During the first week of class, each Advanced student presents prints, slides or photos of previous work so that the student can plan with the instructor a course of study for the term. The formation of a strategy for the term can be helped by opening up the discussion to fellow Advanced students as well (one of the advantages of SACI – having students coming from different schools, backgrounds, and experiences). Group and individual critiques are an intrinsic part of this course. At the end of the term, Advanced students are required to present a portfolio with state proofs, finalized prints, and work demonstrating proficiency in a variety of techniques.

The potential and relationship of each technique to visual and content ideas, as well as the ways in which the techniques may be combined will be an important criteria for the Advanced students to pursue. Sometimes “Advanced” seems to imply a continuous sophistication and research in terms of technique. But it is in the ability to make appropriate choices of technique in relation to idea where the real challenges lay. Too often the Advanced student assumes that more sophisticated, complex procedures are the answer, when a simple dry-point approach may actually be the best solution. While professional practice in proofing and printing continues to be emphasized, printmaking will be presented not only as a reproductive process, but also as a medium of tremendous expressive potential in its own right. The connection between etching and other media (drawing, painting, sculpture) will also be examined.

Monotype printing will be the initial technique that will acquaint the advanced student with the print studio and shop practice, along with being an expedient method for developing image ideas (in that language) early on.

Graduate Students

Students in MFA, MA, and Post-Bac programs are expected to complete additional assignments and to produce work at a level appropriate for students in a graduate program. They are graded accordingly and, if they successfully complete all course requirements for graduate students, receive graduate-level credit for the course.

A Reflection on Subject Matter Through the Use of Drawing

Acknowledging the use of drawing is of most importance as a base for developing your ideas in printmaking.

Knowing to observe gives a better capability to judge than knowing how to draw even though the use of drawing, still drawing, doodling, or creating "materia" to enrich surfaces with different techniques adds value to the process that printmaking requires.

“The map is not the territory, each of us designs different maps of the same territory. Through human history in time maps are created by moment in moment, on the basis of our level of attention, of our needs and motivations.” (Di Napoli)

"To each way of thinking corresponds a way of seeing.” (Di Napoli)

That is why the use of the sketchbook is a must and it will be a subject of constructive group discussion during class time. It will be of great help for students for developing of their own ideas that would help translate them into the plates.

It is of the utmost importance to give due consideration as to the subject-matter you will be working with during the course at SACI. The investigation of the subject matter doesn’t necessarily imply an intellectual approach. The investigation may be a sensorial (of the senses) one.

Visiting Museums and On-Site Locations

During the course we will visit some of these places to enrich students' projects:

· Fondazione Marino Marini in Pistoia

· Museo Marino Marini in Florence

· Morandi Museum in Bologna

· Boboli Gardens in Florence

Sketches, watercolors and other sources will be accumulated on-site.

Fieldtrips are subject to change due to weather conditions.

Schedule

Materials for Etching

General Safety in the Printmaking Area

The following health and safety guidelines have been prepared for students and instructors using the printmaking area. Please read the rules carefully. Your full cooperation is necessary in order insure your own safety and that of others. Keeping the printmaking area clean and organized prevents unnecessary hazards, and keeps the printmaking equipment in good working order.

· Wear appropriate clothing. Wear the gloves and aprons supplied by SACI when you use solvents, acids, chemicals.

· Wear enclosed footwear at all times. Sandals, flip-flops or bare feet are not acceptable alternatives.

· Tie back or cover hair when using printmaking equipment.

· Never work alone.

· Always wear appropriate personal protection when required.

· Never use printmaking equipment until you have had adequate instruction.

· Never use printmaking equipment under the influence of any drug or alcohol.

· Never eat, drink or smoke in the printmaking area.

· Reseal containers after use. Do not muddle them up or put a substance in an incorrectly labelled container.

· Always clean up after yourself.

· Do not put any liquids in the sink except for water.

· Wear a protective mask when you use the acquatint box.

· Do not block emergency exits

· Ensure you have enough room to work safely

· 15 minutes before class ends, all students should begin to put things away and clean up the work area. This includes putting away plates and other equipment.

Spills, Slips, and Falls

You can reduce the risk of slips and falls by

· Wearing appropriate footwear

· Cleaning up any spills (report any spills to the instructor)

· Making sure computer cords don't run across aisles

First-Aid Kit

There is a first-aid kit inside the printmaking studio.