Advanced Printmaking

Course Description

Advanced Printmaking involves discussion and exploration into a variety of printmaking techniques, in which the philosophical and functional aspects of the course will be cultivated. UWF notes that it may be repeated for up to 12 semester hours of credit and that a material and supply fee will be assessed.

Within the SCNS taxonomy, ART is the Art prefix. The University of West Florida publishes this at 3 semester hours through the Department of Art and Design, College of Arts, Social Sciences and Humanities. It is offered at approximately 4 Florida institutions.

⚠ The queue title for this number is "Printmaking: Intaglio"; UWF publishes it as "Advanced Printmaking" — a broader course covering a variety of techniques rather than one. A student needing intaglio specifically should confirm the section covers it. Carry a syllabus.

⚠⚠ Note the repeat allowance: up to 12 semester hours, the largest in the ART prefix. That is four enrolments, and it signals how printmaking is actually taught — a student returns to the shop to work across techniques and build an edition-based practice.

Printmaking is the studio discipline where process discipline matters most. A print is made through a sequence of irreversible steps, and the plate does not forgive an error made three stages ago. It is also the most chemically hazardous area in most art departments, which is why the safety section below is not boilerplate.

⚠ The contact-hour figure is derived — the University of West Florida publishes none

UWF's catalog publishes a credit value in semester hours, the college and department, prerequisites, repeatability, and fee notices. It does not publish contact hours, a lecture and studio split, or terms of offering for any course. Every contact-hour value in a UWF guide in this repository is derived. For a 3-credit studio course the figure used is 60 hours — four studio hours a week across a fifteen-week term. That matches the Florida convention for an integrated C course and is corroborated by the one studio figure published anywhere in this corpus: Daytona State's ART1331C, which states "four studio hours". ⚠ Treat it as a floor. Studio courses commonly schedule longer blocks, and studio practice expects substantial work outside the scheduled session — open-studio hours are part of how the work gets made. Confirm the schedule and the studio access hours with the department.

Learning Outcomes

Required Outcomes

• Describe the major printmaking processes and what distinguishes them.
• Prepare plates, blocks, screens, or stones appropriate to a process.
• Execute relief printing processes.
• Execute intaglio processes including etching and drypoint.
• Execute planographic or screen processes as covered by the section.
• Register multiple-colour prints accurately.
• Mix and modify inks for a process and paper.
• Select and prepare paper appropriate to a process.
• Operate presses safely and correctly.
• Pull a consistent edition and recognise variation.
• Number, sign, and document an edition using standard conventions.
• Troubleshoot common process faults systematically.
• Consider the philosophical implications of multiplicity and reproduction.
• Develop a personal direction across a body of printed work.
• Handle acids, solvents, and grounds safely and dispose of them correctly.
• Maintain shop cleanliness and shared equipment.
• Participate constructively in critique.
• Document prints to portfolio standard.

Optional Outcomes

• Develop a sustained body of work rather than isolated exercises.
• Document work photographically to portfolio standard.
• Situate your work relative to contemporary practice in the medium.
• Exhibit work in a student or juried show.
• Write an artist statement about the work produced.

Major Topics

Required Topics

• Printmaking processes overview
• Plate and matrix preparation
• Relief processes
• Intaglio: etching and drypoint
• Planographic and screen processes
• Colour registration
• Ink mixing and modification
• Paper selection and preparation
• Press operation
• Editioning and consistency
• Edition conventions and documentation
• Fault troubleshooting
• Multiplicity and reproduction as ideas
• Personal direction in print
• Chemical safety and disposal
• Shop maintenance
• Critique
• Portfolio documentation

Optional Topics

• Sustained body of work
• Portfolio documentation
• Contemporary practice in the medium
• Exhibition
• Artist statement writing

