Undergraduate Information

Graduate Information

Printmaking

Faculty

Robert Dale Anderson

Lee Chesney

Tom Drueker

Ken Hale

Timothy High

Facilities

There are separate, modern, well-equipped studios for each of the three printmaking areas: Lithography, Intaglio and Serigraphy.

Lithography

The Lithography Studio contains five 34"x60" Takach Garfield presses. The spacious studio, features oversize print and paper storage drawers built to accommodate sheets up to 38" x 50". The lithography program is equipped to accommodate aluminum plate sizes up to 30" x 40", and stone printing with Bavarian lime stones up to 30" x 46". The program has on inventory over thirty stones from the 20" x 26" to the 32" x 46" range, and over one hundred stones in the 16" x 20" to 18" x 24" range, with ample storage racks for all. The printmaking area's paper store, located in lithography, provides low-cost paper, plate, and film purchases to all enrolled printmaking students.

The Media Room, housed within the Lithography Studio, features state-of-the-art digital-imaging hard- and software including: an G3 iMac, an Apple G3, an Apple G4, and another Apple G4 with dual processor. All but the iMac have 19" monitors, are connected to 250 Meg Zip drives, and two have CDW drives. Software includes PhotoShop, Quark Express, Illustrator, Painter and other graphic software. There is also a Umax oversize flatbed scanner, an Encad 24" plotter printer, and an Epson Photo printer. Also in the Media Room there is a flip-top plate maker with built-in exposure lamp, medium-format horizontal bed process camera for exposures up to 11" x 17", an automatic film developer. The photographic format options are increased with student access to the serigraphy photo-mechanical and darkroom facilities.

Intaglio

The Intaglio Studio features three Brand etching presses, 36" x 60", 30" x 51" and 16" x 40", a new ('98) Conrad 30" x 60" press, and a 18" x 20" relief/block press. The well-ventilated acid room contains four large, ventilated, and (covered) baths for both zinc and copper plate processing, a large rosin aquatint box, a sawdust box for cleaning plates with solvent, and full-body safety shower. The studio has ample flat file storage for individual student usage. All forms of intaglio are taught and practiced including: drypoint engraving, rosin aquatint, spray aquatints, viscosity etching, soft and hard grounds, sugar lift, line etching, engraving, mezzotint, chin colle', linocut, woodcut, embossment, and monotype printing.

Serigraphy

The Serigraphy Studio is a fully equipped, well ventilated screen printing facility which offers a broad repertoire of technical processes, many of which were invented or perfected right here at The University of Texas at Austin. Since 1992, the Serigraphy Studio has adopted the water-based (acylic ink) process. The studio features three free-standing, angled-top, Cincinnati vacuum tables for formats up to 32" x 44", a 48" x 96" vacuum table for screens up to 48" x 72" screen frames which will print an image up to 36" x 60". New to the studio for fall of 1999 is an AWT automatic/pneumatic screen printing press (manual feed) for printing images up to 25" x 38", with micro-registration features which is vital for the flawless printing of four-color separation (digitized) photo images. The studio has a large collection of both wooden and aluminum screen frames, a pneumatic fabric stretching machine, four print drying racks (one of which will accommodate a sheet of paper 36" x 60"). The fully-loaded photo-mechanical, darkroom facilities in Serigraphy feature a Log E, 500 Series, Robertson 20" x 24" Process Camera, two large 3 tray processing sinks, a submersible illuminated viewing sink, an Omega 4" x 5" condenser-enlarger (wall mounted for photo posterization), and American vacuum frame 52" x 72" polycop exposure unit, and a solid-state electronic metal-halide electronic exposure lamp.

Guest Artist in Printmaking Program

The goal of the Guest Artist in Printmaking Program (GAPP) is to take advantage of the inherent collaborative and more communal nature of printmaking and to use these characteristics as a unique teaching tool. Professional artists, with tremendously varied aesthetic and conceptual philosophies, are invited for brief residencies. During these residencies the artists interact with the student population in numerous ways: the production of limited edition prints, public lectures, and critiques of student art work. Students can observe and interact with an artist while he or she makes all of the complex decisions that are required to make a work of art. Impressions from every edition are archived in the Blanton Museum permanent collection as documents of this collaborative effort..

GAPP artists include Leonard Lehrer, Karl Wirsum, Garo Antreasian, Bruce Cunningham, Paula Crane, June Wayne, Michael Krueger, Armando Morales, Tom Palmore, Tom Fricano, William Weege, Jane Abrams, Peter Saul, Vernon Fisher, Dan Rizzie, Margaret Prentice, James Surls, Robert Wilson, Melissa Miller, Kenneth Kerslake, Roger Herman, Michael Tracy, John Moore, Carmen Lomas-Garza, Judith Linhearis, Patssi Valdez, John Yau, Don Colley, Jim Nutt, Tom Huck, Louis Jimenez and Karen Kunc.