Division of Creative Industries

BTEC Level 3 Extended Diploma: Art & Design – Year 2

Assignment title PrintmakingUnit 81 Printmaking

Project start dateFormative assessment

Deadline

8/09/20178/12/201713/02/2018

Tutors Martyn Jones m.jones@merthyr.ac.ukStaffroom 41901685 726173

Rationale

During the second year of your BTEC Extended Diploma you will experiment, explore and develop a range of skills, working with a variety of printmaking techniques and processes. You will research examples of both historic and contemporary prints working from primary and secondary sources.

Your work will explore printmaking processes such as dry-point intaglio, collograph, and screen-printing. You will also have the opportunities to experiment with planographic and mono-print. From one of these disciplines you will produce a small edition of prints.

For the final part of this module you will be plan and design a print based on a specific theme for a client.

Learning outcomesOn completion of this unit a learner should:

1 Know about the historical and contemporary context in which printmaking processes have developed2 Be able to use source material for development through printmaking processes3 Be able to use materials, techniques and processes in printed images4 Be able to develop finished printmaking work.

Printmaking Studio – Health and Safety InductionDuring induction you will be introduced to health and safety in the print studio and the risks you will need to consider whilst using specialist equipment and printmaking materials. Some of these risks you will need to made aware of include: Personal Injury Damage to personal health Hazardous substances Hazardous equipment General rules of safe studio practice

Task 1 - ‘Metropolis’Visual Journal ResearchUnit 81: P1/P2/M1/M2/D1/D2

Your visual journal will include artist research from a variety of historic and contemporary printmaking practitioners. For each printmaking assignment you will be given a list of relevant artists to research. Your research will also include evidence of a field trip or gallery visit.You will also need to record the various stages of each printmaking discipline you complete. This will be evidenced by detailed notes and photographs.

Task 1 - ‘Metropolis’Litho transfer print Unit 81: P1/P2/M1/M2/D1/D2

Litho transfer print from laser copyUrban landscape

Photocopy images of artists work which incorporate urban or architectural shapes and forms. Cut up your photocopied images into interesting fragments. Reassemble your fragments into an interesting composition as a basis for producing a litho transfer print.

Print process

Soak the photocopied fragments in acetone using a clean paintbrush or shallow tray. Using the back of a wooden spoon or bamboo barren transfer your photocopied image face down onto your sheet

of paper. Experiment with applying various degrees of pressure to establish a successful transfer print.

Artist Research – Visual Journal

Escher, Michael Craig-Martin, Fernand Leger’s buildings, Urban Artwork Comic Books.You may also research additional artists and alternative images.

Task 2 ‘Metropolis’Print WorkshopDry-point Intaglio Unit 81: P3/P4/M3/M4/D3/D4

Description of the dry-point intaglio process:The distinguishing feature of intaglio printing is that ink is wiped on and off the plate leaving some ink trapped in incisions made in an otherwise smooth easily cleaned surface. [intaglio in Italian means carving]

Tasks :

Produce primary research by drawing and photographing man-made and architectural forms directly from observation. Make studies and take photographs of parts of buildings or man-made objects.

Select an interesting section of your primary drawing produced from architectural forms to transfer to your dry-point plate.

Prepare you plate by de-greasing and filing edges. Draw your composition onto your plate using an etching needle and roulette. Ink up your plate using the methods outlined below in order to produce your dry-point prin

How to dry-point:Conventionally a sharp steel point [the dry point needle] is used to scratch the drawing on to the plate by direct physical effort. The plate could be cardboard, plastic or a soft metal such as aluminium or zinc. No acid is used, hence the term dry point. However any means of making a mark is valid, such as: -

for positive mark making for reductive [erasing] mark makingnailetching scrapper burnisher with 3in1 oilsandpaper wet and dry abrasive with oilnail punch, screw drivers charcoal blockhammer and chisel wirewoolelectric engraver electric sander, polisherDremel Power-toolmetal fileold saw blades for multiple line engraving

The ink is held by the burr [the raised edge of the mark] as well as the incision. The burr is flattened significantly when the plate is first printed and so the image often loses its initial richness. The lines can be

re-enforced but this can risk a loss of spontaneity. Relying on physical effort alone to make the mark, means only relatively soft plate materials are suitable, perspex, tin, aluminium or zinc.

