Printmaking

An introductory course in printmaking for students from other disciplines. Focus is placed on becoming familiar with basic processes like intaglio, lithography, silkscreen, and woodcut.

Credits: 3

Using metal or plastic plates, students explore intaglio printmaking. A variety of techniques are taught, such as engraving, etching, aquatint, drypoint, spit bite, sugar lift, soft ground, and photo transfer. Students are expected to produce a body of work engaging these processes. Individual and group critiques occur on a regular basis.

Credits: 3

Lithography is the closest printmaking technique to direct drawing. Students are taught how to create images on both lithographic stones and aluminum plates. The goal is for students to develop a series of personal images that emphasize the graphic potential inherent in lithography. Individual and group critiques challenge students’ methods and ideas while aiming to improve their skills.

Credits: 3

Through demonstrations, discussions, and critiques, students learn to use a variety of silkscreen techniques to create multilayered images on paper or other surfaces. The immediacy, versatility, and photographic possibilities that are unique attributes of this medium challenge students to visualize their expressive works in new ways and bring their imagery to an increasing level complexity, depth, and refinement.

Credits: 3

Woodcutting is the oldest printmaking technique and the most practiced method of creating prints throughout the world. In this course, wood or medium density fibreboard (MDF), a composite material, is engraved and cut to incise images into the wood surface. The emphasis is on creating prints with graphic power, complex patterning, and variety of mark making. Other unorthodox techniques, such as reduction printing, multiblock prints, and puzzle prints, are also explored

Credits: 3

Lithography is the closest printmaking technique to direct drawing. Students are taught how to create images on lithographic stones, aluminum plates, and photolithography plates. The goal is for students to develop a series of personal images that emphasize the graphic potential inherent in lithography. Individual and group critiques challenge students’ methods and ideas while aiming to improve their skills.

Credits: 3

Woodcutting is the oldest printmaking technique and considered the most direct of the printmaking processes. Using wood and linoleum, students learn the varied techniques of relief printmaking. They explore a variety of carving methods, print by hand and on press, and register multiple-layer prints. Reduction, multiblock techniques, color, and digital techniques are covered. Experimentation and combining approaches are encouraged.

Credits: 3

Screen printing, also known as serigraphy, is valued for its versatility, ease of working on a large scale, quality of color, and ability to integrate hand-drawn, photographic, and digital imagery. In this course, students learn a variety of techniques for creating layered images on paper, fabric, and other surfaces. They are challenged to create expressive works in new ways, bringing complexity, depth, and refinement to their imagery.

Credits: 3

Papermaking is a particularly flexible and adaptable medium that blends aspects of printmaking, painting, and sculpture. In this course, paper is explored in both its flat, two-dimensional aspect and as a three-dimensional sculptural object. Students learn how paper is made by viewing demonstrations of pulping, dying, pressing, pouring, casting, and spraying paper pulp.

Credits: 3

Explores the use of printmaking and drawing techniques to create unique works while allowing experimentation and a more open adaptation of printmaking. Students are introduced to such techniques as monotype, stencil, photo transfer, collage, collograph, chine collé, and embossing. Assignments help students develop the ability to use drawing and printmaking as tools for inquiry and studio experimentation.

Credits: 3

From Rembrandt to Kiki Smith, artists have used intaglio processes to generate marks ranging from the precise and detailed to the physical and expressive. Students explore such techniques as engraving, etching, aquatint, drypoint, and photo transfer. Independent projects, demonstrations, and critiques guide students toward creating a body of prints that deploy these various media to shape their creative ideas.

Credits: 3

In this survey of the historical significance of printmaking, the focus is on understanding the history of print media and its influence on culture in Europe, Asia, and the New World. Students explore both the history of printmaking and its intertwined relationship to the history of art. Of prime concern are the unique and distinct characteristics of each printmaking process.

Credits: 3

Students explore ways in which print media can be integrated with time-based (4-D) media and animation. Using the cross-disciplinary potential of printmaking and its inclination toward variation, alteration, and seriality as a starting point, students learn methods of analog and digital animation to make works that move their ideas to the dynamic, temporal space that 4-D media occupies.

