| CODE | ART2206 | ||||||||||||||||
| TITLE | Print Making | ||||||||||||||||
| UM LEVEL | 02 - Years 2, 3 in Modular Undergraduate Course | ||||||||||||||||
| MQF LEVEL | Not Applicable | ||||||||||||||||
| ECTS CREDITS | 4 | ||||||||||||||||
| DEPARTMENT | Art and Art History | ||||||||||||||||
| DESCRIPTION | This study-unit introduces the students to the principles and characteristics of different printing techniques. Students work from drawings to create different types of prints: drypoint, etching and so on. Students learn how to use acids to etch copper plates and the etching press in the creation of editions of prints. Students learn the difficulties and challenges involved in working in this medium and how to circumvent these difficulties. Study-unit Aims: Through the Intaglio study-unit, each student will become acquainted with three fundamental aspects of what constitutes an original intaglio print. The first aspect is linguistic and conceptual, while the second concerns the elaborate technique, with the third centering on ethics. It takes sound knowledge of all these fundamental principles to produce a good intaglio print. Throughout the unit students will be learning these three principles through different intaglio techniques, namely: • Dry point, in which an image is incised into a plate with a hard-pointed needle of a sharp metal or a diamond point; • Traditional etching, whereby a metal (usually copper, zinc or steel) plate is covered with a waxy, acid-resistant ground. The artist then scratches into the ground with a pointed etching needle, causing a line to appear in the finished piece, in this manner exposing the bare metal. The metal is then etched using a mordant: an acid – as a result of which the latter would bite into the exposed metal, creating a groove where the ink will be deposited for printing; • Aquatint, an intaglio printmaking technique that is a variant of etching. This technique resembles watercolour and is carried out by utilising resin and varnish to produce areas of tonal shading. Among the aims of this unit is to impart to students a solid, hands-on knowledge of these three techniques, and their respective and separate different procedures. These include: • preparing the plate; • drawing onto the plate; • etching the plate (not applicable for dry point); • printing. Students will have the opportunity to work on various different plates, which will vary in scope. The practical sessions of this unit are intended for the participants to exercise and hone the following key artistic capabilities: • conducting accurate tests of the mordant and etching times; • drawing transfers; • spontaneity; • interpretation; • elegance; • experimental work. Learning Outcomes: 1. Knowledge & Understanding By the end of this study unit, students will have acquired a portfolio of new works in the graphic medium. Students will also be able to plan, organise and execute a print from begging to end, working autonomously and cautiously in the printmaking studio in a safe work environment. When planning their editions, students will be introduced to the fundamental ethical aspect of printmaking. Since fine art prints are often produced in multiples, there are some important issues to be taken into consideration. Among these issues is the printmaker’s signature and documentation of every “impression” or print he has produced, since these series of “impressions” generally form part of an edition. Signing and numbering all the proofs and the edition accordingly will be taken very seriously throughout the entire unit, including the signing and printing of the cancelled plate. This stage will also deal with terminology used in proofs. The full intaglio process dealt with here will entail proofing, reworking on plates, colour proofs, artist’s proofs, BAT (bon à tirer), and the printing of the edition, followed by correct signing and numbering of the edition, as well as the biffatura – or cancellation or of the plate. By the end of the unit, the students concerned will be asked to present two editions of their works, completed during the unit sessions. 2. Skills By the end of the study-unit, students will have mastered the following achievements: • Learning the basic skills necessary for controlling and developing imagery through the various stages of the intaglio print production; • Knowledge for developing critical awareness of one’s own works; • Ability to apply anti-acid resist on a copper plate, utilise the etching needle, etch the plate and use mordant; • Careful analysis of the etch; • Producing the proofs, and handling of paper and ink; • Setting the printing press and laying the blankets with care throughout; • Knowledge and exercise of ink mixing and wiping techniques; • Full understanding of what an edition is and what the various proofs stand for; • Confidence in print registration and paper choice; • Sound acquisition of studio practice and understanding of all relevant health and safety considerations. Main Text/s and any supplementary readings: - Walter Chamberlain, Manual of Etching and Engraving, Thames & Hudson, London, 1972. - Nicholas Bristow, Screen Printing - Design and Technique, Bt Batsford, 1970. - Francis Kafra, Linoleum Block Printing, Library of Congress, New York 1972. |
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| ADDITIONAL NOTES | This study-unit is offered to History of Art with Fine Arts students only. | ||||||||||||||||
| STUDY-UNIT TYPE | Practical | ||||||||||||||||
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| LECTURER/S | Jesmond Vassallo |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2025/6. It may be subject to change in subsequent years. |
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