This class will focus on the use of printing to gain knowledge on basic and experimental techniques, concepts and develop on the graphic visual language. The expansion of traditional formats, hybrid printing and experimental printing, will merge into a concept–process–display structure of projects throughout the quarter.
Previous basic printing skills are desirable.
CLASS STRUCTURE
The class consists of a balance among lectures, research and studio work. Classes will start with a lecture that gives an introduction to a contextual background, within the subject matter being worked at the section.
The students will also have studio work within the class hours in which they will are required to present four (4) projects during the quarter properly documented, one of them is a research project.
The class is divided in 3 main sections:
1. Scratch, tag & cuts
2. Monotype, unique prints
3. Hybrid printing / Final Project
ASSIGNMENTS
1.Scratch, tag & cuts (Introduction to the Etching Press, creating plates by leaving marks. Large-scale linocuts, woodcuts, dry point, parallel plate creation),
2.Monotype, unique prints (Drawing and Painting through the Press)
2b. Research Paper.
3.Hybrid printing (Flat Bed press, Hand Printed Process, Digital prints, Letterpress, an introduction on experimental printing processes)
WEEKLY SCHEDULE
Section I
Scratch, tag & cuts
Week 1
What this class is about. Syllabus interpretation.
Introduction to the Print lab and Etching Presses.
The overwhelming hugeness of our bodies; tagging as an expansion of myself.
From Altamira and Lascaux to Contemporary Urban Tagging and mark making.
Betsabe Romero, Banksy, Jean-Michel Basquiat, Anna Sigmond Gudmundsottir, Mark Manders
Week 2
The overwhelming hugeness of our bodies;
Expanding into modifications of our environment.
Translations of structures and dimensions.
The Line and Dot.
The structural visual elements “on Grid”.
Richard Wright, Sol LeWitt, Michael Craig Martin
Gabriel Orozco, Richard Long, Betsabe Romero, Crop circle formations, Nazca.
Week 3
The overwhelming hugeness of our bodies;
drawing with your body by removing matter.
Thomas Kilpper, Orit Hofshi, Barthélémy Toguo,
Kiki Smith, Antonio Frasconi, Christiane Baumgartner
Section II
Monotype and unique prints
Week 4
The body;
The ephemeral body preserved.
Printing outside off the press.
Scale and format advantages when working outside of the press.
Yves Klein, Vik Muniz, Betsabe Romero, Cai Guo-Qiang.
Week 5
The body;
The movement
*Theory of movement starting with Kandisnsky.
Jackson Pollock, Óscar Muñoz, Tromarama, Yves Klein, Damien Hirst.
Week 6
The body;
movement, against the machine.
Sol LeWitt, Casey Reas, Damien Hirst, Richard Serra.
Section III
Hybrid printing
Week 7
Artificial Architectures of expansion.
Large Scale Prints (stencils, hybrid masks)
Introduction to Digital Studio Work and use of alternative media.
Dan Perjovschi, Graffiti Research Lab, Ross Racine, Richard Wright, Michael Craig Martin, Paul Morrison, Regina Silveira.
Week 8
Artificial Architectures of expansion (The Resistance)
Mathew Barney, Cai Guo Quiang, Sol LeWitt, Rebecca Horn, Richard Serra, Miler Lagos, Mike and Doug Starn.
Week 9
Final Project Review.
Week 10
Final Critique.
Public Group Show
Recommended References:
Derrida, Jacques. Memoirs of the Blind: The Self-portrait and Other Ruins, University of Chicago Press, Chicago 1993 (Excerpt)
Dexter, Emma. Vitamin D: New Perspectives in Drawing. Phaidon, 2005
de Zegher, Catherine. Eva Hesse Drawing.Yale University Press, 2006
Kandinsky, Wassily. Concerning the Spiritual in Art. Courier Dover Publications, 1977 (Excerpt)
Kandinsky, Wassily. Point and line to plane Courier Dover Publications, 1979 (Excerpt)
Barry Ann Marie. Visual intelligence: perception, image, and manipulation in visual communication. SUNY Press, New York, 1997 (Excerpt)
Desolneux Agnès, From Gestalt Theory to Image Analysis: A Probabilistic Approach. Springer, 2007 (Excerpt)
Boundless Press
BOUNDLESS PRESS
(Expanding the edges through experimental printing)
Instructor: Alejandro Casazi.
casazi@gmail.com
www.casazi.com
Schedule:
Monday 5pm. – 9pm.