Credits: 3

PREREQ: VIS1070

An intensive, weeklong off-campus course that takes place on the occasion of a professional conference or residency offered at different national or international locales each year. With the goal of providing professional opportunities and meaningful connections to the broader printmaking/art community, students participate in the full scope of events available: demonstrations, lectures, panel discussions, portfolio exchanges, and exhibitions.

Credits: 1

Digital tools offer ways of making between image and object, lens and plate, screen and paper. Expanding their skills, students translate work into digital print forms. Technical skills include wide-format printing and hybrid printmaking techniques employing laser engraver, vinyl cutter, CNC router, and 3-D printers to produce works or matrices for traditional relief, intaglio, and screen printing.

Credits: 3

Gain skills in imaging and prepress software used by professionals in print media and create a body of large-scale digital drawings that use advanced techniques in retouching, color management, selections, masking, layers, channels and separations and working with duotone/tritone/halftones, 4-color processes. We will study the history and contemporary practice of photomechanical and digital printmaking.

Credits: 3

PREREQ: VIS1070

The field of printmaking is an ongoing negotiation between artists and historic processes, commercial technologies, and social structures. Weekly topics—the multiple, the copy, aura, simulacra, repetition, mechanical reproduction, the human touch, technical or historical determinism, chance operations, process art, the image, appropriation, and sampling—are coupled with studio research to explore how concepts from contemporary art intersect with printmaking.

Credits: 3

In this continuation of PRT 2250, students are required to produce a body of work using a variety of papermaking techniques, in consultation with the instructor.

Credits: 3

PREREQ: PRT2250

In preparation for the professional world, students are exposed to contemporary practices in printmaking and to the New York art world through visits to museum study rooms, artists’ studios, print workshops, publishers, artists’ collectives, and other venues. Topics include portfolio development, résumé writing, artists’ statements, applying for grants, project proposals, and looking at ways that one’s work overlaps and intersects with the larger context of printmaking and contemporary art. Student-funded travel required.

Credits: 3

Printmaking, interdisciplinary, and BS visual arts majors engage in advanced study of print media. They work independently and cooperatively on projects with the goal of making discoveries, refining skills, and sharpening their expressive voice using printmaking processes. Through the framework of a selected theme, each student produces a body of print-based work, conducts research, gives presentations, and participates in discussions and critiques.

Credits: 3

PREREQ: (PRT2320 And PRT2225 ) Or (PRT2320 And PRT2240 ) Or (PRT2320 And PRT2230 ) Or (PRT2225 And PRT2240 ) Or (PRT2240 And PRT2230 ) Or (PRT2225 And PRT2230 )

Games, Props, Souvenirs, Posters, Costumes, Packages, Sets, etc. This class uses a broad interpretation of performance to include prints that are made to serve a function beyond solely hanging on a wall. Considering printmaking’s utilitarian history students will make prints that “do things.” Relevant historic and contemporary artists are introduced and projects develop students’ individual and collective interests.

Credits: 3

PREREQ: VIS1070

Continuation of Junior Studio I. Students work independently and cooperatively on projects to further refine their skills and expressive voice through the printmaking process. Through the framework of a selected theme, each student produces a cohesive body work. Critiques, discussions, and field trips enrich the class experience.

Credits: 3

PREREQ: (PRT2320 And PRT2225 ) Or (PRT2320 And PRT2240 ) Or (PRT2320 And PRT2230 ) Or (PRT2225 And PRT2240 ) Or (PRT2240 And PRT2230 ) Or (PRT2225 And PRT2230 )

Explores large-scale and monumental works that expand the definition of printmaking. Such projects as installations, interventions, and site-specific works are made within the framework of print-based concepts and methods. Students are introduced to oversize printing techniques, repeat imagery for large-scale works, and unconventional printing surfaces.

Credits: 3

PREREQ: VIS1070 And (PRT2320 Or PRT2225 Or PRT2240 Or PRT2230 )

Covers the traditional methods of Japanese water-based woodblock prints, known for their subtle tonal variations, blending of colors, and color intensity. All aspects of the process are covered, including proper care and use of the carving tools, preparing and carving wood blocks, hand-printing using the baren, Japanese papers, water-based pigments, and the kento registration system.

Credits: 3

An extensive study of a particular topic or technique in printmaking. Topics vary each semester.

Credits: 3

Monotype is a bridge between painting and printmaking. Students use brushes, paints, inks, rollers, and drawing implements to create unique prints from a Plexiglas or metal plate. The nature of the process allows students the freedom to work in a direct, spontaneous manner leading to gestural images and textured surfaces.

