Course Title: Realise thematically connected prints

Part B: Course Detail

Teaching Period: Term1 2013

Course Code: VART5997

Course Title: Realise thematically connected prints

School: 340T Art

Campus: City Campus

Program: C5234 - Diploma of Visual Art

Course Contact : Jennifer Cabraja

Course Contact Phone: +61 3 9925 4472

Course Contact Email:TAFEArt@rmit.edu.au


Name and Contact Details of All Other Relevant Staff

Deborah Williams

deborah.williams@rmit.edu.au

ph +61 3 992514215  /  +61 3 99254030

Nominal Hours: 150

Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.

Pre-requisites and Co-requisites

None

Course Description

In this course you will gain a strong understanding of how to produce and present a thematically connected prints.


National Codes, Titles, Elements and Performance Criteria

National Element Code & Title:

VPAU031 Realise thematically connected prints

Element:

1. Prepare project work plan

Performance Criteria:

1.1 Identify components required to produce the concept design
1.2 Develop project timeline
1.3 Identify project planning constraints that may impact on meeting timeline
1.4 Identify potential sources of supply of resources
1.5 Cost project
1.6 Monitor and document project work flow consistent with the concept for the brief and with work plan

Element:

2. Determine, organise and maintain resources for a thematically connected prints

Performance Criteria:

2.1 Assess specific resource requirements which arise from the use of techniques and experimental approaches
2.2 Organise and maintain workspace and resource requirements in accordance with safety and other workplace requirements
2.3 Research and evaluate costs and potential sources of supply of print resources and other constraints which may impact on work

Element:

3. Realise thematically connected prints

Performance Criteria:

3.1 Realise the prints using techniques and media selected from research and experimentation to meet conceptual vision
3.2 Evaluate and respond to the potential for changes in the use of techniques and experimentation to meet the conceptual vision
3.3 Use safe working practices throughout the production of the prints

Element:

4. Present/exhibit prints

Performance Criteria:

4.1 Determine specific requirements for display/presentation of prints
4.2 Consider issues of presentation and take action accordingly
4.3 Prepare prints for display/presentation

Element:

5. Evaluate own work

Performance Criteria:

5.1 Seek and apply constructive criticism from others to improve own work
5.2 Evaluate own work against planned strategy for own artistic practice
5.3 Evaluate own work in the context of work by others in order to extend own practice
5.4 Adjust work processes and practice as necessary to improve technical and conceptual outcomes

Learning Outcomes


In this course, you learn through:
1. In-class activities:

  • lectures
  • teacher directed group activities/projects
  • class exercises to review discussions/lectures
  • peer teaching and class presentations
  • group discussion
  • class exercises to review discussions/lectures
  • studio work

2. Out-of-class activities include:

  • practical exercises
  • reading articles and excerpts
  • preparing for discussion
  • project work
  • independent research

You are expected to manage your learning and undertake an appropriate amount of out-of-class independent study and research and industry guests speak about professional practice.

In addition you will:

  • extend on your command of advanced techniques which is consistent with realising thematically connected prints.
  • extend your knowledge of tools & how they are used in printmaking.
  • extend on your research skills in order to realise their body of work
  • present and exhibit prints.
  • evaluate their own work.


Details of Learning Activities

In this course, you learn through:
1. In-class activities:
•teacher directed group activities/projects
•class exercises to review discussions/lectures
•peer teaching and class presentations
•group discussion
•class exercises to review discussions/lectures
•studio work

2. Out-of-class activities include:
•practical exercises
•reading articles and excerpts
•preparing for discussion
•project work
•independent research

You are expected to manage your learning and undertake an appropriate amount of out-of-class independent study and research and industry guests speak about professional practice.


Teaching Schedule

Project 2 Ongoing activities
individual tutorials

Week 1 Orientation Week   S3- 2.2
Week 2 Project 2 Object as Reference
General unit outline
Required materials for project 2
Discuss bulk copper options
Preparation/edges
Hard and soft ground
Etching bath
 		   S3 – 2.2, 3.3, 1.2, 1.3, 1.5

S2 – 1.4, 2.1
 
Week 3 Project 2 Object as Reference
Soft ground Aquatint demonstration
Etching bath use
 		   S2 – 2.2
S3 – 1.6, 3.3
 
Week 4 Project 2 Object as Reference
Process plate
Extension of aquatint using scrapers & burnishers
 		 Students will be
introduced to a range
of printmaking techniques
through workshops –
Multi plate colour etching
chine colle, hard & soft ground
sugar lift, aquatint, engraving

