5/3/2024 9:33:10 PM	ART 28B Course Outline as of Fall 2005	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  ART 28B	Title:  INT ETCHING
Full Title:  Intermediate Etching
Last Reviewed:8/27/2018

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		2 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:  22 - 4 Times in any Comb of Levels
Also Listed As: 
Formerly: 

Catalog Description:

A course for the advanced printmaker emphasizing the etching process. Students may work in both black and white and color.

Prerequisites/Corequisites:
Course Completion of ART 28A

Recommended Preparation:
Course Completion of ART 7A

Limits on Enrollment:

Schedule of Classes Information
Description:

Continuation of beginning etching (Art 28A) with the addition of more advanced techniques for processing & printing of plates. Mixing & wiping of colored inks will accompany integrating advanced etching techniques to yield more personalized imagery.

(Grade or P/NP)
Prerequisites:Course Completion of ART 28A
Recommended:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:22 - 4 Times in any Comb of Levels

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:

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.  Understand personal preferences of drawing procedures and composi-

   tional tendencies - the evolution of style through a procedure or

   formula of steps.

2.  Select from the various possible stylistic approaches to subject

   matter and demonstrate some consistency throughout semester.

3.  Demonstrate retention of technical information and procedures.

4.  Exhibit increasing familiarity wtih printmaking history and innov-

   ations.

5.  Further an awareness of materials best suited to one's own working

   methods, such as plate resists, drawing tools, oils, papers,

   softground materials.

6.  Practic aesthetic criticism, both publicly and privately, and in so

   doing, continue to develop an informed personal point of view.

7.  Utilize and improve skills involved in presentation of work.

8.  Reveal an overall improved perspective of the possibilities inherent

   in the etching media available for use, an intelligence regarding the

   logical implementation of these possibilities.

Topics and Scope

A student will:

1.  Employ basic etching techniques of line etching, softground, drypoint

and aquatint and supplement these techniques with additional processes

of sugar lift, split-bite, engraving, mezzotint, openbite, crayon stop-

out and marbling.

2.  Further explore possibilities of change and improvement of image

structure by group criticism of stage color "proofs", prints of unfinished

plates in progress.

3.  Integrate new techniques with those learned in beginning etching.

4.  Further implement knowledge of ink qualities and wiping techniques.

Employ roller for improved color qualities.

5.  Discuss examples of superior work from print history during slide

lectures and gallery visits.  Begin to select individuals for whom one

has empathy and photocopy examples for one's own reference.

6.  Supplement knowledge of vocabulary terms by continued notation in

sketch/notebook.

7.  Intensify criticism of one's own compositional ideas by drawing on

proof and monotyping on wiped plates.  Group critiques will be conducted

every 3-5 weeks.

8.  Perform "draw-downs" and "tap-outs" on various papers to observe

color theory at work, witness color subtleties and comparative responses.

Assignments:

1.  A collograph, or collaged print from found materials and latex or

acrylic mediums, based upon a master's landscape painting or prehistoric

cave painting.

2.  Monotype from landscape sketch, still life or portrait sketch.

3.  Sugar lift drawing from newspaper photograph of media event.

4.  Softground and engraving project derived from ancient architectural

monuments.

5.  "Cubist" project from form figure drawing executed in wash and repro-

duced with various techniques including ruled line etch.

6.  A large plate (approx. 16" x 20") employing various techniques.

7.  Print 2 identical copies from each finished plate excepting one

(chosen by the student) from which 10 identical copies must be printed

to demonstrate printing abilities.

8.  A moderately short type-written biography on one of the following

innovative printmakers:  Durer, Seghers, Rembrandt, Goya, Hogarth,

Daumier, Lautrec, Kollwitz, Picasso, Hockney, Dine, or Rauschenberg.

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 30 - 40%
Homework problems, Lab reports
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 30 - 40%
Class performances, PORTFOLIO
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 75 - 90%
Other methods of evaluation: Short typewritten term paper, a portfolio of completed work will be major basis for grade. Attendance, effort, growth.

Representative Textbooks and Materials:

Etching and Engraving by Walter Chamberlain, Thames and Hudson

Prints of the 20th Century by Riva Chatelman, Oxford University Press

Prints and Printmaking by Ferdinando Salamon, American Heritage Press

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