To prepare and print your dry-point intaglio

You will need to:

De-grease your plate with a rag and water and dry off. Bevel the plate taking off all sharp edges with a file. Your plate requires the plate edges to be filed to a

smooth 45% bevel. Further smooth off the rough marks of the file with a burnisher. Use a needle and roulette to draw onto your plate. The needle will give you a fine line which you can use

as both outline and crosshatch. The roulette will give you a textured or grainy surface. Prepare your paper by soaking. Your intaglio plate needs to be printed on to damp paper, which has the

flexibility to follow the incisions in the plate. Printing paper needs to be soaked for at least an hour before printing.

Blot your paper ensuring your paper is dampened with no surface water visible as this will form a barrier between ink and paper. Dry your paper between two sheets of blotting paper.

Ink up your plate with a card scraper or plastic push knife. Wipe the plate with scrim starting with a well-used piece and finishing with a relatively clean one. Finally wipe the plate with a square of tissue paper or newsprint. The faster and gentler the plate is

wiped the better. Set up the press by laying newsprint to protect the press at the bottom and place your plate face up and

centre with the width of the press. Place your printing paper with your image facing down using either tissue or newsprint to protect both

the blankets and the printing paper. Ensure the smooth felt blankets go next to the paper and the woollen swanskin blanket goes on top next

to the roller Run your first proof through the press and repeat the above process to produce an edition of prints. Dry your print by placing between two sheets of tissue paper weighed down by boards.

Artist Research – Visual Journal

Paul Noble, Giovanne Piranese, Michael Craig-Martin.You also have the opportunity to research additional artists and alternative images.

Task 3 ‘Metropolis’

Print WorkshopScreen-printing Unit 81: P3/P4/M3/M4/D3/D4

Prepare and produce a screen-print based on urban or man-made shapes

Tasks:

Begin by selecting several sections from your litho transfer print or dry-point intaglio using a window mount.

Go on to re-arrange your chosen sections and develop these into a final composition by painting directly onto tru-grain stencil.

Ensure that your painted surface is dense and opaque when exposed to UV light in order to print. Follow the guidelines for screen-printing below and include and document all your process in your visual

journal.

Power Point available (Please ask your tutor)

PREPARING AND DE-GREASING YOUR SCREEN It is essential to clean and degrease the screen mesh to achieve reproducible coating results. For new screens use Pregan A9 to manually degrease the screen. Pre Rinse both sides of the mesh with water. A pressure washer is recommended however a hose

with a dial setting will work too. Apply degreaser evenly across top of the screen and scrub both sides. Thoroughly rinse both sides with water from top to bottom with hose and a brush and dry. The screen is now ready for coating with photo-emulsion.PREPARING AND DE-GREASING YOUR STENCILTrue-grain stencil is clear and has two sides, one clear and one grainy side.Prepare your stencil sheet by de-greasing the surface you want towork on with Vim or a bathroom cream cleaner. You will need two separate sponges.Wet glass so your sheet adheres to the surfaceUse a sponge to clean the surface with de-greasing agentUse a separate clean sponge with water to complete de-greasing.PREPARING AND DE-GREASING YOUR STENCIL SHEET• Soak up excess water with a sheet of newsprint• Continue to dry off all excess water with newsprint ensuring both sides are dry.• Your stencil sheet is now ready for you to apply your imagePREPARING PHOTO-EMULSION FOR APPLICATION TO YOUR SCREENAZOCOL Z 1 is blue in colour and used for the production of high-quality, solvent and water resistant stencils. This needs to be mixed with Diazo-UV-polymer photo-emulsion which is a green powder. When mixed the photo-emulsion becomes ‘light sensitive’ and will turn green. Photo-emulsion will will need to be kept in a black sealed container. Green powder keep in a sealed cup, dry.Step 1: Wear protective gloves and decant half the photo-emulsion by pouring into a container.Step 2: Decant half the green powder and mix thoroughly. Bang the container and leave for 10 – 15minsCOATING THE SCREEN WITH PHOTO-EMULSION1.Pour evenly into coating trough2. Coat from bottom to top