Resources & Tools

• Ross, Romano and Ross, The Complete Printmaker — the standard comprehensive reference.
• The shop's own procedures and induction — ⚠ printmaking shops have process-specific rules that are not transferable between institutions; learn this shop's.
• Safety data sheets for every chemical you touch — free and required to be held; read them for the acids and solvents before you use them, not after.
• Non-toxic and safer-etching resources — many shops have moved to acrylic grounds and ferric chloride or saline etch; ask what this shop uses, since the hazards differ.
• Good printmaking paper — expensive and worth it; cheap paper is the commonest cause of a print that will not resolve.
• Your own brayers, barens or tools if the shop allows — shared tools get damaged.
• UWF Department of Art and Design studios — open studio hours are the resource that matters most; find out what they are in week one and use them.
• A camera and a consistent setup for documenting work — a phone plus even lighting and a neutral background is enough. Photograph everything before it leaves your hands.
• Safety data sheets for your materials — free, and the studio is required to hold them.

Career Pathways

• Fine artists, including painters, sculptors, and illustrators — SOC 27-1013; ⚠ predominantly self-employed, and income is irregular. This is worth knowing plainly rather than discovering later.
• Graphic designers — SOC 27-1024; the largest paid destination for studio art graduates, and digital coursework feeds it directly.
• Special effects artists and animators — SOC 27-1014; Florida has a real cluster here through the Orlando theme-park and simulation industry.
• Art directors — SOC 27-1011; normally reached after years in a design role.
• Craft artists — SOC 27-1012; ceramics, glass and studio craft, frequently combined with teaching or markets.
• Florida employers and sectors worth naming — Walt Disney Imagineering and Universal Creative in Orlando hire sculptors, painters, model-makers and scenic artists; the simulation and training cluster in Orlando hires 3D and digital artists; and Florida's tourism economy supports scenic, signage and display work statewide.
• Museums and galleries — SOC 25-4012, 25-4013; preparator, installer, registrar and education roles.
• Art teaching — SOC 25-2022 and 25-1121; ⚠ K-12 art teaching in Florida requires state certification, which a studio degree alone does not provide — plan the education route deliberately if this is the goal.
• Art therapy — requires a master's degree and credentialing; a studio degree is the usual undergraduate foundation.
• ⚠⚠ An honest note on the economics. Very few studio art graduates support themselves from selling their own work, and most working artists hold other employment. That is not an argument against the degree — the transferable skills are real — but a plan that assumes gallery income is a plan without a foundation. Build the applied and digital skills alongside the studio practice.

Special Information

⚠ Studio fees are assessed for this course

• UWF publishes a material and supply fee notice on this entry. It is charged in addition to tuition and the amount is not published in the course entry.
• The amounts are in the catalog's separate Material & Supply and Equipment Fees section. ⚠ Budget for them — studio fees are billed with tuition and are invisible when a student estimates a term from credit hours alone.
• ⚠⚠ Art is among the most expensive undergraduate subjects to study, because the fee rarely covers everything. Expect to buy your own materials on top — and in painting, ceramics and printmaking that is a recurring cost across every term, not a one-off.
• Ask the department for a realistic per-term total across fees plus personal materials before committing to a studio-heavy schedule.

⚠⚠ This course is repeatable — up to 12 semester hours

• UWF publishes this course as repeatable, which is normal for a studio course and unusual elsewhere. The content is a studio context rather than a fixed syllabus, so a student returns to develop a body of work rather than to retake material.
• ⚠ Repeatability in the catalog is not applicability in a degree audit. A programme caps how much credit from one number counts toward a degree, and the catalog limit and the degree limit are different numbers. Check both.
• ⚠⚠ Repeated enrolments interact with financial aid. Aid rules on repeated coursework are not written with studio practice in mind, so confirm with financial aid before planning to repeat.
• A transfer evaluator may not expect it either. Carry a transcript showing the separate enrolments and what each produced.