 		 S2 – 2.1, 2.4
S3 – 1.2, 2.3, 3.3
 
Week 5 Project 2 Object as Reference
Chine colle
Litho crayons
 		   S3 – 3.3
Week 6 Project 2 Object as Reference 2 plates Print registration demo & press training refresher Ongoing activities
Multi plate colour etching
chine colle, hard & soft ground
sugar lift, aquatint, engraving, tuché, Litho crayons, stencilling, monoprinting, relief intaglio
 		 S3 – 3.3
Week 7 Project 2 Object as Reference
Ongoing activities
 		   S2 – 1.1
S3 – 3.1, 3.2, 3.3
 
Week 8 Project 2 Object as Reference
Ongoing activities
 		   S3 – 3.1, 3.2, 3.3
Week 9 Project 2 Object as Reference
Extending the print;
Relief intaglio
 		   S3 – 3.1, 3.2, 3.3
Week 10 Project 2 Object as Reference
Extending the print; Monoprinting techniques
 		   S3 – 3.1, 3.2, 3.3
Week 11 Project 2 Object as Reference
Ongoing activities
 		   S3 – 3.3
Week 12 Project 2 Object as Reference
Print Room
Extending the print; stencilling techniques
 		   S2 – 1.2
S3 – 3.3
 
Week 13 Project 2 Ongoing activities
individual tutorials
 		   S3 – 3.3
Week 14 Project 2 Ongoing activities
individual tutorials
 		  
Week 15 Project 2 Ongoing activities
individual tutorials
 		   S3 – 3.3
Week 16 FOLIO PREPARATION Confirmation of general assessment criteria S2 – 2.3
S3 – 2.1
 


Learning Resources

Prescribed Texts

You will be required to have your materials purchased prior to the commencement of the project. Please refer to the materials list provided at enrolment
Art Almanac provides a comprehensive listing of galleries and exhibitions throughout Melbourne and regional Victoria however you should become familiar with the following print specific bodies:
• Print Room: NGV International, 180 St. Kilda Road
• Print Council of Australia: 42 Courtney Street, North Melbourne 3051:
ph. 9328 8991
• Australian Print Workshop: 210 Gertrude Street, Fitzroy 3065: ph. 9419 5466
• Firestation Print Studio: 2 Willis Street, Armadale 3143: ph. 9509 1782
• Peter Lancaster Press: 14 Eames Street, Brooklyn: ph. 9314 3036
• Port Jackson Press Australia:
Print Room: 59-61 Smith Street, Fitzroy 3066: ph. 9419 8988
All students have access to RMIT Library online and hardcopy resources, with the State Library being on RMIT’s doorstep.


References

Imprint’ quarterly publication of the Print Council of Australia.
Lambert, Susan, Print: art and technique, V&A Publications, London, 2001.
McCann, M., Artist Beware, Watson-Guptill, New York, 1979.
Petardi, A. Printmaking, London, 1959.
Grishin, Sasha, Australian Printmaking in the 1990s, Craftsman House, Sydney 1979
Whale, George., Digital printmaking, London : A. & C. Black, 2001.
Simmons, Rosemary., Dictionary of printmaking terms, London : A. & C. Black, 2002.
Ross and Romano The Complete printmaker New York, Free Press 1972
Westley, Anne. Relief printing London, Atc Black 2000
York, Emily. Magical secrets about aquatint : spit bite, sugar lift & other etched tones step-by-step San Francisco : Crown Point Press, c2008
Brooks, Catherine. Magical secrets about line etching & engraving : the step-by-step art of incised lines San Francisco : Crown Point Press, c2007
D'arcy Hughes, Ann & Vernon-Morris, Hebe The printmaking bible : the complete guide to materials and techniques San Francisco, Calif. : Chronicle Books, 2008
Leaf, Ruth Etching, engraving, and other intaglio printmaking techniques New York : Dover, 1984, c1976
Noyce, Richard. Printmaking at the edge. London : A. & C. Black, 2006
Watrous Madison, James. American printmaking: a century of American printmaking, 1880-1980 , Wis. : University of Wisconsin Press, 1984
http://www.brodskycenter.org/_pages/ARTISTS/smith2.html
www.crownpoint.com/
http://www.printeresting.org/
http://www.worldprintmakers.com/
http://tandempress.wisc.edu/artists.html


Other Resources

Printmaking supplies are available from the following:

• Melbourne Etching Supplies: 33A St David’s Street Fitzroy 3065 p. 9419 5666
• Neil Wallace: 44 – 46 Greaves Street Fitzroy 3065 p 9419 5949
• Magnani Papers: 40 Buckley Street, Footscray, VIC 3011. p: (03) 9689 5660 f: (03) 9689 5640 ..

