Filtering by: Printmaking
Jessica Peterson
PRINT 603 001
1 credit hour
Lab $50
A book is an intimate object that can be alluring and surprising. A book structure brings together bookbinding techniques, ideas, and form. As we contemplate our ideas we will investigate several bookbinding structures and how to use various tools, adhesives, cloth and create unusual papers. Students will also learn how to paper back cloth and manipulate difficult paper, as well as several binding techniques, including pamphlet, Japanese stab, accordion, and coptic.
Isak Applin and David Wolfe
PRINT 619 001
1 credit hour
Lab Fee $50
Students enrolled in Image and Word explore several woodcut, hand printing, typesetting and letterpress techniques. The class emphasizes the sequential and narrative properties of the relief printing process. Through presentations and critiques, the course of study examine how the physical qualities of the paper, image, text and binding can influence narration, pacing, rhythm, and meaning. The class also investigates the role of traditional printing in contemporary image making. Studio projects may include the creation and editioning of broadsides, sets of prints, or pamphlets.
Mark Pascale
PRINT 635 002
1 credit hour
Lab Fee $50
This class will be offered in a two-week sequence and give the beginner and/or more advanced artist the chance to learn the traditional lithographic technique in week one. Week two we will introduce the photo plate using analog methods or digitally manipulated photo positives. Emphasis will be placed on understanding how to make a lithograph both in editions and as unique variants. Demonstrations will be given for the preparation of matrices, color mixing and modifying inks as necessary, as well as more advanced drawing techniques as required by participants’ needs and interests. Historical examples from the collection of The Art Institute of Chicago will be discussed in presentations aimed at enhancing participants’ aesthetic point of view.
Mark Pascale
PRINT 637 001
3 credit hours
Lab Fee $100 (2 weeks)
This class will be offered in a two-week sequence and give the beginner and/or more advanced artist the chance to learn the traditional lithographic technique in week one. Week two we will introduce the photo plate using analog methods or digitally manipulated photo positives. Emphasis will be placed on understanding how to make a lithograph both in editions and as unique variants. Demonstrations will be given for the preparation of matrices, color mixing and modifying inks as necessary, as well as more advanced drawing techniques as required by participants’ needs and interests. Historical examples from the collection of The Art Institute of Chicago will be discussed in presentations aimed at enhancing participants’ aesthetic point of view.
Mark Pascale
PRINT 635 001
1 credit hour
Lab Fee $50
This class will be offered in a two-week sequence and give the beginner and/or more advanced artist the chance to learn the traditional lithographic technique in week one. Week two we will introduce the photo plate using analog methods or digitally manipulated photo positives. Emphasis will be placed on understanding how to make a lithograph both in editions and as unique variants. Demonstrations will be given for the preparation of matrices, color mixing and modifying inks as necessary, as well as more advanced drawing techniques as required by participants’ needs and interests. Historical examples from the collection of The Art Institute of Chicago will be discussed in presentations aimed at enhancing participants’ aesthetic point of view.
Kristina Paabus
PRINT 609 001
1 credit hour
Lab Fee $50
This course will present a variety of oil and water-based monotype techniques including chine colle, multiple plate or block printing, image transfers, and over-printing. Monotype is a versatile process that can be performed in the landscape as well as in the studio. Painters as well as printmakers will find this a dynamic new medium that is perfect for the home studio.
Jeanine Coupe-Ryding
PRINT 607 001
1 credit hour
Lab Fee $50
Woodcut printmaking offers a broad range of expressive possibilities, from abstract, minimal to intricately carved narrative. Combined with collage, participants will explore the power and potential of both media. Traditional processes such as hand drawn design and carving will be combined with xerox transfer, stencil and chine colle. Students will be encouraged to explore photo, found and collage imagery. Various approaches to these processes will be shown through slides, books and actual artwork. All processes can be done at home and are non-toxic.
Lauren Anderson and Geoffrey Hamerlinck
PRINT 611 001
3 credit hours
Lab Fee $100
In this course, students will acquire technical proficiency in various hand and photographic stencil printing methods. Individual exploration and development in the medium will be encouraged and supported by individual instruction and group critiques. Emphasis will be placed on unique prints created by layering, stencil repositioning, and combining hand mark-making with photographic and found imagery. Collaboration will be encouraged.
Alex Chitty
PRINT 634 002
1 credit hour
Lab Fee $100
1 week
This multi-level course teaches intaglio techniques that mimic the marks of the pencil and brush. By using sugarlift, spitbite, whiteground, drypoint, softground, and multi-plate printing techniques students will learn to make prints that directly translate their personal style of drawing or painting. Emphasis is also placed on specific color mixing and careful paper choice. Slide lectures and examples will be used to illustrate this approach.
Alex Chitty
PRINT 636 001
3 credit hours
Lab Fee $100
2 week
This 2-week multi-level course teaches intaglio techniques that mimic the marks of the pencil and brush. By using sugarlift, spitbite, whiteground, drypoint, softground, and multi-plate printing techniques students will learn to make prints that directly translate their personal style of drawing or painting. Emphasis is also placed on specific color mixing and careful paper choice. Slide lectures and examples will be used to illustrate this approach.
Alex Chitty
PRINT 634 001
1 credit hour
Lab Fee $100
1 week
This multi-level course teaches intaglio techniques that mimic the marks of the pencil and brush. By using sugarlift, spitbite, whiteground, drypoint, softground, and multi-plate printing techniques students will learn to make prints that directly translate their personal style of drawing or painting. Emphasis is also placed on specific color mixing and careful paper choice. Slide lectures and examples will be used to illustrate this approach.
Thomas Lucas and Paul Andrew Wandless
CER 637 001/PRINT 633 001
3 credit hours
Lab Fee $150
Printmaking is a process of transferring images, text and photographs from one place to another. Traditional printmaking techniques use inked plates, presses and fabric stretched on to a frame in the case of screenprinting. This course will experiment with printing images on clay by hand using a range of techniques including screenprinting, relief and lithography. Utilizing simple tools to transfer images will allow for the creation of tiles, vessels and sculpture. Use different clay slips, stains, and modified underglaze and glazes on mainly low-temp clay bodies with the firing done in electric kilns and Raku. Expect a wide range of images, texture, pattern, and color.
Paula Wilson and Dana Carter
PRINT 628 001
3 credit hours
Lab Fee $100
Through an embrace of printmaking's inevitable mishaps and slips, this class explores the power of the happy accident. Creating a spring-board for serendipitous mark making; a range of experimental techniques including paper lithography, open screen printing, and ghost imaging, are demonstrated. Recognition of traditional techniques open the door to nontraditional works in an effort to understand the role of printmaking's analog pace in comparison to today's digital reality. Exploring the detachment between the hand and the press, students are encouraged to invent their own print-based processes. Discussion of relevant artists' practices take place daily in tandem with technical lessons, studio time, short readings, and individual critiques.