⚠⚠⚠ Printmaking is the most chemically hazardous studio in most art departments

• Acids used in etching cause serious burns and produce hazardous fumes. They are handled in a designated area with ventilation, gloves, and eye protection — and always adding acid to water, never the reverse.
• ⚠⚠ Know where the eyewash station and the neutralising agent are before you start. That is a real instruction, not a formality.
• ⚠ Solvent exposure is chronic rather than acute. Cleaning plates and screens uses considerable solvent, and the risk is cumulative low-level inhalation and skin absorption — use the ventilated area and gloves that actually resist the solvent in use.
• Aquatint and rosin boxes generate fine airborne dust, and some processes involve materials with serious inhalation hazards. Never improvise a process you have not been trained on.
• ⚠⚠ Presses can cause crush injuries. Keep hands clear of the roller, and do not adjust a press under pressure.
• Chemical disposal is regulated. Spent acid and solvent do not go down the drain — the shop has a disposal procedure and following it is a legal obligation as well as a courtesy.
• ⚠ Tell the instructor if you are pregnant or have a respiratory condition. Several standard printmaking processes warrant substitution, and safer alternatives exist for most of them.

⚠⚠ Critique is the method — and it is the part students find hardest

• Studio courses are assessed largely through critique: work is put up, discussed by the group, and defended by the maker. It is a teaching method, not a verdict.
• ⚠ Learning to hear criticism of work you care about is a genuine skill, and it is separable from criticism of you. Students who cannot make that separation stall.
• ⚠⚠ Learning to give useful criticism matters as much. "I like it" and "I don't like it" are both useless. Describe what you see, then what it does, then whether that serves the work's apparent intention — that sequence is the whole technique.
• Bring finished work. Arriving at critique with nothing wastes the most valuable hour in the course, and it is visible to everyone.
• Document everything you make — good photographs, consistently lit, as you go. Work gets sold, given away, damaged or lost, and the documentation becomes the portfolio.

⚠⚠ Studio safety — art materials are chemicals, and some are seriously hazardous

• Read the safety data sheet for anything you use. Studios are required to hold them, and art materials are not regulated as consumer-safe by default.
• ⚠⚠ Solvents require ventilation. Turpentine, mineral spirits and lacquer thinner give off vapour that accumulates; chronic low-level exposure is the real risk, not a single strong smell. Use the ventilated area, keep containers closed, and never wash solvent down a drain.
• ⚠ Some pigments are genuinely toxic — cadmium, cobalt, chromium and lead compounds appear in artists' colours. Never eat, drink or point a brush with your mouth in a studio, and wash hands before leaving.
• ⚠⚠ Silica dust is a long-term hazard in ceramics and in any dry sanding or grinding. It causes irreversible lung disease, a dust mask is not respiratory protection, and dry sweeping makes it worse than leaving it. Wet-clean.
• Printmaking uses acids and strong solvents, and etching in particular requires specific handling, ventilation and disposal.
• Power tools, kilns, presses and torches all carry injury risk. Do not operate equipment you have not been trained and cleared on, and never work alone in a studio with powered equipment.
• ⚠ Rags soaked in oil or solvent can self-ignite. This is a documented cause of studio fires — use the metal safety can provided.
• Tell the instructor if you are pregnant or have a respiratory condition; several standard studio materials warrant substitution.

Course format and position in the curriculum

• Studio course, assessed through produced work and critique rather than by examination.
• ⚠ The scheduled hours are not the working hours. Studio practice expects substantial independent work, and students who only work during class do not produce enough to critique.
• UWF publishes no contact hours, studio split, or terms of offering for any course. Confirm the schedule and studio access with the department.

How Florida course levels affect transfer

The first digit of an SCNS number denotes the year of offering, not transferability. Courses at the 1000 and 2000 levels transfer transparently between Florida public institutions, and 3000 to 4000 is unproblematic since both are upper division. The boundary that actually matters is 2000 to 3000, where lower-division credit generally cannot satisfy an upper-division requirement. ⚠ For studio art there is an additional constraint: many programmes require portfolio review for admission to the major or to upper-division studios, and a receiving programme may accept the credit while still requiring its own portfolio review. Keep photographs of everything you make — the portfolio, not the transcript, is what moves you between art programmes.

ART3442C is 3 semester hours at the University of West Florida.