4 Units.
COURSE SYLLABUS
DESCRIPTION
This class will focus on the use of printing to gain knowledge on basic and experimental techniques, concepts and develop on the graphic visual language. The expansion of traditional formats, hybrid printing and experimental printing, will merge into a concept–process–display structure of projects throughout the quarter.
Previous basic printing skills are desirable.
CLASS STRUCTURE
The class consists of a balance among lectures, research and studio work. Classes will start with a lecture that gives an introduction to a contextual background, within the subject matter being worked at the section.
The students will also have studio work within the class hours in which they will are required to present four (4) projects during the quarter properly documented, one of them is a research project.
The class is divided in 3 main sections:
1. Scratch, tag & cuts
2. Monotype, unique prints
3. Hybrid printing / Final Project
ASSIGNMENTS
1. Scratch, tag & cuts (Introduction to the Etching Press, creating plates by leaving marks. Large-scale linocuts, woodcuts, dry point, parallel plate creation),
2. Monotype, unique prints (Drawing and Painting through the Press)
2b. Research Paper.
3. Hybrid printing (Flat Bed press, Hand Printed Process, Digital prints, Letterpress, an introduction on experimental printing processes)
WEEKLY SCHEDULE
Section I
Scratch, tag & cuts
Week 1
What this class is about. Syllabus interpretation.
Introduction to the Print lab and Etching Presses.
The overwhelming hugeness of our bodies; tagging as an expansion of myself.
From Altamira and Lascaux to Contemporary Urban Tagging and mark making.
Betsabe Romero, Banksy, Jean-Michel Basquiat, Anna Sigmond Gudmundsottir, Mark Manders
Week 2
The overwhelming hugeness of our bodies;
Expanding into modifications of our environment.
Translations of structures and dimensions.
The Line and Dot.
The structural visual elements “on Grid”.
Richard Wright, Sol LeWitt, Michael Craig Martin
Gabriel Orozco, Richard Long, Betsabe Romero, Crop circle formations, Nazca.
Week 3
The overwhelming hugeness of our bodies;
drawing with your body by removing matter.
Thomas Kilpper, Orit Hofshi, Barthélémy Toguo,
Kiki Smith, Antonio Frasconi, Christiane Baumgartner
Section II
Monotype and unique prints
Week 4
The body;
The ephemeral body preserved.
Printing outside off the press.
Scale and format advantages when working outside of the press.
Yves Klein, Vik Muniz, Betsabe Romero, Cai Guo-Qiang.
Week 5
The body;
The movement
*Theory of movement starting with Kandisnsky.
Jackson Pollock, Óscar Muñoz, Tromarama, Yves Klein, Damien Hirst.
Week 6
The body;
movement, against the machine.
Sol LeWitt, Casey Reas, Damien Hirst, Richard Serra.
Section III
Hybrid printing
Week 7
Artificial Architectures of expansion.
Large Scale Prints (stencils, hybrid masks)
Introduction to Digital Studio Work and use of alternative media.
Dan Perjovschi, Graffiti Research Lab, Ross Racine, Richard Wright, Michael Craig Martin, Paul Morrison, Regina Silveira.
Week 8
Artificial Architectures of expansion (The Resistance)
Mathew Barney, Cai Guo Quiang, Sol LeWitt, Rebecca Horn, Richard Serra, Miler Lagos, Mike and Doug Starn.
Week 9
Final Project Review.
Week 10
Final Critique.
Public Group Show
Recommended References:
Derrida, Jacques. Memoirs of the Blind: The Self-portrait and Other Ruins, University of Chicago Press, Chicago 1993 (Excerpt)
Dexter, Emma. Vitamin D: New Perspectives in Drawing. Phaidon, 2005
de Zegher, Catherine. Eva Hesse Drawing.Yale University Press, 2006
Kandinsky, Wassily. Concerning the Spiritual in Art. Courier Dover Publications, 1977 (Excerpt)
Kandinsky, Wassily. Point and line to plane Courier Dover Publications, 1979 (Excerpt)
Barry Ann Marie. Visual intelligence: perception, image, and manipulation in visual communication. SUNY Press, New York, 1997 (Excerpt)
Desolneux Agnès, From Gestalt Theory to Image Analysis: A Probabilistic Approach. Springer, 2007 (Excerpt)