Printmaking Critique 10/04/16

Our next class on Tuesday, October 4 will begin with our very first critique on Project 1: Monotype and PLAY.

Oh noes… critique?!?


Yes… critique. I know the feels in the above comic, and I bet you do too. Crits can be reaaallly stressful. After all, the things we make come from the heart, so we’re often deeply emotionally invested. However we sally forth despite the occasional wibbly emotions because having fresh eyes on your work = seeing new possibilities.

Being Prepared Isn’t Just for Boy Scouts Anymore


There are some things you can do before our first critique to prepare and thus to set yourself up for a better experience.

  1. Totes obvious, but have your monotype portfolio completed, gathered and organized. The requirements are listed in the Project Guidelines as well as further along in this post.

  2. Spend some time thinking about what you made and why you made it (other than “because Del told me to”). You want to be able to intelligently discuss how you created the work and your reasoning behind choosing certain techniques or subject matter. How do the choices you made impact meaning? Be ready to address how you interpreted our theme of PLAY.

  3. Some components of this project were completed in your creativity journal, namely brainstorming, research and thumbnails. I will need to see these so that I can figure them into your project grade. Therefore, please bring your journal to class on the 4th. Of course, it’s like your bestest constant companion now, so you were going to do that anyway, right?

hmmWhat Do You Need in Your Monotype Portfolio?

You will need to show at least one of each of the following. Of course, you are welcome to show MORE than one. Demonstrating a breadth of experimentation means you’ve engaged with the project, and that’s a good thing.

  • traced monotype
  • offset traced monotype
  • subtractive (dark field) monotype
  • additive (light field) monotype
  • flexible plate monotype
  • multiple drop monotype
  • series of three related monotypes. Using flexible plates, making multiple drops and/or reworking ghost prints are techniques that generally work well monotype series, but you can use any process or combination of processes you’ve learned in class so long as the resulting prints represent a related theme.

At minimum, you will have nine prints to show for critique. For more on what you need to have ready as well as grading criteria and other informative stuff, please see the Project 1 Guidelines.



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