Credits: 3

An exploration of the numerous processes that form a bridge between painting and printmaking. This course begins with the basic monotype on paper through brushes, rollers, plates, and basic ink chemistry. The toolkit is then expanded to include stencil, collage, inkjet, and mixed media techniques on paper, panel, and canvas.

Credits: 3

Focuses on the development of the student’s narrative voice through word and image. Students learn basic bookbinding with an emphasis on development of a subject matter and ways of storytelling. Rhythm and timing are examined as components of narrative structure. Unique works, small editions, and collaborative projects are made, using media chosen by each student.

Credits: 3

With the dual goal of developing content while pushing to the boundary of the medium, students learn to use experimental structures and a variety of media in the making of their own artist’s book. Experience is gained in book forms ranging in scale from intimate to grand, and with making sculptural books and books as installation.

Credits: 3

The artist’s book is a time-based medium that occupies three-dimensional space. In this course, students learn how to approach the structured use of time in the book form and incorporate book structures and image-making techniques in their own content for artists’ books. Bookbinding demonstrations, critiques, readings, and field trips are important components of the course.

Credits: 3

Students gain technical professional experience by helping provide a safe and well-functioning studio environment for their fellow students. Studio assistants are expected to have advanced standing in their media area and a thorough understanding of current professional practices. Duties include basic maintenance and demonstrations of equipment, independent or group tutorials and workshops, weekly meetings, and other responsibilities assigned by the sponsoring instructional technician. A maximum of 4 credits in PRT 3950 (or a combined maximum of 6 credits in VIS 3998 and PRT 3950) may be applied toward the BFA.

Credits: 2

Continuation of PRT 2110 or PRT 2225. Students will experience and develop advanced skills in large format stone printing, plate lithography, color printing and special processes, including photomechanical reproduction and mixed media. The focus is on the development of a cohesive and complex body of work. Conceptual, technical, and aesthetic concerns are emphasized.

Credits: 3

PREREQ: VIS1070 And (PRT2110 Or PRT2225)

For students who have completed an introductory intaglio class and wish to continue to specialize in the medium. Opportunity is provided for advanced work in plate etching, color printing, mixed processes, and innovative processes using photomechanical and digital technologies. Focus is on the development of a cohesive and increasingly complex body of work. Conceptual, technical, and aesthetic concerns are emphasized.

Credits: 3

PREREQ: VIS1070 And (PRT2320 Or PRT2100 )

For students who have completed an introductory woodcut course and wish to continue to specialize in the medium. Opportunity is provided for advanced work in multiblock printing, color printing, mixed media, and innovative processes using digital technologies. The focus is on the development of a cohesive and increasingly complex body of work. Conceptual, technical, and aesthetic concerns are emphasized.

Credits: 3

PREREQ: VIS1070 And (PRT2230 Or PRT2130 )

For students who have completed an introductory course in screen printing and wish to continue to specialize in the medium. Opportunity is provided for advanced work and exploration of working in large-scale, color, and mixed media, and using different printing substrates. The focus is on the development of a cohesive and increasingly complex body of work. Conceptual, technical, and aesthetic concerns are emphasized.

Credits: 3

PREREQ: VIS1070 And (PRT2240 Or PRT2120 )

Students are challenged to contextualize their printmaking skills within contemporary conceptual practices. A series of weekly critical theory readings, seminars, and slide lectures introduces how printmaking today functions as an artistic strategy beyond the traditional boundaries of the medium. Studio assignments requiring advanced research follow in tandem with the critical issues explored.

Credits: 3

PREREQ: (PRT2320 And PRT2225 ) Or (PRT2320 And PRT2240 ) Or (PRT2320 And PRT2230 ) Or (PRT2225 And PRT2240 ) Or (PRT2240 And PRT2230 ) Or (PRT2225 And PRT2230 )

Covers practical knowledge to prepare students for a professional career in printmaking and the fine arts. Different aspects of a studio career are covered, including résumés, artists’ statements, documenting work, grants, residencies, artists’ taxes, exhibition planning, graduate school applications, and creating a Web presence. Students create a professional file, apply for grants and/or residencies, and conduct research on artistic opportunities.

Credits: 3