SRJC Course Outlines

6/23/2024 11:38:10 PMART 24 Course Outline as of Fall 2001

Changed Course

Discipline and Nbr:  ART 24Title:  INTRO TO ART/PRINTS  
Full Title:  Introduction to the Art of Prints
Last Reviewed:3/13/2023

UnitsCourse Hours per Week Nbr of WeeksCourse Hours Total
Maximum3.00Lecture Scheduled2.0017.5 max.Lecture Scheduled35.00
Minimum1.50Lab Scheduled4.006 min.Lab Scheduled70.00
 Contact DHR0 Contact DHR0
 Contact Total6.00 Contact Total105.00
 Non-contact DHR0 Non-contact DHR Total0

 Total Out of Class Hours:  70.00Total 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: 

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


Recommended Preparation:
Course Completion of ART 7A

Limits on Enrollment:

Schedule of Classes Information
Description: Untitled document
Introduction to studio in printmaking, techniques include: Cardboard relief prints, wood cut, etching, collagraph, monotype, embossing & linoleum cut.
(Grade or P/NP)

Recommended:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:03 - May Be Taken for a Total of 3 Units


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

Certificate/Major Applicable: Certificate Applicable Course


Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
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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
4.  Witness the possibilities of using a full range of value in the high
   contrast relief media and the potential for subtlety with intaglio
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
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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

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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%
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%
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:
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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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