WEEK 5 _ Some INFO on Editioning + Timeline for Prints 2 & 3

We proofed all of your Still Life as Self Portrait blocks last class. Now is a good time to talk about different designations for prints.

There are several designations for proofs depending on what point in the process they were pulled and for what purpose. Here are a few that are relevant for you:

• State Proof (S/P) _ an early proof that shows developmental changes in a block before the final edition
• Trial Proof (T/P) _ early working proofs with experimental changes in color or wiping to visualize various effects
• Bon a tirer Proof (B.A.T.) _ French for "good too pull." This print is used by the printer as an example for the edition.
• Artist Proof (A/P) _ Common practice that 10% of an edition is reserved for the artist. These are identical to impressions from the edition but are not included against the edition count. 

Editioning (excerpted from Printmaking: A Complete Guide to Materials & Processes by Fick & Grabowski, p.31)

Creating the plate through various techniques, and developing and adjusting the image through proof printing, is the art of printmaking. Pulling an edition is the business of printmaking. 

There are a few "rules" to follow when editioning. Of course, rules are made to be broken, but unless there is a good reason for doing so, consider these conventions:

• Every print in an edition is made on the same type & size of paper.
• Paper is commonly torn rather than cut. 
• Paper deckles go to the right or bottom of the print.
• Borders on prints are equal on the top and sides and larger on the bottom, by about 1/16 to 1/2".
• Prints should be free of smudges and fingerprints - both front and back.
• Prints are signed with the proof designation or edition number, title, and artist's signature. Note that titles are optional. Leaving the title space empty implicitly means that the piece has no title. 

Example print showing locations for edition number, title, and signature. Prints are typically signed in pencil.

Print 2 Parameters & Timeline:

Critique for Print 2 is Wednesday, October 9

[Immediately following critique you will submit an "edition" of 5 prints* from your Still-Life as Self Portrait block.] 

Between now and Oct. 9 we will use most of our in-class time to work on the collaborative Get Out the Vote posters. This means that you'll need to come in outside of class to print your editions for Print #2. We will use a sign-up sheet to reserve time slots for out-of-class printing. I STRONGLY suggest that you print in pairs. Having an extra set of hands makes everything from printing to cleanup much easier. The minimum amount of time that you should reserve for printing is 2 hours. This allows enough time for setup, printing, and cleanup. You can't do much in an hour and if you rush you will make mistakes and make a mess. 

Do yourself a favor and prepare your paper for printing when you have a few extra minutes in class, that way, when you come in to print you don't have to spend time on that step. 

Here's a link to our signup sheet: https://docs.google.com/spreadsheets/d/15w5CX13p2AW1eyVe1ddGUWxjsn-s8IDiWOdBJ0qa5W0/edit?usp=sharing

*[An edition is a set of nearly identical prints. I'm asking you to arrive at an edition of 5 which is a very low edition number in the printmaking world. You should expect to print at least twice as many prints as your desired edition and then select the best five from the group to edition. Because printmaking paper is expensive, you should make your first prints during any printing session on newsprint. We use newsprint until the block is fully inked and printing correctly, then we shift to the good paper for the actual prints.]

Print 3 Parameters & Timeline:

Formal Analysis = There's a Canvas Assignment for this exercise. Please scan and upload documentation of your formal analysis to Canvas by Thursday Sept. 26.

Today we transferred our designs to the large blocks and began carving. Please continue carving over the weekend. We will have some time to carve during class on Monday Sept. 30. I anticipate that we may have someone from the university present doing some video/photo documentation of the process that day.

I'd like to be able to seal and begin proofing the large blocks by Wednesday, 10/2. 

Monday 10/7 _ Class print session for Get Out the Vote blocks.

WEEK 3 _ Collaborative Poster Project

 

Posters for the People: Election Year

Today I gave a presentation about work created by artists employed by the Federal Art Project under Roosevelt's Works Progress Administration. After a careful study of the themes, tone, and design of the example posters provided in the slide presentation, each group will design and print their own poster that addresses voter info/awareness. Think: “Get out the Vote”.

Early steps (together): 

We did this in class as groups today.

• Define “non-partisan”.
• Identify some goals. What would you like your poster to communicate/accomplish?
• List key pieces of information that your poster should include. Briefly discuss them in terms of priority/hierarchy.
• Brainstorm some imagery/visual ideas. (The design process will be “iterative.” Come up with a variety of ideas > then think of several visual representations/solutions for each.)
• Note any questions or concerns that you may have. 

 

Early steps (individually): 

  

Complete the following Formal Analysis Exercise by Wednesday, Sept. 18

 

 

1. Choose one of the posters from the CANVAS folder located under:

Files> Print 3 _ Posters for the People > Posters Options for Formal Analysis  

Select an option that you find particularly compelling from a FORMAL standpoint.

 

2.  Using the provided handouts for guidance/refresher, conduct a formal analysis of your selection. Your analysis should combine written descriptions that employ specific, appropriate vocabulary with sketches that illuminate your observations. The goal is to carefully observe and describe how the design “works” formally, and consequently how these decisions create impact and meaning. Do this on a single sheet of 9x12” paper. 

Here are a few student examples of this exercise:

WEEK 2 _ Print 1 submissions / Print 2 Prompt

Print #1 _ Submission

Today we printed our Exquisite Corpse blocks in lots of fun configurations. You should have also printed your own blocks as single image at least once. 

You will scan your print (when it's dry to the touch) and submit documentation of the print to the Project 1 Canvas Assignment. 

File specs: 150dpi, 1500 pixels on the longest dimension, .jpg

PRINT #2 _ “Still-life as Self Portrait”

(refer to in-class presentation on contextual examples relating to this prompt)

Stage 1 _ DESIGN

1.) Make a minimum of two different designs in response to this prompt. Your designs should employ a grayscale with a minimum of 3 values. Remember that to achieve grayscale in block print you must use "optical grays" (i.e. cross-hatching, cross contour, stippling).

Materials:
- Format = 8 x 10" picture plane drawn (within the 9 x 12" paper provided)
- sharpie

HW:  2 drawings (different compositional options), DUE Weds., Sept. 11 at the beginning of class.