12/21/2024 8:12:33 AM	ART 24 Course Outline as of Fall 2001	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  ART 24	Title:  INTRO TO ART/PRINTS
Full Title:  Introduction to the Art of Prints
Last Reviewed:3/13/2023

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	2.00		17.5 max.	Lecture Scheduled	35.00
Minimum	1.50	Lab Scheduled	4.00		6 min.	Lab Scheduled	70.00
		Contact DHR	0			Contact DHR	0
		Contact Total	6.00			Contact Total	105.00
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  70.00

Total Student Learning Hours: 175.00

Title 5 Category:  AA Degree Applicable
Grading:  Grade or P/NP
Repeatability:  03 - May Be Taken for a Total of 3 Units
Also Listed As: 
Formerly: 

Catalog Description:

Introduction to studio in printmaking, techniques include: Cardboard relief prints, wood cut, etching, collagraph, monotype, embossing, and linoleum cut.

Prerequisites/Corequisites:

Recommended Preparation:
Course Completion of ART 7A

Limits on Enrollment:

Schedule of Classes Information
Description:

Introduction to studio in printmaking, techniques include: Cardboard relief prints, wood cut, etching, collagraph, monotype, embossing & linoleum cut.

(Grade or P/NP)
Prerequisites:
Recommended:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:03 - May Be Taken for a Total of 3 Units

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:
CID Descriptor: ARTS 220	Introduction to Printmaking	SRJC Equivalent Course(s): ART24

Certificate/Major Applicable: Certificate Applicable Course

COURSE CONTENT

Outcomes and Objectives:
At the conclusion of this course, the student should be able to:

A student will be expected to:

1.  Complete an image for every technique demonstrated in class.

2.  Prepare for this image by developing an idea through several stages

   of drawing before committing it to a permanent surface--thereby

   guaranteeing a satisfying final product.

3.  Improve one's sense of composition as the semester progresses,

   becoming more confident of divisions and weights within the working

   rectangle.

4.  Witness the possibilities of using a full range of value in the high

   contrast relief media and the potential for subtlety with intaglio

   processes.

5.  Retain information regarding the consecutive steps of each process

   discussed and the reasons for these steps.

6.  Grasp the basic methods for black and white printing well enough to

   eventually obtain several well printed impressions from each matrix.

7.  Understand the historical importance of printmaking as the precursor

   to photography and offset lithography and to be familiar enough with

   prints to be able to recognize them for what techniques they employ.

Topics and Scope

A student will:

1.  Explore the creative possibilities of various relief and intaglio

   printmaking techniques by making one matrix utilizing each.

2.  Experiment with different tools for developing each image.

3.  Observe the guidelines for properly printing each matrix, applying

   knowledge of inks, papers, press pressure, etc., as learned from

   in-class demonstration.

4.  Develop a basic vocabulary of print terms and their proper spellings.

5.  Recall a skeletal historical lineage of printmaking developments from

   slide lecture and handouts.

6.  Know how to properly sign and present works for the final critique.

   Flattening and matting of prints will be demonstrated.

7.  Expand upon ideas that may occur in other classes such as figure

   drawing or drafting by applying sketches of such subjects to print

   media.

Assignments:

1.  Linoleum cut (based on collaged rubbings).

2.  Wood cut (from single natural form (shell, rock, leaf, seed pod).

3.  Line etching (from section of a master's print).

4.  Aquatint (from view into or out of a window).

5.  Embossing (for greeting card-seasonal).

6.  Cardboard relief print (based on Persian miniature or rug pattern).

7.  Monotype (from sketches done outdoors-Spring Lake).

8.  Collograph (completely abstract and experimental).

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 0 - 0%
None
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments and skill demonstrations are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 10 - 30%
Homework problems
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 10 - 30%
Class performances
Exams: All forms of formal testing, other than skill performance exams.		Exams 0 - 0%
None
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 80 - 100%
A portfolio of completed work will be the primary basis for the grade. Other factors include attendance, effort, growth and class performance.

Representative Textbooks and Materials:

Wood Engraving by Heinrick Rumpel, Van Nostrand Reinhold Co.

Lithographic Prints from Stone and Plate, by Manly Bannister, Littlefield

The Complete Relief Print, by Clare Romano and John Ross

Etching and Engraving by Walter Chamberlain, Thames and Hudson

Printmaking Today, by Jules Heller, Holt Rinehart and Winston

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