniques such as digital film outputting, mixing gradations with ink, multi-color registration, and four-color process printing are demonstrated and employed. Through independent projects, demonstrations, and critiques, students are encouraged to create a cohesive body of work and utilize the medium for their own individual artistic needs.Prerequisite: FF 111 or FF 112, and FF 161
A good storyteller must exaggerate and simplify events to make the point clear and memorable. A good print often does the same visually. Working from poems, stories, or news articles, students create a series of images that communicate themes or ideas while developing their own style and learning the basics of relief printing. This relatively direct and simple print medium involves cutting into linoleum, plastic, or wood blocks, which are then printed by hand or press, generally in black and white. On a field trip to the Baltimore Museum of Art, students see examples of prints from Dürer to Blake and from Daumier to Coe, which inform and present messages important to the artist and the times.Prerequisite: FF 111 or FF 112, and FF 161
This course explores a painterly approach to print based image making through working with a range of quickly translated, low process, and loose drawing and painterly printmaking techniques. Painterly mark making occurs through plate/matrix development and color application to these surfaces before printing on an appropriate press. Multiple color solutions of images will be developed that can stand in support of, and lend clarity and direction to the work you are doing with painting, drawing, sculpture, and painterly approaches expressive of any major. The history of the relationship between painting and printmaking will be investigated as well various artists, both historical and contemporary, that employ painterly expression within the print medium. Demonstrations of a variety of print media and techniques are introduced for you to choose from to build painterly content through the student's theme related body of print based work.
For students who want to learn the basics of color printing. A collagraph plate may employ acrylic mediums, collage techniques, and linear engraving on plastic. Each plate is designed to carry a separate color (or colors). When printed, the information on the plates overlap to produce a richly multi-colored image. Both relief and intaglio inking methods are used to print the plates using oil-based inks and in etching press.Color is emphasized as an expressive and compositional element.
In this artists’ intensive, students will traverse the history of the showcard print — as defined by the iconic Globe Poster Printing Corp., best known for its eye-popping, content-rich designs of music posters — and push it forward to contemporary practice. The course is taught by Bob Cicero, former owner of Globe Poster and master printer in letterpress and screenprinting, and will feature a collaborative project with a visiting artist. In 2011, MICA acquired many of Globe's assets — extensive wood type, photo and illustration cuts, hand-carved lettering, and sketches and posters. Using these materials, students will learn the crafts of letterpress printing and screenprinting through the lens of the vintage showcard print, from setting wood type to rainbow rolls to handcut blocks and rubyliths. Students will design and print a number of posters, first learning the style of Globe and then building on that foundation to make their own mark on the art of poster-making. The guest artist works with Bob Cicero and students in this course to set the scope of the work and develop a limited edition print.
This online course merges the art of screenprinting and independent self-publishing as a means to share ideas through the creation dynamic printed matter. Screenprinting is a stencil based printing process characterized by a colorful, layered, graphic aesthetic. A zine is a self-published artist booklet, often blending text and image and commonly produced using photocopiers, inkjet printers, and Risograph machines. Both screenprinting and zine making share a DIY ethos with a history of social and political critique and have long been associated with subversive, statement oriented art practices. Both analogue and digital processes and outcomes will be explored, linking the physical screen frames of screenprinting and the electronic displays of our computers and phones. Students will be equipped with screens and inks, as well as provided remote access to the 1515 RISO lab at MICA. This course is suitable for artists and designers studying in any discipline, interested in at-home printing and publishing.Prerequisite: FF 111 or FF 112, and FF 161
This course will introduce students to the craft and tactile beauty of letterpress printing, from traditional hand typesetting to modern polymer plate-making. The course will focus on printing with the Vandercook press and will draw on the rich materials of the Globe Collection at MICA, with its hand-carved blocks and extensive wood type. The course will also trace the history of letterpress printing from moveable type to its current reincarnation as a medium for artists books, broadsides, posters and commercial work. Students will learn foundation printing skills through a series of projects exploring the multiple techniques possible in letterpress and will expand their understanding with field trips and guest artists.