Materials required:
•masking tape
•Stanley knife
•Apron
•Black permanent marker pen
•Rag Paper for editioning
•notebook
•Paint brushes
•Safety glasses
•Nitrile gloves

Please note: Students are required to supply their own personal protective equipment, i.e. apron, safety glasses, solvent resistant gloves, sturdy covered shoes. RMIT is in close proximity to a broad range of Melbourne galleries and cultural venues, and professional printmaking workshops and suppliers are also readily accessible.

You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.


Overview of Assessment

Assessment may incorporate a range of methods to assess performance and the application of essential underpinning knowledge and skills and might include:

  • Direct observation of printmaking in progress, including exploration of and experimentation with techniques
  • Written and/or oral questioning and discussion to assess knowledge and understanding and candidate’s intentions and work outcome
  • Third-party reports from experienced practitioners.
  • Completion of an art journal and/or portfolio including personal reflection and feedback from relevant others.
  • Produce a project work plan
  • Production of prints that are thematically connected and which demonstrate a highly developed command of the selected techniques
  • In depth knowledge of techniques, materials and tools and the ways they may be adapted & extended in printmaking

Assessment evidence will be via

  • Visual Diary
  • Folio
  • Observation of Performance
  • Presentation of work.


Assessment Tasks

To demonstrate competency in this course, you will need to complete the following pieces of assessment to a satisfactory standard. You will receive feedback on all assessment.


Assessment Tasks
Semester : 1

1. Object as Reference
Description: Completion of two resolved outcomes that will utilise some of the printmaking techniques demonstrated in classes. Your work will show an involvement to extend the technical processes used to make conceptually resolved prints.
There will be outcomes that show experimentation with monochromatic and multicolour prints.

Studio 2, & 3
There will be traditional and unique state outcomes.
An edition of your multi plate etching in multicolour at a minimum of 3 prints for traditional outcome.
An unique state of your multi plate etching in a monochromatic tonal range.
Unique states prints of your experimental plate. These will need to be printed throughout the semester and should be considered and resolved outcomes. There will be 2 resolved unique state print outcomes.

Studio 2
There will be traditional and unique state outcomes.
An edition of your multi plate etching in multicolour at a minimum of 3 prints for traditional outcome.
Unique states prints of your experimental plate. These will need to be printed throughout the semester and should be considered and resolved outcomes. There will be 2 resolved unique state print outcomes.

Students should note that preparatory work and experimental printing will be a major component of assessment.

We will be looking for engagement in the following:
• Evidence of research
• Evidence of experimentation and manipulation of processes
• Conceptual response to projects
• Technical proficiency
• Resolution of finished art work
• Presentation

Due date: End of semester
Semester: 1
Week: 18
2. Self directed Project
Description: A self-motivated and directed body of work spanning the semester.
Proposal, conceptual, visual, and technical research, completed allotment of preparatory drawings and experimental work.

Studio 2 - resolved works minimum 3 prints or a unique construction using the multiple.
Exchange Print portfolio – edition number and scale to be advised.

Studio 2 & 3 - resolved works minimum 6 prints or a substantial unique construction using the multiple.
Exchange Print portfolio – edition number and scale to be advised.

Students will be assessed via:
- written proposal,
- working studies
- work resulting from their written proposal
- the completion of the exchange portfolio
- and a visual diary
- observation of Performance
- Presentation of work

Your final work is expected to be cohesive, reflective and defining your particular interest. The work needs to represent evidence of a through investigation into philosophical and/or conceptual issues

Please note; Projects must reflect consistent interaction with tutors in the studio in order to be considered for assessment. All works must be sighted before assessment.

Due date: End of Semester
Semester: 2
Week: 18


Graded Mark Table
Grade

Outline

Grading

Criteria (see table below)


CHD

Competent with high distinction

80 - 100

Highly developed


CDI

Competent with distinction

70 - 79

Well developed


CC

Competent with credit

60 - 69

Developed


CAG

Competent achieved - graded

50 - 59

Sound


NYC

Not Yet Competent

 

 


DNS

Did not submit for assessment


Assessment Matrix

Course Overview: Access Course Overview