3. Drag and coat print area evenly4. Wipe off excess with plastic knifeDRYING AND EXPOSING THE STENCIL TO UV LIGHT1. Place screen in drying cabinet2. Place image face up in light-box3. Place screen over image, lower lid turn on vacuum and expose image to UV light 2mins approx.EXPOSING YOUR IMAGESecure lid in exposure unit and turn vacuum on. Expose your image for approx. 120 secondsWASH OUTWash the screen with a hand held water or pressure gun. Dry with a sheet of newsprint or place in drying cabinet.In general, stencils made using AZOCOL Z 1 can easily be decoated withPREGASOL products. Use a PREGAN post-cleaner to remove any inkresidue or so-called ghost images which may remain on the screen afterdecoating. Trials are essential as the type of residue may vary.SETTING UP FOR PRINTSecure your screen to the print table with clamps. Place yourpaper on the bed so it is alligned with the screen.PRINT YOUR IMAGEUsing a palette knife spread a small quantity of ink evenly acrossthe top of your screen. Using a squeegee press down at a 45degree angle and pull squeegee towards yourself ensuring youmake contact with the screen bed and all your image is covered.

REGISTRATION OF PRINTWhen producing an edition of prints which employ a single colour place masking tape at the corner of your paper to register the print. When producing a multi-colour print, you will need to register each print by using a sheet of acetate to align each colour and to ensure proper registration.

Artist Research – Visual Journal Keith Haring,

Robert Rauschenberg,Joanne GreenbaumJean Michel Basquiat.

Task 4 ‘Metropolis’

Print WorkshopCollograph Unit 81: P3/P4/M3/M4/D3/D4

BTEC Unit 81 Collograph Print

Produce a Collograph Print based on urban or man-made shapes

The word collograph is an amalgamation of two words, collage and graphic. There are many ways to create a collograph plate.A collograph is any print off a fabricated plate, collaged out of any number of materials and glued together or left loose. Card is generally used as the support to make the background plate. All the materials used must be of a similar shallow depth (1-2 ml) and sharp metal objects should never be used because of significant risk of damage both to the press blankets and the press bed.If you are using PVA glue to adhere textured surfaces to the printing plate it must be allowed to dry thoroughly and can be sealed with shellac to prevent it becoming glued to the printing paper. The shellac is meths based and dries relatively fast. Once dry the plate is ready to ink up and print.

To prepare and produce your Relief Printed Collograph

You will need to:

Use a water based relief printing ink, selecting a colour of your own preference. Simply roll the plate with relief printing ink using a rubber roller. The roller can’t get ink into the gaps

between the raised parts of a textured surface. Apply the ink only to open, smooth or raised areas. Experiment with a variety of papers and different coloured inks to produce a range of interesting

collograph prints.

Artist Research – Visual Journal

Wael A. Sabour - ‘The Wall’Holly Taggart- Koslowski – who uses photo collographChakaia Booker – who uses chine colle and rubber on huge scaleMarylyn Dintenfass – who works with shaped plates made of thin plastic and drafting filmMax Ernst – who uses frottage and declomania

ASSESSMENT CRITERIA BTEC Level 3 Extended Diploma Art & Design

Assignment title Printmaking

Unit 81 Printmaking

P1: describe the historical and contemporary context in which printmaking processes have developed

P2: use source material for development through printmaking processes

P3: manipulate materials, techniques and processes in the production of printed images

P4: present and review finished printmaking work.

M1: present coherent findings on artists, printmakers, techniques and processes

M2: generate coherent research for development through traditional and non-traditional printmaking processes

M3: effectively manipulate media, materials, techniques and processes in the production of printed images

M4: effectively present and analyse finished printmaking work

D1: present informed findings on artists, printmakers, techniques and processes

D2: independently generate a comprehensive body of research, innovatively developing a set of printed images

D3: independently manipulate traditional and non-traditional media, materials, techniques and processes in the production of printed images

D4: engagingly present and evaluate finished printmaking work.