This course examines the history and practice of prints in a political context. Print media have often served a direct role in the political realm, and artists have often responded to social conditions through printmaking. Students will examine the distinctive graphic language and distributive power of the print through historically relevant media including relief, stencil, pamphlet, and poster printing techniques. Students will examine difficult and contested examples of print in the political sphere, and consider the social responsibility of the artist. Regular discussions about relevant readings and current events will inform students’ use of print methods to express their personal viewpoints.Prerequisite: FF 111 or FF 112, and FF 161
This course focuses on the historical beginnings of the codex and handmade paper. Focusing on both Eastern and Western tradition in paper-making and bookbinding, this course familiarizes students with the practicality of the materials, tools, and techniques used in both processes. Students develop an understanding of basic elements for constructing books.Sophomores, Juniors, and Seniors only
This advanced relief course will primarily focus on color and multiple plate registration. At this level students will adapt a wider and more complex variety of relief printing techniques. Focus will include registration, reduction printing, introducyion to unique substrates for printing and viscosity inking.
This course expands upon previous investigations in the lithographic medium. This includes stone, aluminum ball grain plate and positive working photo plate lithography. Advanced printing, curatorial, and collaborative techniques are explored. Students learn the proper procedural aspects to making lithographic prints in a safe shop environment as well as gain a historical and contemporary understanding of the media through slides, books and originals. Emphasis is placed on individual ideas and content in relation to the unique characteristics of the medium.Prerequisite: PR 216
This course explores the latest techniques of screen-printing using water-based inks. Traditional methods of stencil making with hand drawing and painterly techniques will also be covered. The photo emulsion process will be used to transfer images to screens. Printing from digital images will be emphasized. Students will learn how to properly develop and prepare digital art for production as a fine art limited edition print. Students are encouraged to undertake individual projects that connect directly to their areas of interest. The combination of traditional and digital techniques can be utilized in unique and effective ways.Prerequisite: PR 218, GD 422, or GD 5360
This course examines the various ways technology has expanded conceptual and procedural possibilities for making prints. New print media, digital applications, photographic processes, alternate presentation formats and the resources of the art tech center and digital fabrication lab is fully explored and utilized in the creation of artworks. Students perform a series of procedure based assignments throughout the semester that culminates in an independent project. Students engage in reading and writing and discussion specific to technological developments in printmaking, the integration of digital works flows with traditional techniques and interdisciplinary thinking.Prerequisite: PR 200 or PR 201 + one 200-Level Printmaking course
Artists book collaborations permit the artist/author to fully explore a subject, providing an opportunity for a depth of expression that is difficult to achieve in other ways. Students publish an editioned book using letterpress, papermaking and printing technologies available. By exploring the many possibilities for juxtaposing text and image on the plane of the page and through the sequence of pages within the book form, students create narrative inter-media works. The class visits the Decker Library artists book collection as well as review examples from the collection of the instructor. After completing this course, students will understand the market, publication and distribution of the book. For those students who do not have letterpress experience it is recommended that they enroll in a letterpress course the same semester.Students must have completed 6 credits combination of PR 200, PR 340, PR 354, PR 394, and/or PH 354.
This course is open to students who are focusing on book arts as a concentration and are interested in the history, conservation and artistic applications of paper, including the historic and contemporary practice of hand paper-making. Understanding plant structure and chemistry is essential in understanding the development of paper historically. The primary focus of this course is the technical application and production of pulp fiber for paper as well as production of handmade paper for various applications.
Open to students who are interested in woodcuts and linoleum printing and broadsides. Large editions in several colors are possible when printing on the Vandercook proofing press. This course explores the history of the relief print and its use for political posters; for dissemination of information on botany, medicine, and agriculture; and for the publication of poetry and literature illustrations. With the advent of moveable type, the relief print was in demand for illustrating books. A field trip is scheduled to the Baltimore Museum of Art's print collection. Suggested for printmaking majors and for book arts and printmaking concentrators. May not be repeated for credit.
