Printmaking: Silkscreen and Relief

Instance: 2019/2020 - 1S

Cycles of Study/Courses

Teaching language

Objectives

Solid learning of the methods that assist a workshop production of original graphic work through the techniques of relief and permeography, with workshop on the most relevant historical procedures (woodcut, linocut, silk-screen).

Students broaden the understanding of the boundaries of self-publishing and its technological resources of production, whether within an individual practice, whether as formal, technological resources or as elements of a critical language. Students acquire a technological decision-making capacity for the correct implementation of artistic ideas, and presentation to specialists and the general public.

Students develop experimental and research practices based on the updating of the printing processes historically employed in original fine art  contexts. The variety of research and implementation strategies -technological experiments, artistic experimentation, manuals-provides an officinal consolidation of a spectrum of graphic procedures. Students acquire the methodological skills related to the workshop practice in order to broaden their own technical repertoire and implement ideas of increasing complexity.

Students understand how the experimentation and verification of the explicit and implicit mechanisms of the technologies to work, help to understand the historical, social and technical context of the printmaking in an expanded field. It is through practice that students understand the historical, social and technical context, they learn to respect the graphic traditions in their relation with the officinal production, in the sense of the efficiency of the results in an integrated way with the expressive practice and individual critical

Learning outcomes and competences

Working method

Program

.. Introduction to the basic technical hypotheses of printing in relief and serigraphy, from demonstrations and subsequent experimentation based on individual or collective essays.



Basic introductions to structuring technological principles. Identification of media and production supports related to creation contexts in engraving workshop.



Inks, inks and wipes papers and supports, presses, presses and other printing equipment. Printing procedures (the steps): preparation of matrices; preparation of paints; registration methods; inking tools; tests and drying methods.



Technical introduction to traditional engraving supports: paper.



Introduction to relief techniques: woodcut and linocut.



Drawing transfer techniques.



Recording techniques: dies and tools; notch techniques; manual and mechanical techniques. Preparation and maintenance of tools. Techniques with water-based and oil-based paints.



Subtractive and additive matrix techniques.



Small format printing and large format printing. Registration techniques. Manual and mechanical printing.



Single matrix techniques and multiple matrices. Clipping and fitting techniques.



Stencil techniques. Paper masks process, direct method. Photomechanical process. Mono printing processes.

Mandatory literature

Complementary Bibliography

Teaching methods and learning activities

Evaluation Type

Assessment Components

Amount of time allocated to each course unit

Eligibility for exams

Calculation formula of final grade

The evaluation focuses on the observation of the performance of each student against the objectives of the program and the result against the proposed exercises. These are inserted in:



Project with individual themes, accompanied by an appropriate documentary record.



Experimental tests kept in parallel with mandatory completion of a minimum of 5 printed works of small and / or medium format.



The following parameters are also considered:



Attendance and follow-up to all the organized demonstrations.



Ability to work and monetize available office space.



Involvement with the practice of Engraving in an experimental and workshop sense.



Acquisition of technical skills adequate to the production of original graphic work.



Originality and quality of the evidence produced.



Ability to contextualize and position the graphic production in the work itself as a contemporary artistic practice.