This course will cover in depth the use of paper in all aspects of print and press publications. The beginning of this course will focus on the development of handmade paper as an art form. Working in a professional paper mill, students will have the opportunity to make paper. This paper can then be used as a substrate for print projects, including press editions. Students will develop ideas using the combination of printmaking techniques and the Vandercook press. The concept of books as an art form and the publication of artist/author books will be represented. Examples of artists working currently in this format will be reviewed.
Creating prints is commonly a collaborative effort between artists, printers, publishers and project organizers. This course brings the history of Dolphin Press and the professional activity of print creation into the classroom and engages students in the full extent of this collaborative process. The course is centered around the creation of a print project(s) designed by a visiting artist in concert with the course instructor and students. Students explore the relationship between printer and artist, develop printing skills in a variety of media, engage in problem solving activity associated with both technical execution and conceptual development, as well as learn about the collaborative workshop environment.Prerequisite: PR 200 or PR 201 + one 200-Level Printmaking course
Introduction course to artist's books will cover the basics of simple book structures, the relationship of text and image, knowledge of papers for bookmaking, digital file set-up, letterpress printing and imposition for book publication. Course objectives include an introduction to tools and basic principles, investigation into materials for successful book production and the use of visual components, placement of text and image, negative space and printing processes. Students learn file preparation using Adobe programs to prepare for printing. The course reviews artist’s books in the Decker library and other collections.Sophomores, Juniors, and Seniors only
Designed to advance foundation knowledge in sewing book structure, this course is recommended for students who are interested in book conservation and museum studies regarding the book. Benchwork in sewing structures from basic to complex sets a solid foundation for traditional binding. Working through double raised bands— all variations of longstitch, chain stitch and combinations, students will be producing models of listed structures along with covers and board attachments.
Each student is expected to complete one or two independently developed projects that form a body of work related in content by the end of the semester. Light instruction and regular, individual in-depth consultation with the instructor are the norm. Short group meetings are held every other week. Entry into the class requires permission of the instructor and is based on printmaking experience as well as a willingness to participate in a class environment while setting one's own goals. Professional execution and presentation are integral to achieving success in this course. Depending on instructor, photo-processes, color techniques, or other alternative processes will be demonstrated.Prerequisite: 9.00 credits Printmaking courses
This course is designed for qualified printmaking majors and non-majors with an interest in an advanced study of the printmaking medium. Through a blend of both studio and seminar activity, each student is expected to complete a body of work related in content by the end of the semester. Students have use of the entire print studio facilities. Readings and critical theory specific to print media, instruction, and regular, individual, in-depth consultation with the instructor are the norm. Students are expected to critically evaluate and discuss their work in print formats that can include, book, 2D, and 3D print work. Students make in-class presentations, work from selected readings for discussions and evaluation of work.Prerequisites: 6 credits of Printmaking
This course provides the framework for students to complete a coherent body of work based on personal concepts. Students are provided shared personal studios in the Dolphin Building and full print studio access in order to develop independent work. Critiques from course faculty and visiting artists will be held periodically throughout the semester as well as a formal review with a guest critic. The course also has a significant professional practice component. Topics considered include exhibition preparations, presentation skills, artist statement development, professional material creation, work documentation, and career networking.Senior Printmaking majors only
This course provides the framework for students to complete a coherent body of work based on personal concepts. Students are provided shared personal studios in the Dolphin Building and full print studio access in order to develop independent work. Critiques from course faculty and visiting artists will be held periodically throughout the semester as well as a formal review with a guest critic. The course also has a significant professional practice component. Topics considered include exhibition preparations, presentation skills, artist statement development, professional material creation, work documentation, and career networking. This course is a continuation of the Senior Thesis I and will culminate with an exhibition in which students will present their final thesis work.Senior Printmaking majors only
This courses prepares students for professional life after graduation through the focused study of the professional print world and employment/career opportunities in the field. This study includes the creation of professional materials and the development of an online presence, exhibition preparation and artwork documentation, entrepreneurship and networking.Junior and Senior level Printmaking Majors only